Sun 10

From an archive of sounds, something mysterious is said, sonics repeated so they change in nature, from the listening point a journey is taken. Informally, public domain refers to works that are publicly available; the formal definition states that it refers to works which are intangible to private ownership or are available for public use. As rights are country-based and vary, a work may be subject to rights in one country and not in another. Playing the cultural awareness game, putting things together is a technique where sound objects, are created from collage, also known as montage, the use of portions of found or various sources. Some rights depend on registrations with a country-by-country basis, and the registration absence in a particular country implies public domain status there. A library of sound files on several different time scales importation into the library of the editing and mixing program use of the cursor…

Artist bio:
Started sometime in the 1950's by William Strong, the unconscious collective project was a completely under the radar affair, issuing tape reels at sporadic junctures, of extreme small volumes, which were listened to, so sent back and wiped with large magnets, to be reused, so only fragments survive. Years later after befriending a librarian, in central London the it was reborn with  Jane Burton, Doris Lake, Samantha Brook & Rachel Parks. Their logo is a Hammer and a Cabbage and they use various monikers to create under including Public Domain.

Website/social links
https://instituteforalienresearchvariousartists.bandcamp.com/album/the-land-of-the-escaping-sound

1) Neil Luck - Real Telepathy (10:25)
2) Clemens von Reusner – REEHD (7:11)
3) Kate Wilson Hilferty - Two Channel // Rannoch Moor Pt 1 (5:01)
4) Ellie Cherry - Breaking News (12:00)
 
 
1) Neil Luck - Real Telepathy

Real Telepathy is a radiophonic work about the nature of broadcast and shortwave communication. This collective state might exists when many dispersed bodies listen simultaneously to the same broadcast. It also happens in the shortwave radio community; individuals across the world communicating with each other somewhat chaotically via publicly accessible long-distance antennas. These connections, messages, signals all represent for me some kind of ephemeral community of communications; a telepathic network. My interest in radio as a collective listening experience heightened during the lockdowns of 2020, and spurred me to conduce a series of experiments, performances, compositions and recordings based around the interception, or modulation of radio signals. Real Telepathy is a piecing together of those into a short dreamlike narrative around late night radiophonic communications between men in their sheds.

NEIL LUCK is a composer and artist based in the UK. His work often explores the pathos and interaction between live human performance and multimedia, and attempts to frame the act of music making as something curious, or weird, or useful, or spectacular in and of itself. Neil’s work takes a range of forms from music-theatre, to concert works, radio, public projects and recordings. He is the founder and director of the music-theatre ensemble ARCO; an experimental music-theatre company. ARCO has been commissioned to produce work for arts institutions, galleries and music institutions around the UK and overseas.
https://www.neilluck.com/
https://x.com/Neilluck
https://www.instagram.com/arcoarcoarcoarco/

 
2) Clemens von Reusner – REEHD

REEHD is not based on sounds of real instruments, but on sounds generated by physical modeling. Physical modeling allows to go beyond the limits imposed by real instruments as well as the limits imposed by human players. This can result in certain sounds no longer having any relation to known instrumental sounds. In REEHD sound objects interact as sound gestures as well as textures in a concept of composed spatial counterpoints in virtual spaces.

"But no one should be afraid that looking at signs leads us away from things; on the contrary, it leads us into the innermost of things." (Gottfried Wilhelm Leibniz, 1646-1716)

REEHD is awarded (honorary mention) at international composition competition MUSICA NOVA 2023, Prague, czech republic.
Spatialisation: ambisonic, 8-channel, 07:11

Clemens von Reusner, german composer (* 1957). His works of electroacoustic music and radiophonic audio pieces focus on both purely electronically generated sounds and sounds found in special places and processed in the studio. The work on sound itself, its arrangement and movement on individual tracks in the virtual acoustic spaces of multi-channel loudspeaker configurations are at the centre of his compositional work. He is member of the "Academy of German Music Authors". His works have been awarded with national and international prizes, most recently the Thomas-Seelig-Fixed-Media-Award 2024. They are performed worldwide at reknowned international festivals for contemporary music.
https://www.cvr-net.de/
https://www.youtube.com/channel/UCZN7nx06m3qt7W5chIdKp7Q

 
3) Kate Wilson Hilferty - Two Channel // Rannoch Moor Pt 1

Two-channel recording diptych using a hydrophone and a homemade geophone in the piping network where water is released from the Rannoch Moor hydroelectric power station. The water, rich in peat, in extracted from the bogland, and funnelled in to the plant through pipes in the ground. When the water is released, the push resonates through the metal and plastic piping system in remote murmurs. A geophone on the exterior of the piping catches the sound of air and water in its release.

Bartender and field-recording hobbyist living in Glasgow. Interested in various methods of recording and enhancing concealed sounds with use of geophones, contact mics, and transducers.
https://soundcloud.com/user-380334898

 
4) Ellie Cherry - Breaking News

"Breaking News" is inspired by the historic feud between newspaper companies and their rival radio news broadcasting organizations at the beginning of the 20th century. Known as The Press-Radio War, the feud reached a head in 1938, when representatives of the printed press attempted to illegalise radio news broadcasts. Not having real legal grounds to ban radio news, the press exaggerated the panic caused by Mercury Theatre's 1938 broadcast of "War of the Worlds" to build the case that radio was dangerous for public safety. In "Breaking News," I satirically reimagine the printed press's melodramatic depiction of radio by stringing together a surrealist narrative from archival radio news bulletins and vintage office supplies played as percussion instruments. The result is a warped reality in which the radio not only has the power to influence emotions, but can also mind control humans, puppeteer their bodies, and distort the laws of time.

Ellie Cherry is an electroacoustic composer fundamentally compelled by the belief that as an artist she is first and foremost an observer: be it the acoustic properties of a beech tree or the childhood experiences of an audience member, every element in our shared reality is worthy of consideration. Her composition therefore takes a holistic approach, in which spectral theory, physics, psychoacoustics, and historical and political context are all intertwined.
https://www.elliecherrycomposer.com
https://soundcloud.com/elliecherrycomposer

5) Julian Scordato - Study for a cosmic city (7:00)
6) Lori Mortimer - The Pain (1:40)
7) Jena Jang - Annoying Cantabilles (14:02)

 
5) Julian Scordato - Study for a cosmic city

"Study for a cosmic city" is inspired by a utopian urban planning proposal described by the composer and architect Iannis Xenakis in an essay entitled "La ville cosmique" (1965). The work is based on a graphic score that sends normalized parameter values to a laptop ensemble. Performers are free to map the score data to the variables of their favorite devices and algorithms. The aim is to preserve an autonomous design of digital musical instruments within a common environment based on data sharing. Performative gestures are left to the sensitivity of each musician.

Performed by Arazzi Laptop Ensemble (Giorgio Klauer, Luca Richelli, Julian Scordato, Giovanni Sparano, Paolo Zavagna) in October  2022.

Julian Scordato is a composer and artist whose practice focuses mainly on sound, graphics, algorithms, and interactivity. He studied composition and electronic music at the Conservatory of Venice and sound art at the University of Barcelona. In 2009 he co-founded the Arazzi Laptop Ensemble. In 2015 he joined and currently leads SaMPL - Sound and Music Processing Lab, an innovative platform based in Padua (Italy) dedicated to education, production and research in Sound and Music Computing. Coordinator of the Electronic Music School of the Conservatory of Padua, since 2017 he has been professor of electroacoustic music composition and performance.
https://www.julianscordato.com

 
6) Lori Mortimer - The Pain

In my deceased mother's garage, I found a cassette tape from the 1970s. It's a recording of the surprise party my extended family threw for my great-aunt and -uncle. Among the gems on the tape is the sound of my great-aunt Lorraine, who taped over the last 10 minutes of the party, reciting a series of meditations to help relieve her chronic back pain. The juxtaposition of the party's raucous joy with my aunt's solitary voice at the end, desperate for pain relief, took me aback. I condensed one of her meditations for Audio Playground assignment 19: "Create a 90-sec max piece that includes at least 10 seconds of [the supplied song], and also the sound of a wave. Guest prompt from Marcus Bagala." (http://www.audioplayground.xyz/assignments). I used the supplied music plus my own recording of the ocean.

Lori Mortimer is the creator of Mementos podcast, a member of Hub & Spoke (a nonprofit collective of independent podcasters), and the creator of Sound Off the Ground, a sound-design newsletter for new audio makers. A mid-life career-changer, Lori loves to sponge up as much as she can about creating audio. Most recently, she's been exploring sound art and acoustic ecology. She also enjoys sharing knowledge with other new(ish) audio makers through workshops such as "Music for Non-Musicians: Create Music on Your iOS Device," which was offered through AIR Media (professional org in the US).
http://www.lorimortimer.com
LinkedIn: https://www.linkedin.com/in/lorimortimer
SoundCloud: https://soundcloud.com/user-302416140
IG and Twitter: @mortaymortay


7) Jena Jang - Annoying Cantabilles

"Annoying Cantabilles" reflects my rebellious approach to cantabile. My musical journey began at age three with classical piano, which deeply influenced me. I often played chords differently from the score, preferring to alter pieces slightly, and my teacher even suggested studying jazz or composition. Eventually, I stopped playing piano during secondary school, focusing on visual arts. However, I later explored samulnori percussion, classical guitar, and eventually experimental music through modern dance and studies in Europe. During the pandemic, I started composing with Ableton and, whenever possible, returned to the piano, recording my improvisations. Discovering synthesisers revealed my musical world rooted in piano, but I still dislike rigidly following scores. I love classical music but take a rebellious stance, always distorting and challenging its boundaries.

Jena Jang is a vocalist, experimental musician, and performance artist from South Korea, currently based in Prague, Czechia. Their work explores the boundaries of power electronics, extended vocal improvisation, and high-pitched frequencies generated through their hand-built modular synthesisers. Drawing inspiration from Buddhist chanting, yogic breath work, throat singing, and traditional Korean music forms like Pansori, Samulnori, and Shamanic rituals, their performances are raw, visceral expressions of energy. Physicality plays a central role, with movements such as head-banging, crawling, and repetitive gestures aimed at transforming past traumas and negative memories into positive, cathartic experiences.
https://database.shareimpro.eu/en/person/jena-jang
https://www.instagram.com/xena_xang/
https://www.youtube.com/@jenajang/featured
https://soundcloud.com/purplearsound
https://linktr.ee/jenajang

I am of water, of water I am is the third episode of Assembling Land: Rehearsals Towards Place-making, initiated in April, during our confluence in Essaouira, Morocco. Here, we gathered to reason around water as an ever-present, essential resource that implies questions of accessibility, land dispossession, and climate crisis, to foster communal strategies of resilience amidst systems of oppression and supremacy.

Each story is carried by sounds of field recordings, original productions, traditional songs and contemporary compositions harvested for, or in response to, Assembling Land’s and our own individual trajectories.

In thinking, and feeling, through our respective geographies, our solidarity with Palestine remains at the core of our practice. Yet again, this podcast intertwines and amplifies struggles across places and seas. I am of water, of water I am includes sonic works by Palestinian and Lebanese artists Jawaher Shofani, Maya al Khaldi, Sary Moussa and Charbel Haber, acting as intermissions and a closure to our sonic offering.

The podcasts are formed in chapters corresponding to our peer-to-peer learning around Land, Housing and Out/Institution, each time seeking ways to question ourselves by listening to the varied and polyrhythmic offerings from the people and places we encounter. In this process of place-making, we explore our practices and transmit through the broadcasting platform and extended community of Radio Alhara.

Assembling Land: Rehearsals Towards Place-making is de Appel’s COOP study group at DAI Roaming Academy unfolding throughout 2024. Through the group’s monthly encounters, five podcasts will share the harvest of each iteration with attuned overarching themes as departure points. This third episode was initiated in Essaouira, Morocco, in April 2024.

Dutch Art Institute (DAI) is a nomadic accredited MA program landing in various locations and for seven times (confluences) per academic year with the student body and crew. The study groups, which last the full academic year, are one of the pillars of its program and are carefully composed of and conducted by collaborations with an art institution, in this case de Appel in Amsterdam.

Listen through @radioalhara

 
 
AR


أنا من الماء، ومن الماء أنت هو الحلقة الثالثة من  "تجميع الأرض: بروفات نحو صناعة المكان"، والتي بدأت في نيسان، خلال تجمّعنا في الصويرة، المغرب.  هنا، اجتمعنا للتفكير والتأمّل في الماء كونه موردًا دائمًا وأساسيًا يطرح أسئلة حول الوصول إليه، سلب الأراضي، وأزمة المناخ، بهدف تعزيز استراتيجيات جماعية للصمود في وجه أنظمة القمع والتفوق.
كل قصة يتم حملها بواسطة أصوات تسجيلات ميدانية، إنتاجات أصلية، أغاني تراثيّة ومؤلفات معاصرة تمّ جمعها من أجل، أو استجابةً لـ "تجميع الأرض" ومساراتِنا الفردية.
في تفكيرنا وشعورنا من خلال جغرافيتنا المختلفة، يبقى تضامننا مع فلسطين في صميم ممارستنا. و مرة أخرى، هذا البودكاست يربط ويعزّز النضالات و التّحدّيات في أماكن مختلفة. "أنا من الماء، ومن الماء أنت" يتضمن أعمالًا صوتية لفنانين فلسطينيين ولبنانيين: جواهر شوفاني، مايا الخالدي، ساري موسى وشربل حابر،  تعمل كفَواصِل وختام لهذا العرض الصوتي.


Artist bio:
Assembling Land: Rehearsals Towards Place-making is de Appel’s COOP study group at DAI Roaming Academy unfolding throughout 2024. Through the group’s monthly encounters, five radio broadcasts will share the harvest of each iteration with attuned overarching themes as departure points. The broadcasts are formed in chapters corresponding to our peer-to-peer learning around Land, Housing and Out/Institution, each time seeking ways to question ourselves by listening to the varied and polyrhythmic offerings from the people and places we encounter. This third episode was initiated in Essaouira, Morocco, in April 2024.

Website/social links
https://www.mixcloud.com/AssemblingLand/
https://dutchartinstitute.eu/page/20713/2023-2024-coop-study-group-~-assembling-land-rehearsals-towards-place
https://www.instagram.com/de_appel/

The group collaborators are Anastasia Nefedova, Chloë Janssens, Echo Guo, Eszter Dobos, Federica Nicastro, Foad Alijani, Francesca Pionati, Kıvanç Sert, Meii Soh, Qiaoling Cai, Sara Alberani, Saverio Cantoni, Shaza Omran, Sille Kima, Thamyres VM, Tuba Kılıç, Noor Abuarafeh and Marina Christodoulidou.

Revenant is a radio art work which explores mortality, rot, and regeneration, using electronic and radiophonic instruments, and field recordings made both below and above ground. The first part reflects on a summer of extreme heat and wildfire, and the desire to escape into the safety of a burrow underground. The second reconsiders the mythical journey of the living into the underworld, wondering what kind of organism does one need to become to burrow down to the earth in order to reunite with a deceased loved one? The creatures who move easily through the soil are often considered abject: insects, rodents, serpents, worms. A journey to the underworld requires metamorphosis of body and senses on the quest for visitation with the dead. Commissioned by ORF Kunstradio and recorded in the mighty RP4 studios of the ORF Funkhaus in Vienna and on various locations in Santa Cruz, California.

Artist bio:
Anna Friz is a Canadian radio, sound and media artist, who creates audio compositions, broadcasts, installations, short films, and live performances. Her curiousity continually returns to themes of transmission ecologies and the intimacies of signal space, environment and land, infrastructures, time perception and durational performance, and critical fictions. Since 1998, she has created radiophonic works in which radio is often the source, subject, and medium of the work; she also composes for theater, dance, film, and public practice performance. Anna is Associate Professor in the Film and Digital Media Department of University of California, Santa Cruz.

Website/social links
https://nicelittlestatic.com

Four short radio pieces drawing on the extensive archive of recorded conversations created as part of 900 Voices. These 4 episodes provide a curated dip into conversations with people in Edinburgh, from all walks of life as they reflect on what belonging means to them. The conversations were recorded all over the city in libraries, community centres, schools and homes. Originally shared as a generative sound installation in St Giles' Cathedral during Edinburgh International Festival 2024 as part of the Cathedral's 900th anniversary celebrations, the archive consists of over 300 hours of recorded conversation on belonging, connection and community and will be publically available through the School of Scottish Studies in Edinburgh from next year. 900 Voices is by Zoë Irvine in collaboration with Lindsay Perth and Jules Rawlinson.   Produced by Zoë Irvine.   Artist bio: Converse comes out of 900 Voices. Initially conceived by Zoë Irvine and created in collaboration with Lindsay Perth and Jules Rawlinson. Zoë Irvine is an artist and sound designer who lives and works in Edinburgh. https://www.zoeirvine.net Jules Rawlinson is an audiovisual composer https://www.pixelmechanics.com/ Lindsay Perth is a Public Artist & Designer https://lippi.org/ Website/social links https://www.900voices.org/ insta 900.voices Audio documentation of the installation https://on.soundcloud.com/ZTg5TKdbFWdeRkEW9 (the proposed radio transmissions would not have cathedral reverb!) booklet that accompanied installation: https://www.900voices.org/s/A6_AUGEIF-website.pdf

The Asynchronous Drone Orchestra is a remote collaborative project by Chelidon Frame where different electronic musicians are asked to share one (or more) ten minutes sound - be it a drone, a field recording, or a more elaborate soundscape - following a minimal set of rules.
All those fragments and noises are then mixed and combined in a long and coherent track, resulting in a choral soundscape where the result is bigger than the sum of its parts.

The track shared is the July 2024 iteration, featuring: Gianluca Ceccarini,Fallen, Manuel Carbone, Stefano Trezzi, Klaus Von Mork, Ian Vine, Rikard Fvs, Paul Beaudoin (https://www.asynchronousdroneorchestra.eu/iterations/202407)

Artist bio:
The Asynchronous Drone Orchestra is a remote collaborative project by Chelidon Frame where different electronic musicians are asked to share one (or more) ten minutes sound - be it a drone, a field recording, or a more elaborate soundscape - following a minimal set of rules.
All those fragments and noises are then mixed and combined in a long and coherent track, resulting in a choral soundscape where the result is bigger than the sum of its parts.

Website/social links
https://www.asynchronousdroneorchestra.eu/
https://www.instagram.com/chelidonframe/

Utopia has been in our consciousness since the beginning of humanity. Where is this elusive land of equality and happiness and how can we enter? Utopia M&m invites you on an exploration of the utopian ideal, a journey into the past as well as the future. Fusing prerecorded texts and music fragments with a live performance this interlaced audio piece creates a rich tapestry that plays with perception, form and genre. Wander with us through a space filled with dreams, political activism, philosophical dispute, belief and disbelief. What do Thomas More, the mysterious voice, Plato, Robert Owen and the miracle of Wörgl have in common? Are you in or are you out? Join our utopian quest into a land of skepticism, aspiration, reflection and hope.

Artist bio:
Gabriele Heller is a German born artist working across theatre, music, live art and sound. She is the director of theatre-between, part of Tuesday’s Childe theatre collective and member of various jazz ensembles. Gabriele holds an MA in German Literature and Theatre studies and is a founding member of the fast food theater, Munich. Gabriele worked as an assistant audio director at the Bavarian Radio Broadcast and as a tutor in Northumbria University and Newcastle University. In 2011 she co-directed the Festival Robert Walser in Newcastle. Since 2001 Gabriele lives and works in Newcastle upon Tyne, UK.

Website/social links
http://www.gabrieleheller.com ; https://www.johnpopebass.co.uk ; https://johngarner.co.uk ;

1) Dariusz Mazurowski - Waveless Storm (10:10)
2) Leonie Roessler- what's gone is gone stays gone (12:14)
3) Jeff Gburek - Seismic Blush, July 4, 2024
4) Nguyen Hoang Gia Bao - TÔI ta _ ME we (1:04)
 
 
1) Dariusz Mazurowski - Waveless Storm

This piece for for viola and tape was composed for Polish viola player Krzysztof Komendarek-Tymendorf, with his recording project under the name ALTOTRONICA in mind. The viola is used not only as a melodic instrument, but also as a percussion instrument or creating music using innovative, contemporary performance techniques, such as tapping, pizzicato or string plucking, pressing the bow to the instrument, dirty glissando, crazy ponticello scratching, arpeggios, tremolo, flageolets, etc. All these elements are present in "Waveless Storm", in which the viola plays the role of a sonoristic sound source, treated in an unorthodox way and juxtaposed with often quite aggressive and rough electronics. Both parties - instrumental and electronic - have equal rights here and function in complete symbiosis.

Dariusz Mazurowski is a Polish electroacoustic music composer born and residing in Gdansk. While the majority of his compositional activity has focused on acousmatic works, he has also composed instrumental music in conjunction with electronics, soundscapes, and mprovised electroacoustic music. His works combine analog instruments with the digital technology and concrete sounds. Mazurowski’s music has been broadcast by various stations all over the world, and he has performed at festivals and other events in Europe, North America, South America and Asia. His installations, visual works have been exhibited worldwide in numerous galleries. His compositions has been released on numerous discs.
https://deemstudio.com/
https://www.facebook.com/people/Dariusz-Mazurowski/100086282450366/
https://www.youtube.com/user/DeeMstudio/videos
https://open.spotify.com/search/Dariusz%20Mazurowski

 
2) Leonie Roessler- what's gone is gone stays gone

A market in Berlin and the increasing absence of that market, replaced with sounds of empty hallways from the gigantic housing complex right next to it. Stark contrasts that serve as a commentary in this time in which entire civilian populations are exterminated while governments around the world are watching - or actually paying for it. This market could be any market around the world. A market with regular people going about their day. A market that could be erased with the push of a button if it happens to be in the wrong place at the wrong time.

Leonie Roessler - Composer and Performer raised in Germany and the US, now based in The Hague, Netherlands. Leonie captures her environment with field recordings, which she uses for radio pieces, sound installations, and instrumental compositions. Part of her work is purely sound-based, however the theme of marginalization has become increasingly present in her radio works. She curates On Air - On Site Festival, and co-manages Iranian record label Noise à Noise with Soheil Soheili. Her works have been released through Musica Dispersa (ES/UK), Noise á Noise (IR), Biodiversitàs, Syrphe(DE), Antilounge(NL), and have been physically archived in the British Library.
http://www.leonieroessler.com
Facebook: Leonie Roessler
Instagram: ljroessler

 
3) Jeff Gburek - Seismic Blush, July 4, 2024

Sesimic Blush is a a generative environment of vibrational memabranes seeking to simulated plate tectonics in a more rounded form. The tools include sine wave generator, ring modulator and resampled hydrophone recordings.

Jeff Gburek is poet, field recordist, sound artist, composer and multi-instrumentalist exploring all strata of cosmophonic resolutions. Works increasingly focus on receptive listening and recognition of patterned chaos in the mind triggered by externally ordered phenomenon in flux. Microphones, detuned guitars, hydrophones, shortwave and VLF radios, ground spikes, bat detectors and electronics typify the research in the psycho-acoustics of Gaian whispers enveloping and composing existence.
http://soundcloud.com/jeff-gburek
https://jeffgburekprojects.bandcamp.com

 
4) Nguyen Hoang Gia Bao - TÔI ta _ ME we

nHữNG NgÀY kHÓ ở Ở trêN đỜI // thoSE hArD-TO-liVe dAYS was a collection of 5 selected poets, written from 2021 - 2022 by Nguyen Hoang Gia Bao. Each of them was originally a statement of confrontation with the socially constructed so-called "nature", juggling between binaries of man & woman, love & hatred, individualism & collectivism, and so on.
As a way to deconstruct the "nature" concept, the anthologies were later exhibited in a digital space with an invitation for community manipulation. Readers were encouraged to rewrite or delete the words in their own interpretation and stylistic choices. The latter would work on the former's version/interpretation.
The audio version was captured in time of the 6th version, recorded and mixed by the original author as a means of reclaiming and authorship. The sound mixing is intentionally "left" because everything is not "right".

Nguyen Hoang Gia Bao is a Vietnamese writer and multidisciplinary artist. He embraces multimedia and expression, such as typography, photography, film, sound art, performance art with a core appreciation of poetry practices. His works have been featured in Vânguard Zine (Issue 6), Sui Generis (Bard College, 2024 Edition), WCBX Zine, etc. Bao is currently pursuing a BA Degree in Art and Media Studies at Fulbright University Vietnam.
https://www.instagram.com/nguyenhoanggiabao_

5) Simon Whetham – Channelling (5:20)
6) Pablo Paniagua - Sacred Noise (16:09)
7) andre birken - 31 monstrous demonstrations-  BLUESTRAIN (4:21)
8) Vincent Eoppolo - In Times of Chaos (3:10)
 
 
5) Simon Whetham – Channelling

Channelling is a kinetic sound performance that utilizes various components salvaged from discarded and obsolete consumer technology, reanimating them by piping amplified sound through them. The motors and mechanisms respond to these sound impulses in erratic and unpredictable ways. The actions of, and emanations from, the devices are subsequently amplified.
The project was developed through 2021and 2022 by support from Ferme-Asile (CH), Witte Rook (NL), AiR Niederösterreich (AT), HEAR and Espaces Sonore (FR) and Château Éphémère (FR).

Since 2005 Simon Whetham has worked with sonic activity. He often uses environmental sound, employing a variety of methods and techniques in order to obtain often unnoticed and obscured sonic phenomena. He also explores ways of creating physical traces of sound and transforming energy forms.
Whetham performs and exhibits internationally, has received a large number of commissions and awards, has many published composed works and regularly collaborates with other artists. In addition his practice covers giving active listening, field recording and technology repurposing workshops.
https://simonwhetham.co.uk/
https://www.facebook.com/simonwhethamartist/
https://vimeo.com/simonwhetham
https://simonwhetham.bandcamp.com/


6) Pablo Paniagua - Sacred Noise

"Sacred Noise" is an improvisational performance combining recordings of the Chubut River, a guitar prepared with objects found along its banks, and real-time sound processing. The piece explores the concept of "sacred noise" by invoking the river and local environmental conflicts, using riverbank objects as significant elements and actants. The work, resulting from over three years of research funded by a grant from the National University of the Arts, was presented at the Museo del Hambre in 2023 and was part of my master's thesis defense.

I am an artist and educator from Chubut, currently based in Buenos Aires, with a Master’s degree in Combined Artistic Languages. Since 2014, I have participated in national and international artistic events and received awards and grants. My recent work explores visual, auditory, and corporeal elements in specific contexts. As an educator, I teach at various levels of formal and informal education and conduct workshops in both public and private spaces.
https://pablopaniagua.com.ar/
https://www.instagram.com/pablopaniagua87/

 
7) andre birken - 31 monstrous demonstrations-  BLUESTRAIN

why so serious?
can't art be futile?
is neurosis really usefull?
how to destroy authority by singing?
of all tools, why do we not understand language or money?
–– the ether as realm of ideas and spirits ––

1992 i founded the experimental radio collective "Freundsender Morgenstern", with fixed monthly broadcast schedule until 1995. In 1997 I founded "Radio Namaste“, again with a fixed monthly broadcast slot on Radio Westfalica (until 2006). 1998 sound art with Ulrich Eller, 2004 “MELATONIN®forte” (premiered at Oberhausen Short Film Festival). In 2005 I moved permanently to Portugal. 2018 ENTRESERES, awarded Best Documentary Short Film (Kosice 2020).
https://www.instagram.com/b_i_r_k_e_n/
https://www.facebook.com/AndreBenBirken

 
8) Vincent Eoppolo - In Times of Chaos

Living In Times of Chaos is a collection of 7 compositions that were composed in late 2023 through August 2024. The works are Electro Acoustic, Acousmatic and Musique Concrete in their forms. As the title suggests these works are mediations on the current state of affairs in our world.

Vincent Eoppolo born Wilmington, Delaware USA. Eoppolo’s compositions are a mix of various sound art traditions such as musique concrete, acousmatic music, electro-acoustic music and radio art. In recent years, Eoppolo’s fixed media works have been presented at the New York City Electro-Acoustic Music Festival, Mise_En Place New Music Festival in Brooklyn, Utopie Sonore in Nantes, France and De Natura Sonorum in Rome, Italy. Eoppolo’s compositions have been released by Moscow based independent music label Meticulous Midgets and his works are regularly featured on new music radio and internet programs throughout Europe and North America
https://www.facebook.com/profile.php?id=100007788824642
https://open.spotify.com/artist/4CFAy7K6LpWMvtFN5EpKPT?si=01YRMOiARguOmFU8-aT8Dw

"Cruel folk you are, unmatched for jealousy, you gods who cannot bear to let a goddess sleep with a man." (Calypso to Hermes, who has just ordered her to release Odysseus. Homer, Odyssey 5.120)

Calypso’s Dream is a soundscape collection sculpted from the subtle sonic morphologies of the micro-environments on the island of Mljet in the South Adriatic. The collection serves as a conceptual counterpoint to Homer’s Odyssey and a critical reflection on commercial island attractions such as Odysseus’s Cave, where he was supposedly held captive for seven long years by the nymph Calypso.

In search of a different gender approach to the ancient Greek myth and its contemporary commercial appropriation, we created a simple narrative from Calypso’s perspective, inspired by the work of the renowned writer Margaret Atwood, who wrote The Penelopiad, and tried to unravel the archetypal mystery by narrating the Odyssey from the perspective of his wife Penelope, who was left for 20 years to defend the kingdom and raise their children.

Calypso’s Dream is an attempt to create a symbolic micro-episode of The Penelopiad within the medium of sound art, woven from the dense spectrum of the island’s biophony, instrumental and improvised narratives, critically reflecting on the commercial appropriation of culture, advocating for the importance of a listening culture, and emphasizing the urgency of raising ecological awareness.

The island of Mljet is one of the oldest European protected natural zones, still, there is so much more that can be done to keep this Adriatic marvel away from harsh trends of mass tourism.

This project was supported by the Ministry of Culture and Media of the Republic of Croatia, and the Dubrovnik-Neretva County Department for Education and Culture.

All sounds recorded and edited by Manja Ristić & Mark Vernon
Hydrophones used for underwater recording — JrF & Aquarian
Mastering by Goran Simonoski / La Plant Studio
Cover art, images, text by Manja Ristić
 

https://manjaristic.blogspot.com/ 

http://meagreresource.com/

Celebrating the courage and resilience of women, this feature delves into the historic Greenham Common Women’s Peace Camp of 1981. For 20 years a series of women only camps were established to protest against nuclear weapons being placed at RAF Greenham Common in Berkshire, England. Using first-hand accounts and archival sound, it amplifies the voices of those who fought for peace, shedding light on their dedication to activism and social change. Thank you to Laila Namdarkhan, Jane Roffe and Elizabeth James for sharing stories of their time at the Peace Camp. Credit and thanks to Luisa Gersteirn, Tanya Auclair and Deep Throat Choir for providing me with their rendition of the 1970's protest song 'Like a Mountain' heard at the end of the documentary. Artist bio: Kirsty is a recent graduate of Goldsmiths, University of London with an MA in Audio & Radio. She joins the audio circuit in London as a freelance audio producer in long form audio projects. Investigating how sound design and music can craft compelling audio documentaries that delve into the human experience. She loves all sounds weird and wonderful!

1 Gareth John and Laura Tansley - After You Laura Dern (2:04)
2 andre birken - 31 monstrous demonstrations - FÜR DOLBY FÜR (3:19)
3 philippe neau - Paysage. Cercles (7:59)
4 Lucy Cathcart Frödén - Plural Slices (10 :32)
5 Simon Whetham – Channelling  tk 3 (4:41)
 
 
1) Gareth John and Laura Tansley - After You Laura Dern

An audio poetry collaboration between musician Gareth John and writer Laura Tansley, in anxious worship of Laura Dern.

Gareth John and Laura Tansley met at Cardiff University in 2002. Laura went on to study Creative Writing at the University of Glasgow and gained a PhD for her work on very short fiction in 2011. Gareth has been writing and performing music since 2000 and currently runs the label Weak Friends. Gareth and Laura began collaborating in 2021 and are overjoyed at the creative turn their friendship has taken. There work has previously been presented on Radiophrenia (2020), and at GLEAM festival (2023).

x.com/laura_tans

 
2) andre birken - 31 monstrous demonstrations - FÜR DOLBY FÜR

why so serious?
can't art be futile?
is neurosis really usefull?
how to destroy authority by singing?
of all tools, why do we not understand language or money?
–– the ether as realm of ideas and spirits ––

1992 i founded the experimental radio collective "Freundsender Morgenstern", with fixed monthly broadcast schedule until 1995. In 1997 I founded "Radio Namaste“, again with a fixed monthly broadcast slot on Radio Westfalica (until 2006). 1998 sound art with Ulrich Eller, 2004 “MELATONIN®forte” (premiered at Oberhausen Short Film Festival). In 2005 I moved permanently to Portugal. 2018 ENTRESERES, awarded Best Documentary Short Film (Kosice 2020).
https://www.instagram.com/b_i_r_k_e_n/
https://www.facebook.com/AndreBenBirken

 
3) philippe neau - Paysage. Cercles

“landscape. circles.” would like to appear as a motionless walk or a sound painting, not realistic, nor narrative of places listened to, probed, surveyed, lived but the culmination of an experience of the landscape in the garden of the house, close to the city. A sound landscape, sensitive and vibrant to the surrounding comings and goings, to natural movements, to the multiple passages and colors that unfold. The “painting” becomes dense and textured. The sounds resonate. Hearing enters the material of the place, composite and organic. A “presence” resonates in us.

All my work attempts to shape an imaginary landscape.
Paintings, installations, films and music are an attempt to create this "place", a place of the order of the "mental landscape".
My music would like to summon these imaginary spaces by a non-narrative form. It is made of muffled field-recordings, organic sound collages, abstract notes, sometimes rumbling glitches, atonal melodies, metallic textures and distant voices. The atmosphere can be dense. The sound palette is contrasted and plays with hues between "dog and wolf". It envelops "the listener to immerse him in the experience of an intriguing sound place.
https://linktr.ee/philippe.neau

 
4) Lucy Cathcart Frödén - Plural Slices

This piece explores the potential of sound to capture and travel through multiple temporalities at once. It was created for the 10th anniversary celebration of a journal called PARSE - Platform for Artistic Research in Sweden. It uses sonic fragments gathered by attendees at the event, layered with reflections and quotes on themes of time and listening. The title, 'Plural Slices', comes from a quote by sound artist and theorist Salomé Voegelin, used in the piece.

Lucy Cathcart Frödén has a background in community development work and community art processes. During her practice-based PhD at the Glasgow University, she worked with people who have experience of prison or of migration, and used workshops in music and sound to explore practices of social integration, care and solidarity. She now lives in Sweden, and is currently working on a project at the University of Oslo called Prisons of Note, all about the roles and complexities of music and sound in prison systems. She’s also a parent of three children, and loves sea swimming and potato-based snacking.
https://linktr.ee/raukarna
x.com/raukarna

 
5) Simon Whetham – Channelling  tk 3

Channelling is a kinetic sound performance that utilizes various components salvaged from discarded and obsolete consumer technology, reanimating them by piping amplified sound through them. The motors and mechanisms respond to these sound impulses in erratic and unpredictable ways. The actions of, and emanations from, the devices are subsequently amplified.
The project was developed through 2021and 2022 by support from Ferme-Asile (CH), Witte Rook (NL), AiR Niederösterreich (AT), HEAR and Espaces Sonore (FR) and Château Éphémère (FR).

Since 2005 Simon Whetham has worked with sonic activity. He often uses environmental sound, employing a variety of methods and techniques in order to obtain often unnoticed and obscured sonic phenomena. He also explores ways of creating physical traces of sound and transforming energy forms.
Whetham performs and exhibits internationally, has received a large number of commissions and awards, has many published composed works and regularly collaborates with other artists. In addition his practice covers giving active listening, field recording and technology repurposing workshops.
https://simonwhetham.co.uk/
https://www.facebook.com/simonwhethamartist/
https://vimeo.com/simonwhetham
https://simonwhetham.bandcamp.com/

6 Marjorie Van Halteren – Cheesing (7:15)
7 Kat Currie - Sonic Portrait (8:29)
8 Nguyen Hoang Gia Bao - mai táng tuổi thơ wav _ childhood eulogy (2:18)
9 Jeff Gburek  - Works and Days (6:17)
10 Pig7 - Black Peak (3:32)
 
 
6) Marjorie Van Halteren – Cheesing

A short, humorous sound essay by Marjorie Van Halteren about the pitfalls of language.

Marjorie Van Halteren born in Detroit, Michigan, is aociety.com poet, sound artist and composer living in Lille, France.
http://www.electroacousticalpoeticalsociety.com.

 
7) Kat Currie - Sonic Portrait

An ongoing project that collected the audio recording of portrait drawing. A recent assault has left me the most vulnerable I have ever felt. Now I seek the feeling of power in situations. The most visible I have felt was when I was the subject to be drawn in an art class, the sensation of the artists using ‘slow looking’ upon me focusing in on specific details I can become the muse. I now find that I associate the sound of mark making on a page with this sensation so when I discovered ASMR I found myself listening to hours of drawing sounds and feeling the pleasant tingle it produces on my scalp. I instructed the artists to be in control of my position and how I will appear on the page this plays with the power dynamics of artist/muse and of my vulnerability in this situation.
http://www.katiecurrie.co.uk

 
8) Nguyen Hoang Gia Bao - mai táng tuổi thơ wav _ childhood eulogy

nHữNG NgÀY kHÓ ở Ở trêN đỜI // thoSE hArD-TO-liVe dAYS was a collection of 5 selected poets, written from 2021 - 2022 by Nguyen Hoang Gia Bao. Each of them was originally a statement of confrontation with the socially constructed so-called "nature", juggling between binaries of man & woman, love & hatred, individualism & collectivism, and so on.

As a way to deconstruct the "nature" concept, the anthologies were later exhibited in a digital space with an invitation for community manipulation. Readers were encouraged to rewrite or delete the words in their own interpretation and stylistic choices. The latter would work on the former's version/interpretation.

The audio version was captured in time of the 6th version, recorded and mixed by the original author as a means of reclaiming and authorship. The sound mixing is intentionally "left" because everything is not "right".

Nguyen Hoang Gia Bao is a Vietnamese writer and multidisciplinary artist. He embraces multimedia and expression, such as typography, photography, film, sound art, performance art with a core appreciation of poetry practices. His works have been featured in Vânguard Zine (Issue 6), Sui Generis (Bard College, 2024 Edition), WCBX Zine, etc. Bao is currently pursuing a BA Degree in Art and Media Studies at Fulbright University Vietnam.
https://www.instagram.com/nguyenhoanggiabao_/

 
9) Jeff Gburek  - Works and Days

This is a soundscape instrumental prelude to a longer work based on Hesiod's poem. A work in progress.

Jeff Gburek is poet, field recordist, sound artist, composer and multi-instrumentalist exploring all strata of cosmophonic resolutions. Works increasingly focus on receptive listening and recognition of patterned chaos in the mind triggered by externally ordered phenomenon in flux. Microphones, detuned guitars, hydrophones, shortwave and VLF radios, ground spikes, bat detectors and electronics typify the research in the psycho-acoustics of Gaian whispers enveloping and composing existence.
http://soundcloud.com/jeff-gburek
https://jeffgburekprojects.bandcamp.com

 
10) Pig7 - Black Peak

A remix and reworking of processed field recordings made in Glen Einich in the Highlands of Scotland in September 2024. The title refers to one of the local peaks above the Glen.

pig7 are an experimental improv electronics duo formed by Kevin Poulton and Stuart Fisher (aka Genghis Attenborough) in 2006. They have composed and performed a number of film scores to classic silent films as well as short and feature length films.

Our earlier investigations into the lost pioneers of ‘sound-recording-as-art’ led us to the enigmatic character of Charles Glancer - the North American composer, sound-recordist and obscurest philosopher. We created a performance piece about Glancer’s curious death for The Festival of Death at CCA in 2015. Since then we have continued to research and make sense of the many stories that revolve around his final recorded composition - was his body found at the piano… or did he completely disappear? For those that follow his strongly held “idealist” position on the function of the artist, his end could be seen as a metaphysical conjuring trick – the vibrations of the artist transforming into the artwork itself. Through the reconstruction of original tapes this broadcast will piece together side-ways thoughts, intricate details, mood and sound and silence - flowing and merging - before, during… and after his death. Artist bio:  Chris Biddlecombe is a sculptor who creates mixed media installations and performances in the UK and internationally. David Trouton is a musician with a history of working in theatre, dance and other collaborative art-forms. Together as No Noise Projects, Chris and David have worked together since 1999 creating audio / sculptural collaborations and theatre. Their sound works often use musical instruments, spoken word, found sounds, electronica and sampling, aligned to multi media installations. Their projects research historical and contemporary truths, listen to curious logic and lateral whispers, to then go on to create new interpretations, hidden stories and believable fictions.

They are my pets. They pulsate for hours at low volume in my studio, even when I'm not there. Once they have escaped from my machines, I don't interfere. I let them breathe in the open air, in a flow that I record with microphones and sensors. Between four and six channels are assigned to capture the sound generators, the space of the room and the vibrations of the surfaces. These drones are generous, they accompany and embellish the sounds around them. I like to call them my domestic drones, they infiltrate and subtly change my homescape, it is a discreet mix where the air of one match the vibrations of the other. Every now and again a distant melody can be heard.

Transmitting Life from Deep Black Holes harnesses a fusion of clipped and modified samples from diverse sources. These include snippets of sound transmissions from interplanetary probes that have journeyed through our solar system, intertwined with recordings of drones emanating from the machinery of Brazilian mining corporations, which carve massive cavities in the earth akin to entire neighborhoods. Additionally, it incorporates excerpts from interviews, lectures, and conversations broadcasted by the Brazilian media in recent years.

By appropriating the electromagnetic waves permeating the cosmos, those pulsating within the Earth's core, and those engendering our collective existence, Transmitting Life from Deep Black Holes aims to stimulate contemplation on our existence and our interconnectedness with our environment. These electromagnetic waves transcend human agency, embodying manifold meanings and interpretations regarding our impact on and reception from our surroundings.

Artist bio:
Frederico Pessoa is a musician who collects soundscapes and everyday occurrences for reinterpretation in electroacoustic and radio pieces, audiovisual works, and multimedia performances. He has written texts at the intersection of literature and the sociology of listening, aiming to explore, through words, the possibilities for mobilization created by sound. He holds a Ph.D. in Arts from UFMG/Brazil, and is a member of ESCUTAS: a research and study group in sonorities at the same institution. Additionally, he is one of the coordinators of the Laboratory of Sound Experimentation at UFMG, where he works as a sound designer.

Website/social links
http://www.fredericopessoa.net
@f__pessoa
https://www.facebook.com/frederico.pessoa.50/

1) Matt Browne - Hello from the Children of Planet Earth (6:00)
2) HUO Jung - The truth of the platform announcement (0:55)
3) Joe Posset - All the buskers in Newcastle city centre on 28th September 2024 slowed down (9:54)
4) Esther Hesketh and Lily Frances - I think of a moth (12:25)
 
 
1) Matt Browne - Hello from the Children of Planet Earth

A musique concrète composition utilizing audio material from the NASA Voyager Golden Record, launched in 1977. Material includes natural sounds, spoken greetings and poetry, and a selection of eclectic music ranging from Navajo Chant to Bach to Chuck Berry.
The piece aims to imagine an advanced alien civilization discovering and playing the golden record, and then tinkering with it to either make sense of it or warp it into something they like.

The music of Colorado-based composer Matt Browne (b. 1988) has been praised for its “unbridled humor” (New Music Box) and described as “witty” (The Strad) and “beautifully crafted and considered” (What’s On London).
Dr. Browne has had the honor to collaborate with such ensembles as the Minnesota Orchestra, Alarm Will Sound, PRISM Quartet, and the Eastman Wind Ensemble, and has received honors such as the ASCAP Foundation Rudolf Nissim Prize and a BMI Student Composer award.
He received his DMA from the University of Michigan, studying with Michael Daugherty.
https://mattbrownecomposer.com/
https://www.facebook.com/mattbrownecomposer

 
2) HUO Jung - The truth of the platform announcement

Whenever there is a train delay, the authorities always release a vague reason, and I never know the actual truth. Some say this is to avoid panic. This state of neither lying nor revealing the truth reminds me of the ambiguous rhetoric often found in politics.
The audio content is my imitation of the SNCF platform announcement during train delays, rewritten to reflect national themes and read aloud.

Transcript of the audio: (music) "Your attention, please. Track 2, due to traffic regulation, due to national regulation, due to a personal accident, due to a political accident, due to intervention by law enforcement, due to intervention by foreign forces, the TER train number 3911 to Bourges, initially scheduled to depart at 9:52, will now depart with a delay of approximately 2 hours. Thank you for your understanding."

Born in Hsinchu, Taiwan in 1997. My work encompasses installation, sound, video, and performance. I focus on daily and ritual gestures and actions, extracting small moments of discomfort and transforming them into a dislocation of tangible objects, capturing the poetic elements within their political significance.

junghuotw.wixsite.com/site
instagram : jung.huo

 
3) Joe Posset - All the buskers in Newcastle city centre on 28th September 2024 slowed down

Buskers are great yeah but what if they just played incredibly slowly?  I recorded a bunch of buskers on my dictaphone on a busy Saturday in Newcastle City Centre. I then slowed down the recordings and overlaid them to make a montage of chopped and screwed standards.  The sounds are a gloopy mush, like wading through dreams.  You might pick up a hint of melody then it’s smeared like mascara in a downpour. And it seems like, no matter how hard you try, you can’t crush Pink Floyd into oblivion. Still…it’s fun to try eh? Keep listening!

Joe Posset is an amateur musician and gonzo writer.  His work focuses on the sound properties of cassette tape, dictaphones and goofy language to create indistinct and evocative soundscapes.  Posset has released almost 100 tapes and CDrs on numerous DIY labels over the last 20 years and is a frequent collaborator in one-off and longer-lasting collaborative projects (see Molar Crime and Papal Bull). Recently his work has explored ideas of accessibility, inclusion and privilege in the underground music scene.
https://posset.bandcamp.com/
https://allmyideasarestolen.wordpress.com/

 
4) Esther Hesketh and Lily Frances - I think of a moth

An experimental sound art piece, ‘I think of a moth' centres around a recital of a meditative monologue, developed from an art writing piece written by Hesketh. A sprawling rumination, the text is curious, poetic, playful and anxious. The narrator occasionally stumbles over her words, laughing and apologising. “There is a possibility of inhabiting this space,” she says.
The backing track collages recordings from a sound bath with ambient sounds from both nature and Frances’ home – birds, rain, footsteps, a band rehearsing, and Neil Young on the radio.
The work samples, mentions, or indirectly references various grounding practices; listening (to music, to the stream, to the sounds of nearby animals); attending a sound bath; taking an ordinary bath; tending to personal grooming; and spending time writing or making artwork.

Esther Hesketh is an artist and technician based between Glasgow and Bristol. Their practice works with narrative and material processes to develop sculptural and performative installations, text pieces and audio.

Lily Frances is a practice-based PhD researcher at University of Bristol. An artist and poet, Lily is interested in touch, ritual, and metaphysical energy. Her research examines the work of experimental filmmaker Chantal Akerman, with a focus on Akerman’s use of sound.

Together, Esther and Lily have collaborated on text and exhibition works, producing inter-medial and spatial explorations of language, identity and the everyday.

http://instagram.com/lily.francs/
http://instagram.com/byeshesketh/
https://estherhesketh.cargo.site

5) Irving Kinnersley - Estuary 1 (13:44)
6) Owen Ho – Katabasis (10:00)
7) Gracchi Administration - Tiffany with an I (2:24)
8) Simon Whetham – Channelling tk 9 (2:16)
 
5) Irving Kinnersley - Estuary 1

Estuary 2 explores temporal ambiguity along the vast shoreline of Bridgewater Bay, part of the Bristol Channel. Powerful tidal and geological forces form a backdrop to fragile human presences. The recurring solitary walker and the human interactions with stones and pebbles are temporally ambiguous, whereas the sounds of humans playing on the beach are clearly contemporary. Temporal heterogeneity extends to sounds which have disappeared from the present but are reconstituted in the piece, such as the foghorn which last sounded in 1980 and the traces static and morse code referencing Marconi’s early experiential radio transmissions from Bridgewater Bay across the Bristol Channel to Wales.

Irving Kinnersley is a composer of elecroacoustic and soundscape music based in Somerset England. He has studied literature at the University of London and Kent University and electroacoustic composition at Bath Spa University and Manchester University.
His work has been performed at numerous peer reviewed festivals. His piece Elegy 1 was awarded first prize (student section) at the 2021 KLANG International Electroacoustic Music Competition and Estuary 2 was selected as a finalist at the 2023 Musica Nova International Electroacoustic Music Competition.

irvingkinnersley.com

 
6) Owen Ho – Katabasis

Katabasis is a piece that delves into the mythical ancient Greek concept of katabasis—a descent into the underworld and the transformative experience that arises from such an undertaking. The sound is composed of various field recordings from the historic Mecklenburgh Square Garden in London. It is, in essence, a morphology of sounds: trees, branches, leaves, wind, grass, peregrine falcons, and more, all manipulated and arranged into a form that reflects the dramatic tripartite structure of the narrative, showcasing some of the most intense and surreal moments encountered while journeying through the underworld.

Owen Ho is a shortlisted composer to represent the UK in the ISCM World New Music Days (Sound and Music). He has written works for notable bodies across the world such as the Bloomsbury Festival (London) and the Hong Kong Philharmonic Orchestra, amongst others. He is a prizewinner of numerous composition competitions, such as the International Composition Competition for Chromatic Harmonica and the Association Of English Singers And Speakers Composition Competition. His musical output includes works for orchestra, chamber ensemble, choir, voice, solo instrument, dance, film, electroacoustic music, and sound installation.
https://owenhomusic.com/

 
7) Gracchi Administration - Tiffany with an I

Tiffany with an I is influenced by the world of social media and online dating.
Here, after taking inspiration from a friends experience, I recorded a female friend reading a scripted audio message into a dictaphone.
This was mixed with distorted instrumental sounds to create a short sound work.

Aedan Molllen creates sound work under the Gracchi Administration name.
He is a multi instrumentalist working in London.
His main areas of interest are sound installation, field recording, audio visual composition and radio work.
https://vimeo.com/user15535459

 
8) Simon Whetham – Channelling tk 9

Channelling is a kinetic sound performance that utilizes various components salvaged from discarded and obsolete consumer technology, reanimating them by piping amplified sound through them. The motors and mechanisms respond to these sound impulses in erratic and unpredictable ways. The actions of, and emanations from, the devices are subsequently amplified.
The project was developed through 2021and 2022 by support from Ferme-Asile (CH), Witte Rook (NL), AiR Niederösterreich (AT), HEAR and Espaces Sonore (FR) and Château Éphémère (FR).

Since 2005 Simon Whetham has worked with sonic activity. He often uses environmental sound, employing a variety of methods and techniques in order to obtain often unnoticed and obscured sonic phenomena. He also explores ways of creating physical traces of sound and transforming energy forms.
Whetham performs and exhibits internationally, has received a large number of commissions and awards, has many published composed works and regularly collaborates with other artists. In addition his practice covers giving active listening, field recording and technology repurposing workshops.
https://simonwhetham.co.uk/
https://www.facebook.com/simonwhethamartist/
https://vimeo.com/simonwhetham
https://simonwhetham.bandcamp.com/

How can you use the art of sound to make painful memory joyful, without negating the importance of painful experience? What is myth? What is awe? How can you honor, yet document the unknown? Where do the personal, cultural, emotional politics collide in a rendering of sonicity? What does it mean to endure? 

These are questions that currently fascinate me.  My current work is focused on collaging experiential process through soundscape exploration, based on unique embodied experiences.  

Just before the world shutdown in 2019 I voyaged on an English cargo ship from the United Kingdom to North America. I wanted to know…to embody the motion, movements of not only a history but of a wonder around sounds, memory, what we carry, what we leave behind whether by choice or force.

I carried with me a small “roberts radio”, that refused to work of course, b/c there was no signal. So I kept an audio diary and from that, a series of field recordings, and footage I made during this time,  I present to you a radio collage, of a life changing moment for me not only as an artist, but as a person, entitled “Chasing Hopes on the Star Atlantic…” 

‘Chasing Hopes on the Star Atlantic’ is a co-commission between Radiophrenia and Kunst zum Hören, Osterreich 1 produced with the support of Creative Scotland.  
 
Biography:

Matana Roberts is an internationally celebrated composer, performer, band leader, saxophonist, sound experimentalist, and mixed-media practitioner.  

Working across many contexts and mediums, including improvisation, music composition, visual art, dance, poetry, and theatre, Roberts is perhaps best known for their acclaimed Coin Coin project - a multi-chapter work of 'panoramic sound quilting' mixed media performance work, that aims to expose the mystical roots and intuitive traditions of American creative expression, while maintaining a deep and substantive engagement with narrative, history, community and political expression within sonic structures.

https://www.matanaroberts.com/

‘I hear her call: Salome...? Danu...? Come ah-come...’ is a surreal folkloristic sonic tale or a journey through memories encountered in a fever dream. Scenic echoes intimately evolve, looped until they burst into strange atmospheres and rhythms. We meet a hopelessly entangled voice, haunted and lost. Bewildered by fragmented distortions she attempts to unpick a series of flickering scenes. Delving into the emotional world of both adult and child. Something significant that happened. Imprinted in memory. Amorphous and vague. A lament. The forest is crying against a blurred background. A ritual unfolds, lifts a spell of silence. Hidden behind the noise she remains indistinct. Vibrant matters pulsating. A gatekeeper of invisible worlds. An empty corridor filled with footsteps. She flees into the river. A ghostly figure. A cry. A flower left on the kitchen table. A chant.   She leads us through chaotic waters of electro acoustic instrumentation, field recordings, noise, singing, spoken narration, decaying tape loops, and a rich tapestry of both analogue and digital experimental recording processes. Mocking, hiding, guiding, waking, haunting, lost, mourning, grieving, she runs through rhythmic glimpses, moving between nuances of lightness and downfall. Biography: Mondlane is the solo moniker of sound artist Lisa Fabian, also in the Glasgow trio NEY. As Mondlane, she layers field recordings with processed vocals and manipulated fragments and electroacoustic instrumentation. She draws from a growing library of intimate recordings, using her narrative rich samples as instruments in improvised performances. Interested in the personal and collective experience and unconscious, she explores the fragmentation and reassembly of narrative. Often touching on themes of intimacy, temporality, otherworldliness, and relationships that materialise in-between bodies and memories, as well as archival or collected material. Most recent work was shown at: The Old Church Stoke Newington (London), Cafe Oto (London), The Old Hairdressers (Glasgow), EXIT (Glasgow), 90mil (Berlin), Globe Gallery (Berlin), The House of Bell Street (Glasgow), The Briggait (Glasgow), Hoxton 253 (London), Keep in touch Gallery (Seoul), CCA - Centre of Contemporary Arts (Glasgow) amongst others. Recent residencies include CCA Creative Lab Glasgow (2023), Countdown Grabowsee Berlin (2024), Countdown Grabowsee Berlin (2023).

1) Nichola Scrutton - At First Light (8:49)
2) Dominik Irtenkauf & Norman Mueller aka Smaely P - Dein und mein Meer (5:01)
3) Andi Cohen - (C)overt Communication (3:22)
4) Cláudio Pina - Book of Eternal Brass (9:56)
 
 
1) Nichola Scrutton - At First Light

At First Light – one from Nichola’s archive - a vocal meditation inspired by the play of light at sunrise.

Nichola Scrutton is an award-winning composer, performer and artist who produces self-directed works across various media, and collaborates on a range of interdisciplinary and participatory projects.
https://www.nicholascrutton.co.uk/
Twitter/X: @NicholaScrutton
Instagram: @nic_scrutton 
https://nicholascrutton.bandcamp.com/
https://open.spotify.com/artist/2bKegVEj2mTO0JlPDkE3qd (such it is) 
https://soundcloud.com/nic-2-1
Mailing List: http://eepurl.com/gihZh9

 
2) Dominik Irtenkauf & Norman Mueller aka Smaely P - Dein und mein Meer

As a mirror to the world, "Your and my sea" in its compression takes a broad look at a possible future. The oceans of our home planet are reclaiming the mainland. We are moving into a maritime culture. Our short radio play tries to sense this possible future acoustically and in terms of content. When it comes to sound realisation, the question arises as to how we can capture decay and destruction acoustically; field recordings, feedback and various objects and musical instruments are used in a sound collage. The plot of the radio play presented is unreal and at times phantasmatic. As in fantastic literature, ambivalences are presented. What will it look like when the sea levels on our planet Earth continue to rise? The ambivalence of the sea, from which the human species emerged, permeates this short radio play. It reflects our difficult relationship with nature and the wilderness.

Dominik Irtenkauf: concept and text
Smaely P (aka Ypsmael): voice, direction, composition, sound design and production (via NM Soundindex)

Dominik Irtenkauf (*1979), freelance author and journalist, lives in Berlin and writes for, among others, TELEPOLIS and DAS SCIENCE FICTION JAHR.

Smaely P is a pseudonym for experimental and noise music by the Black Forest-born improviser and composer NM (aka Ypsmael, Aelypsm, etc.). Current solo releases and collaborations can be found on the labels Chocolate Monk, Public Eyesore / Eh?, Steep Gloss, and Spalt-Ung.

Smaely P aka Ypsmael:
ypsmael.com
https://linktr.ee/ypsmael

NM Soundindex: soundindex.de
https://www.instagram.com/soundindex.de/
https://www.facebook.com/profile.php?id=100089071166798

Dominik Irtenkauf:
http://anthropop.de/

 
3) Andi Cohen - (C)overt Communication

A soundscape of recordings of found sounds on shortwave radio. I have been investigating communications within publicly-accessible spaces. This work explores themes of inclusion/exclusion and marginalised communities.

I am currently a full-time art student at Goldsmiths, University of London. Coming from a background of working in mental health services in the NHS, my work explores themes of interpersonal relationships, what we consciously and unconsciously hide or reveal about ourselves and the narratives we develop about ourselves and others.

 
4) Cláudio Pina - Book of Eternal Brass

Book of Eternal Brass is an electroacoustic piece based on the prophetic book of William Blake, The Book of Urizen.
Urizen's books contain his laws governing the four departments of life. Each is made of four metals, Gold, Silver, Iron and Brass. The most important is the Book of Brass, or sociology. It contains Urizen's laws for establishing an ideal society.This piece depicts an imaginary realm and the slow forging of the Book of Brass by Urizen.
The sound objects are several recordings of factories and industrial apparatus, mimicking a giant blacksmith's forge. This process is a cathartic metaphor on the idea of progress and technology, versus the society and environment. Urizen, portrayed by the composer narration on the introduction, introduces the piece.

Sound artist and composer. Titular of the historical organ of the Parish church of Ajuda. Integrated Researcher in GIMC/CESEM, FCSH-UNL. Holds a Diploma in Advanced Studies in Musical Arts (FCSH/ESML) in the field of contemporary organ music. Master in Musical Arts, in the field of electroacoustic music and contemporary organ music, with distinction on the Dean’s Honour Roll, Best Master 2018/19 (FCSH). He is currently finishing his PhD, in the same academic field. Was a FCT research fellow from 2021/24. He studied at the Gregorian Institute of Lisbon, Hot Jazz Club and Physics Eng. at FC-UL.
https://www.claudiodepina.com/

5) Egidija Medeksaite – Amithaba (12:22)
6) Myriam Bessette – Yoki (4:55)
7) andre birken  - 31 monstrous demonstrations - GAUMENFREUDEN 4 (0:47)
8) Darren Xu - (Absent) Expressions (5:00)
9) Magda Lampropoulou – Twist (7:22)
 
 
5) Egidija Medeksaite – Amithaba

Amithāba is the principal Budhha in Pure Land Buddhism, who is known as Amitāyus. Amithāba means “Infinite Light” or “Infinite Life” in Sanskrit.

The structure of Amithāba is based on a textile weave, where each voice has its own repetition. Throughout the piece, the change of each repetition depends on theimprovisation of singers who can use the “techniques” of the oldest singing style known as Drupha Darbar, which uses sounds and syllables rather than words. I am using the scale of Indian Sāranga raga, which expresses no pathos, but only tenderness.

Over the course of the work, the role of the interweaving-repetitive patterns is to create the sound of the abstract, which goes beyond boundaries and is limitless.

Dr Egidija Medekšaitė (b. 1979) received a PhD in composition from the Durham University by Prof. Richard Rinjvos and Dr Sam Hayden in 2016. She studied composition at the universities of the Lithuanian Academy of Music and Theatre (Prof. Rytis Mažulis), and Stuttgart Academy of Music, where her teachers included Marco Stroppa and Caspar J. Walter. In 2003 she took part in the Programme of Composition and Music Technology in Tampere (Finland). In 2004 she attended master classes in Istebna (Poland), Dundaga (Latvia) and the Acanthes Composition Workshop in Metz (France), where she studied with Jonathan Harvey, Philippe Manoury and Martin Matalon. The composer participates in various interdisciplinary projects, writes music for dance performances and movies, her music is constantly performed in contemporary music festivals in Lithuania and abroad.
https://on.soundcloud.com/b2gj7RcaE11yYn7Z9


6) Myriam Bessette – Yoki

Live modulated field recordings form an intricate tapestry of human interactions during a solar eclipse, reminding us of our connection to nature in this Anthropocene era.

With a background in visual arts, Myriam Bessette explores drawing and sound sampling, which she transforms and animates using technological tools. Her works, rhythmic and synesthetic, are generated by elements captured in perpetual permutation, reconciling the traditional notion of the unique and eternal artwork with the contemporary one, characterized by recycling and high data variability. She works with electronic reality to offer us consistently surprising sound creations.
https://linktr.ee/myriambessette

 
7) andre birken  - 31 monstrous demonstrations - GAUMENFREUDEN 4

why so serious?
can't art be futile?
is neurosis really usefull?
how to destroy authority by singing?
of all tools, why do we not understand language or money?
–– the ether as realm of ideas and spirits ––

1992 i founded the experimental radio collective "Freundsender Morgenstern", with fixed monthly broadcast schedule until 1995. In 1997 I founded "Radio Namaste“, again with a fixed monthly broadcast slot on Radio Westfalica (until 2006). 1998 sound art with Ulrich Eller, 2004 “MELATONIN®forte” (premiered at Oberhausen Short Film Festival). In 2005 I moved permanently to Portugal. 2018 ENTRESERES, awarded Best Documentary Short Film (Kosice 2020).
https://www.instagram.com/b_i_r_k_e_n/
https://www.facebook.com/AndreBenBirken

 
8) Darren Xu - (Absent) Expressions

This piece explores another side of expression where instead of blatant and astounding displays of disagreement and grief, more subtle and quiet voices are given more light. These soft sounds may seem undiscernible at first, but they eventually grow and gain presence.

Chinese Canadian composer Darren Xu is a PhD student at the Royal College of Music, where he was recently rewarded the Artist Diploma. He enjoys writing music for acoustic instruments, films, and cross-disciplinary collaborations. He has had the opportunity to work with various collaborators, including Standing Wave, the Wallace Collection, the English National Ballet School, Vancouver Inter-Cultural Orchestra, TorQ Percussion Quartet, Roadrunner Trio, Vancouver Symphony Orchestra, and Winnipeg Symphony Orchestra. His film score, Stargazer, was awarded Best Score by New York Film Awards in November 2018.
https://www.darrenxucomposer.com
darrenxu.composer (Instagram)
https://on.soundcloud.com/6hywjqP6btxW9smY6 (Soundcloud)


9) Magda Lampropoulou – Twist

This audio piece is an excerpt from my playing with the 36 hanging sound sculptures which consisted the main part of my new in situ sound installation “twist”. This installation was opened to the public from 10 to 14 June 2024 at the Arts Lounge of the Athens Conservatoire in the context of the Subset Festival (curated by Gasparatos Stavros) and the Athens Epidaurus Festival. The audience were navigated among floating ever-changing in shape and sound sculptures and objects with a feminine accent. Participants could freely touch them and were thus led to discover diverse qualities of sounds emanating from physical contact with the outer shell of metal and paper surfaces and their unseen inner elements as well.

Magda Lampropoulou (b. 1977 Athens) is a sculptress and sound artist based in Athens, Greece. Her artwork engages with diverse, expressive media including audio, performance, sculpture, installations, and video. With emphasis on issues such as discrimination, prejudice, and moral values imposed by a given society, she assumes a humanitarian approach to her work. She holds a degree in Sculpture from the Athens School of Fine Arts. Her participation in exhibitions, festivals, artistic radio podcasts and residencies (“Subset Festival”-Athens Epidaurus Festival/ "Tectonics Athens21", Onassis Cultural Centre/ "Works for Radio #4",The Lake Radio), has resulted in her identifying her work methodology.
https://magdoulas6.wixsite.com/magda-lampropoulou
instagram.com/lampropoulou_magda/
https://www.facebook.com/profile.php?id=100009992858432
https://www.facebook.com/profile.php?id=100063475181193

A group hypnosis session inviting you to access the power of the trance state and potential of the subconscious to cultivate positive transformation. This experience combines the practice of hypnotherapy with the synergy of voice, electronic loops, and resonant instruments. This collective practice stimulates the imagination while gradually building a multi-sensory, layered experience where stories, ideas and sensations can come alive, create positive change and promote deep transformative shifts.
 
This is a guided hypnosis, please do not listen while driving or operating machinery.

Artist bio:
Julia E. Dyck is an artist, hypnotist and radio producer originally from Treaty One Territory/ Winnipeg who currently works and lives between Brussels and Montreal/Tiohtià:ke. In 2022, she completed a two year training in clinical hypnotherapy under National Hypnosis Guild certified mentor, Andrea Iya Young.

Diana Duta’s research explores the voice and sound as both objects of theoretical reflection and cultural practices. In 2023, she received a training in Sound therapy from the Institut Français de Sonothérapie at the Abbaye de Valsaintes, France.

Website/social links
https://tr4nc3.com/
https://juliaedyck.bandcamp.com/track/octopus-hypnosis

https://dianaduta.com/
https://www.juliaedyck.com/

This special audio edition of Mirror Lamp Press brings together a collection of original works inspired by the 1950s song "The Great Pretender," originally performed by The Platters, weaving through themes of identity, imitation, and performance.

Freya Dooley’s The Double looks at inauthenticity and emotional labour, following a supermarket cashier’s imagined interactions with a shoplifting doppelgänger.

In A Frog Prepares, Isadora Epstein offers a retelling of a classic fairytale, with music and sound production by Davy Kehoe.

With Send in the Clowns, Sophie Robinson delivers a raw, reflective poem on heartbreak and self-betrayal, drawing inspiration from Stephen Sondheim’s sad clown archetype.

Edy Fungs’s text-sound composition Soft Selves examines identity and unpredictability in music, featuring words by Andrea Bjurström.

The glitchy sounds of a Vtech computer paired with Rachel Heavey’s childhood voice create a nostalgic and experimental atmosphere in Word Builder.

Artist bio:
Mirror Lamp Press is a digital publishing project that explores the intersection of art and literature through the newly commissioned work of artists and writers. The project aims to publish writing on and around contemporary art and literature that is well-researched, thoughtful, surprising, playful and sometimes experimental. MLP is committed to working with writers in a way that is open, receptive, and dedicated to embracing their authorial voice. It is edited by Gwen Burlington and Eoghan McIntyre and designed by Paul Mulgrew.

Website/social links
https://www.mirrorlamppress.com/
@mirrorlamppress (Instagram)

1) Andrew Davis - Static Surfing (3:30)
2) UpperHurst - Synthfest Binaural (10:00)
3) Daniel McKemie - Practical Environments No 1 (17:46)
 
 
1) Andrew Davis - Static Surfing

Static Surfing is a short piece that melds the sounds of older radio broadcasts, static, everyday objects, and more into a jarring, yet cohesive collage. It is the first movement in a larger, yet-to-be-completed work that focuses on older radio broadcasts as a means of sonic exploration. The piece attempts to simulate the overload of auditory information we get in modern society due to the saturation of technology in our everyday lives.

Andrew Davis is a composer and electric guitarist from Columbia, MD who has written for a variety of media both acoustic and electroacoustic.  His works have been performed by groups such as the JACK Quartet, PRISM Quartet, Alarm Will Sound, Daedalus Quartet, the Argento Ensemble, and loadbang.  He earned a B.A. in music from Yale University, an M.M. in composition from the University of Texas at Austin in 2012, a PhD in composition from the University of Pennsylvania in 2017, and an M.S. in computer science from Stanford University in 2018.  He currently teaches at Ursinus College.
andrewdaviscomposer.com

 
2) UpperHurst - Synthfest Binaural

A basic binaural mix compiled from thirteen recordings made over a period of three years. Each was recorded walking the floor of the UK Synthfest exhibition held in Sheffield each autumn.

UpperHurst is the working name of Sheffield-based musician, sound artist and documentary-maker Peter Brooks. He works using conventional musical instruments, synthesisers and other electronic instruments, field recordings and other found sounds.
https://www.mixcloud.com/UpperHurst/
https://soundcloud.com/user-901965358
https://upperhurst.bandcamp.com


3) Daniel McKemie - Practical Environments No 1

This work was recorded in the backyard of the bar Mama Tried in Brooklyn, New York, as was conceived as part of the BOUQUETS series; where artists are asked to perform in duet with the Brooklyn-Queens Expressway just across the street. Two shotgun mics were placed on the roof of the bar and the audio feed brought onto the stage, where performers can choose to process, perform, improvise, alongside the traffic.
My first ideas of using freeway sounds as source material date back to 2009 when I would pass under the 980 in West Oakland while walking downtown. This small stretch connected the 880 to the 580 as a running overpass alongside Telegraph Avenue. Many spots under it would yield rich resonances and reverberation of cars hitting potholes, sirens wailing, horns blaring, and all the rest of the sonic canvas that has become familiar to urban dwellers.

Daniel McKemie is a composer, percussionist, electronic musician, researcher, and arranger based in New York City. His current work includes using techniques rooted in Music Information Retrieval to develop new sound palettes and approaches to audio processing. He also focuses on utilizing the internet and browser technology to realize a more accessible platform for multimedia art. He also develops new ways of interfacing handmade circuitry, modular synthesizers, and embedded systems to various softwares both new and old. This recent work has allowed for complex, interactive performance environments to emerge.
https://www.danielmckemie.com
https://www.instagram.com/danielmckemie/

4) Gabriele Hasler  - wood, metal and air (5:21)
5) Renán Zelada Cisneros - Y siguió escribiendo en la arena (8:20)
6) Roberto Vodanović Čopor - the day they brought down factory (4:55)
7) Luigi Morleo - CLIMATE EXPRESSION 3 (7:45)
 
 
4) Gabriele Hasler  - wood, metal and air 

In August 2024 I practiced on the baroque organ of the St. Johanniskirche in Dannenberg (Northern Germany) for a freely improvised duo concert with the Cologne alto saxophonist Angelika Niescier. I gradually became familiar with the instrument and its registration options. Once I made a recording with my iPhone, which I placed on the organ's music stand. At home I discovered that, in addition to the organ playing, it had recorded the clattering of the keys as a "bycatch". I was thrilled, I had never heard anything like it before! From this I produced the piece “wood, metal and air.” By the way, the concert went very well...
 
Gabriele Hasler has been active in the field of contemporary jazz since the early 80ies and has toured worldwide for the Goethe Institute, among others. In 1985 she received the SWF Jazz Prize, and with the prize money she founded her own label "Foolish Music", on which 22 productions have been released to date. She received numerous composition commissions, including for choirs and musical theater, and took part in numerous television and radio productions (NDR, RB, SR, HR, BR, SWR, RBB, ÖR, ZDF). In 2013, she received the German record critics' award for her solo CD "im bauch der vokale". The CD “fundstücke” was released in October 2016, which she recorded together with Günter Baby Sommer for Laika Records. In May 23, her new CD “pAtTeRnS” was released as an artist edition. 
https://www.gabrielehasler.de


5) Renán Zelada Cisneros - Y siguió escribiendo en la arena

The quote from John 8:8, in Arabic, repeats over and over again, the words losing any meaning, merging with the layers and layers of sound, "and again He stooped down and wrote on the ground." What begins as a simple, dismissive gesture, becomes the precursor of thousands of lines and words written on the sand, only to be blown away by the wind again and again. The images repeat over and over again but are always different, always slightly distorted, sometimes unrecognizable. We try to define the universe around us in patters, rules, borders. But the universe is always changing, always defying our little definitions. People are all different, all the same, like sand. The lines we draw on the ground to separate one another are just that: lines in the sand that will eventually disappear.
This work includes recordings of Alistair Sung (cello) and Mustafa Kur (spoken word).

Renán Zelada Cisneros (b. 1993) is a Dutch-Venezuelan composer currently living in Barcelona, Spain. He studied at the Royal Conservatoire in The Hague, and the Amsterdam Conservatoire, in the Netherlands. His music is frequently inspired by other art forms such as literature, visual arts, and architecture, often relating to social and environmental themes. Together with writing music for the concert stage, Renán also collaborates regularly with filmmakers internationally in both fiction and documentary films.
https://renanmusic.eu/
https://renanmusic.bandcamp.com/
https://www.instagram.com/renan_zelada_music/


6) Roberto Vodanović Čopor - the day they brought down factory

This audio recording is isolated audio from a video recording recorded with an old camera.
It is  video of the demolition of a textile factory.
In the best days, during communism and Yugoslavia, more than seven thousand people worked in the factory.
In the nineties, war broke out, Yugoslavia fell apart and Croatia became an independent state. In the new capitalist system, the factory is destroyed, people lose their jobs. The factory is being demolished, and buildings and banks have been built in its place.

Roberto Vodanović Čopor is a multimedia artist and researcher from Zadar, Croatia. He explores sound, word, image and movement intuitivly. He often combines his experimental music with the sounds of nature, cities and the sounds he creates from everyday objects. He releases his albums independently but also for many independent publishers such as  Sirr-ecords, Green Field Recordings, Sono Space, Novaki Music, Camembert Électrique, Warm Milk Recordings, Mahorka, Kalamine…
https://copor.bandcamp.com/

 
7) Luigi Morleo - CLIMATE EXPRESSION 3

CLIMATE EXPRESSION 3 is the third electronic work by Luigi Morleo, dedicated to the climate change of our planet. This song aims to raise awareness of the climate problem; with the sounds of our planet Earth it is possible to create a sound expression.

Luigi Morleo (born 16 November 1970 in Mesagne, Province of Brindisi) is an Italian percussionist and composer of contemporary music, who lives in Bari and teaches at the Niccolò Piccinni Conservatory. Many of his works have been played at PASIC (Percussive Arts Society) in Nashville-USA, Federation Bells of Melbourne-Australia, and at the New York City Electroacoustic Music Festival-USA and Festival MUSLAB from Mexico, Festival Futura Electronic – France, Festival En Chair et en Son - France, Jasmin Vardimon Company from Ashford-UK, Percussion Ensemble from Academy of Music STANISLAW MONIUSZKO in Gdansk-Poland, Percussion Ensemble from University of Music of Miskolc-Hungary
https://www.instagram.com/luigi_morleo/

Choeur tact-til, a mixed sighted and non-sighted vocal ensemble, discovers multiple resonances with Japanese musical practices, and sets off to meet the Goze, nomadic Japanese blind women musicians. Radio Gose Ghoeur Nomade, a sound trip from Hokaido to the Kansai forest by Alex Quérel with the complicity of Natacha Muslera. With sound recordings by : Alex Quérel, Mélodie Duchesne, Lionel Marchetti, Natacha Muslera Voices by : Kojiro Hirose (ethnomusicologist), Ryosuke Shiina (musicologist, musician and translator) And from Choeur tac-til : Mafalda Da Camara. Mélodie Duchesne, Chérifa Harzallah, Bruno Raby, Alex Quérel, François Parra, Natacha Muslera, Franck Omer, Angélique Huguenin Artist bio: Alex Quérel is vocalist in the Choeur tac-til and radio reporter since 2010 for different community radio in France.

“Mark Vernon revisits the life and work spaces of an isolated and meditative Morandi, making the debris of everyday life reverberate through spectral soundscapes and eerie tones: an exercise in modern hauntology.”  

‘Saturnine Orbit’ is a radio work made for the Casa Museo Giorgio Morandi and in the spaces of the Campiaro barns (a favourite subject of the Bolognese painter during his holiday periods in the Bolognese Apennines in Grizzana Morandi). Produced as part of the ART CITY Bologna 2024 festival in association with XING, MAMbo Museo d’Arte Moderna di Bologna and NEU Radio.  

The piece was composed entirely from the sounds of Morandi’s summer house, his studio, replicas of the objects used in his still lifes and sounds recorded on the mountain trails he would often walk, starting behind the Casa Morandi.  

Alongside field recordings collected on site during a production residency, Vernon employed Morandi’s objects as sound instruments, using the negative space of bottles, pots, jugs and vases from the Casa Morandi studio as small resonant chambers, while the environmental field recordings of the surrounding countryside were played from inside these objects using tiny speakers amplified by microphones. Through this process the outside becomes the inside: the world in a bottle. The piece also features excerpts from the only extant recording of the Bolognese artist’s voice.

Artist bio:
Mark Vernon is a sound artist and radio producer whose work explores ideas of audio archaeology, magnetic memory and the re-appropriation of found sounds. He runs and co-curates the Glasgow art radio station and festival, Radiophrenia.

http://meagreresource.com

The Glasgow underground is a simple circular, concentric route travelling in both directions. The Inner Circle or the Outer Circle are the only choices - and if you plumped for the wrong one it takes only 24 minutes to do a complete circuit. Although at times incredibly noisy (you sometimes leave the train feeling mildly traumatised by the sound) the subway is undeniably one of Glasgow’s best-known and most familiar soundmarks. A Loop Within a Loop re-imagines the sounds of the subway network in an exploration of circularity, repetition and looped systems. Featuring field recordings made on the underground and interviews with former train drivers - voices and sounds, loop and repeat, come and go, ebb and flow - evoking the sensations of the subway - the rhythms, sounds and smells, the motion of the train, the grinding repetition experienced by the drivers, the impenetrable darkness and the light at the end of the tunnel.

Artist bio:
Mark Vernon is a Glasgow based artist who explores notions of audio archaeology, magnetic memory and nostalgia through his sound and radio works. At the core of his practice lies a fascination with the intimacy of the radio voice, environmental sound and the re-appropriation of found recordings.
 
http://meagreresource.com

Tarmachan Transmissions is an experimental documentary of a collaborative recording session made at Tombreck, a sustainable housing collective on the banks of Loch Tay. It works with off-cuts and disused, peripheral sounds from a make-shift studio set up in the community’s Big Shed. This piece acts as a recursive, companion piece to the Quinie album, Forefowk Mind Me, which was produced by Stevie with Josie Vallely and musicians Ailbhe Nic Oireachtaigh, Harry Gorski-Brown and Ollie Pitt. Tarmachan Transmissions is as much a sonic portrait of place and community, located listening and DIY infrastructures as it is of co-creation and residency recording. Stevie Jones is a musician, sound artist and improviser based in Glasgow. A serial collaborator, he is currently working with Quinie, New String Collective and Arab Strap among others. Stevie co-runs the Radiophrenia collective and is studying towards a PhD at Glasgow University in site responsive sonic collaboration within eco-critical communities.

In November 2024, sound artist and musician SHHE travelled to Porto Alegre in Brazil for a month-long residency with Kino Beat Festival. In May 2024, the river broke its banks, contributing to the worst flooding that Brazil has experienced in 80 years, impacting 2.3 million people and displacing 600,000 across Porto Alegre and the surrounding regions. What does it mean to live on the margins of such a powerful water body? Combining field recordings, testimonials and experiences shared through a multitude of voices - human and nonhuman – the sound work resonates around the question, Como é o som do Guaíba? Artist bio: SHHE is a Scottish-Portuguese sound artist, musician and producer based in Dundee, Scotland. Her work explores themes of identity and connection at the intersection of sound and space, environment and ecology, and research and performance. Sound works, performances and installations have been presented at V&A Dundee co-commissioned by MSCTY Tokyo, Sonica Glasgow, Dundee Contemporary Arts, Edinburgh Festival, Celtic Connections, Radiophrenia (Scotland) and in Portugal, Iceland, Italy, Egypt, Brazil, and Iraq-Kurdistan. http://www.shhemusic.com @shhemusic (instagram and X)

In "St. Lawrence", Subespai delves into the essence of tradition by weaving a mesmerising ambient soundscape around a looped traditional tune from Menorca's vibrant public festivities. Captured by his wife during the celebration, the melody serves as a heartfelt anchor, introducing listeners to a familiar cultural touchstone. As the piece unfolds, the recognisable elements gradually dissolve into a rich tapestry of textured drones and ethereal effects, inviting the audience on a journey of transformation and exploration. This sonic evolution reflects Subespai's signature approach, where sounds guide the narrative, creating an immersive experience that honours heritage while embracing abstraction. The result is a meditative soundscape that resonates with the listener, evoking a sense of place and introspection.

Artist bio:
Subespai is an experimental ambient and drone music artist from Menorca, Spain. The name is a Catalan word that translates to "subspace," reflecting the artist's focus on creating immersive and minimal soundscapes. Subespai's music often features deep, textured layers of sound, blending electronic drones, field recordings, and processed instruments.

His work typically falls within the ambient, drone, and experimental music genres, drawing inspiration from natural environments and introspective moods. Subespai often releases his music on small independent labels, appealing to listeners who enjoy meditative, abstract, or atmospheric audio experiences.

Website/social links
https://www.instagram.com/subespai/
https://subespai.bandcamp.com/music
https://soundcloud.com/subespai
https://www.youtube.com/@subespai8650
http://subespai.net/

"Camadas verticales" is a collage of times and spaces. Of objects and landscapes. Of gestures, textures, paths and movements. It was made from field recordings taken between 2020 and 2022 in the interior of Rio de Janeiro, Brazil.

Verónica Cerrotta: Field recordings and composition.
Federico Fragalá: Mastering.

Artist bio:
Argentinean sound artist settled in the countryside of Rio de Janeiro, Brazil.
Her artistic work is based on the use of field recordings and navigates between soundscape and experimental electroacoustic and concrete music, focusing on listening and sound imagination.
Since 2019, she has released solo works on the labels Impulsive Habitat, Música Insólita, Pakapi Records and Sello Postal.
She has also released the collaborative works ‘Slani pejzaži’(tsss tapes), with Manja Ristić and Joana Guerra, ‘In-Radius’ (Presses Précaires) with Pablo Díaz, and “Fase de Plegamiento’ (Green Field Recordings) with Juan José Calarco.

Website/social links
https://linktr.ee/veronica_cerrotta
https://veronicadaniela.bandcamp.com/
https://soundcloud.com/veronicadanielacerrotta
https://www.instagram.com/veronica_cerrotta/

This work sonically tells a story of a day in the life of a suburb in Arizona’s Sonoran Desert. It consists of four connected soundsketches based on field recordings at four locations central to the city’s life. Here, the forces of nature and urbanization create soundscapes both beautiful and brutal. Water, long gone from its original surface locations, re-emerges everywhere in human-made forms.

“Bridge (Daybreak)” opens the work as the sun rises and day begins over a pedestrian bridge at Town Lake, once a dry river bed. “House (Morning)” travels to suburban tract housing, where swimming pools are an ecological affront and sanity-saving sanctuary in the face of climate change. “Canal (Afternoon)” visits a lifeline bringing water to the city from great distances. It is increasingly a space of recreation and development. In “Park (Twilight),” evening play, cicadas, and water dripping within a canal gate usher in the night.

Artist bio:
In Arizona and the Sonoran Desert, the struggle to secure reliable water sources is perpetual. This makes those sources enchanted places for human, animal, and floral gathering. My work seeks to make these enchanted places more present to us aurally, and to make figurative the ways that desert life is shaped by encounters with water. Development and urbanization also increase sonic incursions—“noise”—into the desert’s unique physical and imagined soundscapes. I am interested in exploring how the subjective experience of these sounds helps to frame thinking about development and conservation.

Website/social links
http://www.thomascatlaw.com
https://thomascatlaw.bandcamp.com

"Resonance of the Underearth: Decolonial Dialogues with the Sonic Spirits of Nature" is an immersive radio work that explores the hidden depths of the Earth through sound. It emphasizes a decolonial perspective on ecology, inviting listeners to hear the voices of nature's sonic spirits. This piece blends natural recordings with artificial intelligence and technological tools to create a multi-layered sonic experience. Compositions such as "Scram the Glacier," "Shynte Aanda," "Respira," "Forêt Millenary Araucaria," and "Ritus" reflect different elements of the Earth's life forces. By giving a voice to nature, the work challenges anthropocentric perspectives and seeks to reconnect humanity with the planet's deep ecological wisdom.

Artist bio:
Short Bio EN Natalia Rivera Riffo is a multidisciplinary artist-researcher born in 1982 in Temuco, Chile, whose deep connection with nature has profoundly influenced her journey. Living and working in Paris, she primarily explores sound arts, drawing, performance, and video. Her approach questions territorial and landscape imaginaries, relating geological, climatic, and biological materials while examining the impact of extractivist practices on the land. Her works, both poetic and metaphorical, play with materiality and the paradoxes of form. Natalia adopts a transdisciplinary approach, blending sound, writing, and performance, where she addresses themes such as instability, chaos, and the visceral dimension, combining

Website/social links
https://www.instagram.com/nato.rivera.riffo/
https://nataliariverariffo.com/
https://soundcloud.com/natalia_rivera_riffo
https://linktr.ee/natalia.rivera.riffo
https://nerr.bandcamp.com/track/ritus

The album was conceived as a fictional radio broadcast where the sound environment ensures continuity between the spoken poems, which reveal the chaotic fragility of bodies in space-time—a landscape familiar to all travelers, regardless of the reason for their journey: love, escape, migration... One thing is certain: this radically modern journey is by no means one of leisure. There is no verbal tourism in this unrhymed poetry.

Texts and Voice: Elena Truuts

Sound Design: Martin Kikas

Cover photo: Kristina Rubinova

Artist bio:
Elena Truuts is an Estonian poet who writes in French. She lives and works in Tallinn. She completed a thesis on Nathalie Sarraute’s radiophonic theatre at the University of Paris 8. Her poems, written in French, explore the potential of an experimental translingual literary form that she calls "proses contre-proses".

Martin Kikas is a sound artist and music producer, co-founder of Ö Stuudio. For “Et tu sais,” Martin decided to capture the soundscape of Tartu, a university town in southern Estonia that has been named the European Capital of Culture 2024. He recorded voices, languages, urban noises.

Website/social links
https://frenchtheory.bandcamp.com

Poems by Elena Truuts
With English translation

1. Introduction
Ceux que tu laisses partir
Pour aller plus loin
Voyagent en prose

Those you let go
to go further
travel in prose

2.
L’année terrible m’a appris à me répéter cette phrase ordinaire : Saan hakkama. Il n’y a pas de temps futur en tant que forme grammaticale en estonien, mais il est bien connu que dans toutes les langues on trouve le moyen d’énoncer le passé, le présent et le futur. Saan hakkama veut dire à la fois je m'en sors, je vais m’en sortir et je m'en sortirai. Comme une grande. L’audace de hakkama saama, celle de pouvoir commencer, rend possibles le présent, l’intention et la promesse. « Nothing’s gonna hurt you baby. » Rien n’atteindra ton coeur, bébé, à part les missiles qui déchirent l'humanité.

The terrible year taught me to repeat this ordinary sentence to myself: Saan hakkama. There is no future tense as a grammatical form in Estonian. In all languages we find a way to conceive the past, the present and the future. Saan hakkama means at the same time I'm getting out of it, I'm going to get out of it and I will get out of it. Like a big girl. The audacity of hakkama saama, being able to start something, makes the present, the intention and the promise possible. Nothing's gonna hurt your heart baby, except the missiles that tear humanity apart.

3.
Les plantes, pour la plupart d’entre elles, vivent ancrées dans le sol, à la différence des animaux et des êtres humains. J’ai entendu ça hier dans une émission sur France Culture. Les animaux, disait-on, peuvent s'en sortir en fuyant, pareil pour les humains. Les végétaux restent plantés là où ils sont. Ils font avec. À chaque fois, je voudrais me sauver mais je suis ici, enracinée. Ça fait de moi une belle plante.

Plants, for most of them, live anchored in the ground, unlike animals and human beings. I heard about it yesterday in a programme on France Culture. Animals, they said, can escape by running away, same for humans. Plants remain where they are. They deal with. Each time, I would like to flee away but I am here, rooted. Makes me a beautiful flower.

4.
ma liste d’attente n’est pas une wishlist
ce n’est pas non plus une liste de courses
qu’on rédige dans son cahier de devoirs
quand on apprend une langue étrangère
mais un répertoire de choses
à faire avant le départ
à savoir embrasser ma mère
plier tous mes pulls oversize
ranger mes playlists dans l’ordre
que je désire
[tout le monde sait que la musique
est une sorte de thérapie
surtout la voix de Léonard Cohen
et un peu les chansons de Bob Dylan]
c’est un inventaire de questions
qui s’achève sur celle que tu me poses

— Mais qu’est-ce que tu attends ?

my waiting list is not a 'wishlist'
nor is it a shopping list that you write in your notebook
when you learn a foreign language
but a list of things to do before I leave:
kiss my mother
fold all my oversized jumpers
arrange my playlists in the order I desire
(everyone knows that music
is a kind of therapy
especially the voice of Leonard Cohen
and a little Bob Dylan's songs)
it's an inventory of questions
ending with the one you're asking me

— But what are you waiting for?

5.
et tu sais
on prend l’avion
on dort dans le train
pour que ça fasse deux
je voyage
comme un amour lambda
fièvres, plumes
tout en vrille
on profite de l’éloignement
sans jamais se guetter
et pourtant
chambre, appartement, cabane
lac, ville et bois
font un

and you know
we take the plane
we sleep in the train
to make it two
I travel  
like any love
fevers, feathers
all in a spin
we take advantage of the distance
without ever keeping an eye on each other
and yet
room, apartment, hut
lake, town and woods
make one
 
6.
j’ai la voix cassée
je ne sais plus quoi dire
dois-je la réparer ?
je fais comment ?
toute une ressource en vrac :
brisures, éclats, désir d’un verbe plat
mais c’est avec une voix comme ça que
je m’autorise d’être absente
pour te raconter mon périple,
peu importent la pluie
les cordes tendues
et le froid
 
My voice is broken
don't know what to say
should I fix it?
how could I do?
a whole loose resource:
breaks, bursts, desire for a flat verb
but it's with such a voice
that I allow myself not to be here
to tell you about my voyage
rain or shine
the streched ropes
and the cold
 
7.
déneiger le silence
c'est comme si
j'avais passé ma vie à huis clos
et lui il me dit
je te donne tout à voir


unsnow the silence
it is as if I had spent my life behind closed doors
and he tells me
I will show you everything
 
8.
un chien marin se roule
dans la poussière
à défaut d’océan

le spring roll
au gîte des corps célestes

âmes sensibles, méfiez-vous
je suis toujours beaucoup
plus jeune que mes cheveux

le temps est en amont
parce que c’est par amour
qu’il s’agite

NB : this is not a literary translation = to be translated

a sailor dog rolls around
in the dust
in the absence of the ocean

the spring roll
at the lodge of celestial bodies

sensitive souls, beware
I'm still a lot
younger than my hair

time is ahead
because it's out by love
that he is agitated
 
9
La maladresse et l’autodérision, indispensables. C’est comme glisser sur une route couverte de glace en robe et talons, très en retard au premier rendez-vous amoureux. Avides de vivre, on bouscule les codes, se fait des films, et tout un spectacle. Toute sorte de situation comique, je suis à votre service. Jean qui rit, Jean qui pleure. J’oublie mes mots et je bégaie, oh la princesse du Sud de l’Estonie. Mais la fragilité de ces instants imparfaits où on rougit et trébuche nous remplit de liberté qui est la source de notre interminable jeunesse.

Clumsiness and self-mockery are essential. It's like sliding down an icy road, dressed up and wearing high heels, very late for your first date. Eager to live life to the full, we turn codes upside down, playing the cinema like a show. In every comic situation, I'm there, at your service. One's laugh, one's cry. I forget my words and stammer - oh, princess of Southern Estonia. But the fragility of these imperfect moments when we blush and stumble fills us with freedom, the source of our endless youth.

1) Gardika Gigih - Mikrokosmos 1 (10:14)
2) Renán Zelada Cisneros - No recuerdo las montañas (16:48)
 
 
1) Gardika Gigih - Mikrokosmos 1

Composed by Gardika Gigih In Collaboration with Fernand Deroussen (audio-naturalist), Nanang Bayu Aji (Gamelan), Hye-Ohn Park (Daegeum) “Mikrokosmos” is a series of quadrophonic compositions that combine nature soundscape archives and instruments from various cultures, including Javanese Gamelan, Korean Daegeum, piano, and synthesizer. This composition was created during the Odyssée Residency 2023 in Abbaye de Noirlac, supported by Association des Centres Cultures de Recontre (ACCR) Europe and the French Ministry of Culture. Gardika Gigih composed Mikrokosmos, using the nature soundscape archive around Noirlac, recorded by renowned French audio-naturalist Fernand Deroussen, as the basic structure. Starting with birds, insects, water, and frogs sounds. Then, the instrument part was composed, in collaboration with his friend Nanang Bayu Aji, a Gamelan musician from Kasunanan Palace Surakarta, and Hye-Ohn Park, a Daegeum musician and lecturer at Ewha Women University and Gugak Center Seoul, and Gardika himself, playing the synthesizer.

Gardika Gigih is an Indonesian composer, pianist, and soundscape researcher. His works span numerous genres, from concerts to contemporary improvisation, film scoring, and sound ethnography. In 2019, Gardika received a fellowship from The Japan Foundation Asia Center to conduct soundscape research as cultural narratives in Southeast Asia, Japan (http://www.lostinsound.art). In 2023, he stayed in New York as an Asian Cultural Council Fellow to study multicultural collaboration. May 2023 at the British Library, his composition “Mimpi Owa: A Duet with Javanese Javanese Gibbons” won the “Sound of the Year Awards” initiated by the BBC Radiophonic Institute and the Museum of Sounds.
https://lostinsound.art/
instagram: @gardikagigih
https://www.artlink.ch/turntables/directory/profiles/gardika-gigih-pradipta
https://www.asianculturalcouncil.org/about-acc/stories/a-conversation-with-gardika-gigih-pradipta


2) Renán Zelada Cisneros - No recuerdo las montañas

Our world is full of noise. The incessant comings and goings of our economic activity have filled our daily lives with innumerable artificial sounds, from machinery to alarms to endless songs playing on our smartphones. As someone who gets overwhelmed by noise pretty easily, I have been working on music that invites a slowing down of our perception and a focus on the minutiae of specific sounds and noises. In this case, I time-stretched a single sample of a mechanical noise 100 times and then reconstructed its main frequencies using basic synthesizers. The music invites the listener to sometimes listen, sometimes trail off on a different train of thought, then come back and listen some more. Maybe it serves as a reflection on the kind of world we would like to build, perhaps one with less stimuli, where the wind, the trees, bees, birds, are the prominent noises we hear.

Renán Zelada Cisneros (b. 1993) is a Dutch-Venezuelan composer currently living in Barcelona, Spain. He studied at the Royal Conservatoire in The Hague, and the Amsterdam Conservatoire, in the Netherlands. His music is frequently inspired by other art forms such as literature, visual arts, and architecture, often relating to social and environmental themes. Together with writing music for the concert stage, Renán also collaborates regularly with filmmakers internationally in both fiction and documentary films.
https://renanmusic.eu/
https://renanmusic.bandcamp.com/
https://www.instagram.com/renan_zelada_music/

3) Dariusz Mazurowski - Metropolis Balticum Interiors (7:18)
4) Nicola Monopoli - 3 Stanzas (7:47)
5) Mattia Benedetti - nel buio (2:53)
6) Pablo Paniagua - Improvisación con Hongos (14:46)
 
 
3) Dariusz Mazurowski - Metropolis Balticum Interiors

The piece "Interiors" is the sixth part of the extensive composition "Metropolis Balticum (Urbana Landscape)", a soundscape of Gdansk, my hometown. It was entirely created from field recordings that I made within the urban space, visiting various locations and searching for intriguing events with musical qualities. During the field recordings I visited many places – both those well-known and frequently visited by tourists, and many that even the citizens themselves often know little about. This piece consists of multiple phrases layered on top of each other, creating a sonic tapestry. The sounds of the city, bustling streets, industrial noises, the sea's roar, and the hubbub of human activity all become phrases contributing to this uniquely musical whole. This project was undertaken as part of the Cultural Grant of the City of Gdańsk, awarded in 2023.

Dariusz Mazurowski is a Polish electroacoustic music composer born and residing in Gdansk. While the majority of his compositional activity has focused on acousmatic works, he has also composed instrumental music in conjunction with electronics, soundscapes, and mprovised electroacoustic music. His works combine analog instruments with the digital technology and concrete sounds. Mazurowski’s music has been broadcast by various stations all over the world, and he has performed at festivals and other events in Europe, North America, South America and Asia. His installations, visual works have been exhibited worldwide in numerous galleries. His compositions has been released on numerous discs.
https://deemstudio.com/
https://www.facebook.com/people/Dariusz-Mazurowski/100086282450366/
https://www.youtube.com/user/DeeMstudio/videos
https://open.spotify.com/search/Dariusz%20Mazurowski


4) Nicola Monopoli - 3 Stanzas

This piece explores cycles of personal and environmental renewal in three parts. The first represents writing unwanted memories, tearing the paper, and burning it—symbolizing emotional purification and reflecting humanity's need to discard unsustainable practices. The second part, with strong ritualistic breathing, introduces catharsis and transformation, akin to the changes required for ecological sustainability. The third part returns to reality, where life’s struggles and environmental challenges repeat in a cyclical manner.

The trigger/matchstick sound that opens and closes the piece suggests a loopable structure, symbolizing the endless cycles of personal and natural regeneration. The composition aligns its form with themes of renewal and sustainability, contributing to a broader discussion on how art can raise awareness of ecological issues. By linking emotional and environmental cycles, this work participates in the interdisciplinary dialogue on culture and sustainability, serving as a metaphor for continuous transformation in both realms.

Nicola Monopoli is an Italian composer born in Barletta in 1991. He holds the distinction of being the first composer to receive the Artist Diploma in Composition from The Royal College of Music in London, supported by a Clifton Parker Award and a scholarship from the Giovani Artisti Italiani Association. His compositions have been performed globally. He currently teaches Electroacoustic Composition and is PhD Coordinator at the 'U. Giordano' Conservatory in Foggia.
https://nicolamonopoli.com/
https://www.instagram.com/_nicolamonopoli_/
https://www.facebook.com/nicolamonopolimusic
https://mastodon.uno/@nicolamonopoli

 
5) Mattia Benedetti - nel buio

solitude (or: the necessary distance from others);
pseudo-gothic fascination (or: the obsessiveness of choice);
daily objects as clocks and paper (or: ¿how strange they sound out of context?)
literature and the human voice (or: the possibility of communication)

nel buio is a brief piece, after Juan Rodolfo Wilcock short story.
Is a portrait of a very specific way of living; a marginal, selective and mysterious point of view.

Mattia Benedetti is a composer. He lives in Venice.
He's trying to create music that resembles an open world, without a centre but full of internal connections and ambiguous self resemblances.
He's trying to create music that resembles an island, isolated from everything, an extreme habitat where only endemic organisms lives.


6) Pablo Paniagua - Improvisación con Hongos

Recording of an improvisation in which I explore the intersection of biology and sound art by utilizing sounds from gray oyster mushrooms (homegrown) connected to a biosonifier. This sonic experiment is situated within a free improvisation that incorporates a prepared electric guitar and sound processing, challenging and reconfiguring the boundaries between the organic and the technological.

From a posthumanist perspective, this improvisational exercise opens a space for reflection on co-creation with non-human entities. It suggests an expansion of our sensory perception beyond conventional limits, promoting a reconfiguration of our relationships with the environment and other living beings. By integrating biological entities into the creative process, it questions the primacy of human creativity, opening new possibilities for creative agency within an ecologically interconnected framework.

I am an artist and educator from Chubut, currently based in Buenos Aires, with a Master’s degree in Combined Artistic Languages. Since 2014, I have participated in national and international artistic events and received awards and grants. My recent work explores visual, auditory, and corporeal elements in specific contexts. As an educator, I teach at various levels of formal and informal education and conduct workshops in both public and private spaces.
https://pablopaniagua.com.ar
https://www.instagram.com/pablopaniagua87/

Cross talk & frequency drifting pulls the strings of his heart & relating to loops and rough editing , audio drop outs , a Sonic Organic. A mix of forms in an expanding wave , nudging & slating whim , composition dealt in reality , a truth of intimate confessional & intruding a microphone , the tension of triggered sounds to ape pictures of life. The work under the Shaun Robert moniker is inhabited with conventional instruments including guitar , drums , bass , violin , various keybroads , melodica , trumpet , accordion , mandolin , harmonica , stylophone and various toys ; Objects are treated like instruments & vice versa.

Artist bio:
Shaun Robert (1966 - ) has been working with sound from an early age , a natural extension of play. Starting like many with a domestic tape recorder ; years finger poised on the pause button ; tunnelling into the present & falling into deep concentration ; in a trance of coloured sound trials ; impromptu expressions processed & filtered into moments of congealed sound ; also using field recording , in voxpop & audio voyeurism , of hauntological stylings , spoken word & singing. Falling apart to come together ; feeling the next transition is about to happen , tape phasing sound on sound ; skimming back to make collusion edits ; building deep relationships with that aesthetic ; this interaction shows itself in within all his works . And the importance of sounds from analogue radio , magnetic tape manipulation can not be understated.

Website/social links
https://shaunrobert.bandcamp.com

This work symbolically depicts the complex and tense state of the global environment by beginning with footsteps, followed by the gradual overlapping and unfolding of ambient, unbalanced harmonies and noise.

The footsteps symbolize the traces of human existence and its impact on the global environment. Harmony and noise symbolize the dissonance caused by human intervention in the global environment.
The acoustic space of monotonous footsteps and noise may be heard as a space of wishful thinking that the environmental problems we are facing at the moment are just a dream.
The sustained resonance of harmonies may be heard as the cry of the earth.
The silence at the end may be interpreted in many ways as to what it means.

Artist bio:
KAZUYA ISHIGAMI (b. 1972, Osaka/JAPAN) is a composer, sound designer, sound performer and sound engineer in the field of Electroacoustic/Acousmatic/Post-Acousmatic/Ambient/Noise, etc.
Since 1992 he has created under the name of DARUIN. He began using computers for composition and improvisation in 1994 with the programming language Max/MSP and others.
His pieces have been performed at CCMC (Japan), FUTURA (France), MUSLAB (Mexico), SILENCE (Italy), ICMC (2015_USA/TEXAS), Music From Japan 2020 (USA/NY) among others. He has an independent label, NEUS-318, and has released more than 100 works.

Website/social links
https://neus318.bandcamp.com/
https://kazuyaishigami.bandcamp.com/
https://omodaru.bandcamp.com/
https://soundcloud.com/kazuya_ishigami

This work symbolically depicts the complex and tense state of the global environment by beginning with footsteps, followed by the gradual overlapping and unfolding of ambient, unbalanced harmonies and noise.

The footsteps symbolize the traces of human existence and its impact on the global environment. Harmony and noise symbolize the dissonance caused by human intervention in the global environment.
The acoustic space of monotonous footsteps and noise may be heard as a space of wishful thinking that the environmental problems we are facing at the moment are just a dream.
The sustained resonance of harmonies may be heard as the cry of the earth.
The silence at the end may be interpreted in many ways as to what it means.

Artist bio:
KAZUYA ISHIGAMI (b. 1972, Osaka/JAPAN) is a composer, sound designer, sound performer and sound engineer in the field of Electroacoustic/Acousmatic/Post-Acousmatic/Ambient/Noise, etc.
Since 1992 he has created under the name of DARUIN. He began using computers for composition and improvisation in 1994 with the programming language Max/MSP and others.
His pieces have been performed at CCMC (Japan), FUTURA (France), MUSLAB (Mexico), SILENCE (Italy), ICMC (2015_USA/TEXAS), Music From Japan 2020 (USA/NY) among others. He has an independent label, NEUS-318, and has released more than 100 works.

Website/social links
https://neus318.bandcamp.com/
https://kazuyaishigami.bandcamp.com/
https://omodaru.bandcamp.com/
https://soundcloud.com/kazuya_ishigami