Sun 20

Two Halves presents 'WLUV Radio: An Attempt at Luv <3', an experimental radio station that first premiered at Elastic Arts on Feb. 14, 2025. Using the 16-channel stereo CLEAT system at Elastic Arts, the artists experiment with radio performative sound collage, sampling R&B music, engaging caller testimonies, and creating original sounds.      

Artist bio:  Chicago-based artists Lola Ayisha Ogbara and Andres L. Hernandez perform as the group Two Halves. Two Halves draws from the artists’ individual work in writing, video, performance, sound, and installation to produce site-responsive soundscapes, scores for moving image and performance, video works, and electronic music. Two Halves regularly employs improvisation, sampling, collage, and chance for their audio-visual experimentation, and taps into rich legacies of creative, intellectual, and spiritual practices across the African diaspora. Beyond their work as Two Halves, Ogbara and Hernandez also record and perform solo as LAO and aRKMDZ, respectively.    

Website/social links   
http://www.lolaogbara.com
http://www.andreslhernandez.com

Wind Paralysis is an immersive soundscape composed of field recordings, submerged vocal phonations, and processed environmental audio. It unfolds as a sonic journey through spaces where orientation dissolves: from the Baltic coast at night, through industrial landscapes, and into the deserted areas of Zapotitlán Salina, Mexico; a region with a deep geological history shaped by water, salt, and time.
 
Extended passages of field recordings move between distinct aural environments; from coastal atmospheres to the hum of industrial zones, wind carving through rock, to the immediacy of breath held underwater. Through controlled exhalation and extended vocal techniques, the voice sheds its linguistic function, becoming texture, vibration, and resonance.
Spoken fragments, environmental sound, and composed elements accumulate gradually, drifting apart and softening through broadcast. The work invites a mode of listening attuned to instability and shared transmission, exploring thresholds between presence and disappearance.

Artist's biography

Pastoral Fields is an artist collective and audiovisual platform based in Berlin, exploring themes of transition and impermanence through immersive sound and visual art. Launching later in 2026 as a nocturnal online video channel, Pastoral Fields will expand into other mediums and formats, including sound performances and exhibitions in and beyond Berlin.

Aylin Derya Stahl is a Berlin-based artist working across photography, installation, moving image, sound, and text. Stahl's research-based practice centres around the materialisation of time within objects. She is interested in threshold states where images and objects oscillate between presence and disappearance. With an archaeological sensitivity, Stahl investigates the mutability of things, examining how fragments of the past persist or dissolve in the present. She records under the moniker Recovered Debris.

Oda Starheim is a Norwegian artist based in Berlin. Working with extended vocal techniques, raw performance and electronics, her practice explores voicing as a state of becoming. She is also half of the music duo Soft as Snow.

Residual Drifter is the sound project of Berlin-based artist Nick Jeffrey. Working with field recordings, ambient composition, and textural improvisation, Jeffrey explores relationships between place, memory, and transformation, creating immersive soundscapes that blur reality and imagination. The project draws on folk-horror sensibilities and processes of growth and erosion, and is closely entangled with Jeffrey’s visual practice in painting and filmmaking.

Wind Paralysis Tracklist
                             
1. 0:00 - Pastoral Fields
2. 01:46 - Recovered Debris - I wonder what it is to fall such distances (excerpt)
3. 06:40 - Residual Drifter - A faint light grew
4. 09:57 - Pastoral Fields

5. 14:16 - Recovered Debris - The Distant Plains

6. 16:20 - Residual Drifter - Creatures at the compound

7. 22:11 - Residual Drifter - Conditioning Night

8. 23:22 - Recovered Debris - The Invisible Envelope (excerpt)

9. 36:26 - Residual Drifter - June Third

10. 40:27 - Oda Starheim - Spit overload, in moist still (excerpt)

11. 48:44 - Residual Drifter - Sun Decay Low Habitual

12. 55:54 - Residual Drifter - Rifle Tongues

13. 61:41- Pastoral Fields

Sound production by Øystein Monsen

Artist Links

Pastoral Fields -
IG - @pastoralfields

Aylin Derya Stahl -
IG - @aylinderya_ 
https://www.aylinderyastahl.com/

Oda Starheim -
IG - @softassnow
https://www.softassnow.com/

Residual Drifter -
IG - @screen.dawn 
https://nickjeffrey.com/

DRONICAS: 3 ELEMENTS
A piece woven from field recordings, the clang of tools, found sounds and other analogue devices — all processed, unravelled, and layered through superposition and juxtaposition as they slowly took shape within the sonic plane.
These works span from 2018 to 2024, gathering together:
- Dronica Triad
- Dronica Metal
- Dronica Animals
- Dronica YeanLú
An exploratory attempt grounded in Drone, where textures drift and dissolve, carrying echoes of labour, nature, and spectral resonance.    

Artist bio:  
My practice as a communicator and radio artist explores the interplay of language, discourse, and sound. I collect, preserve, and re use sonic fragments, transforming them into experimental radio pieces. Central to my work is the manipulation of sounds often silenced, where noise and silence become disruptive forces that spark reflection and dialogue. Radio Art engages the body in an ephemeral sensory universe, never repeating the same experience twice. Each sound material opens a new story. Driven by curiosity, I blend analogue and digital methods, always searching for silence within noise and noise within silence.    

Website/social links   
https://www.elruidoeselmensaje.com/
https://www.instagram.com/franco.falistoco/
https://www.instagram.com/noiseisthemessage/
https://www.instagram.com/calathea.experimenta/
https://www.instagram.com/minerva.online/

The 2025/6 Conduction Series    

Emphasizing live radio, interactivity, and media archaeological methods, The 2025/6 Conduction Series explores themes of migration, noise, feedback, speculative fiction, transmissive theatrics, and recreational aesthetics. The collective comes together on the first Friday of every month at 3:02pm ET using custom-made software. Some sessions don't have a description and the one on October 3th doesn't have even a title. However, some have a more detail description as in The Spiral: The record groove or a strip of tape moves forward by circling, slipping into another layer each time. That coiling motion echoes how time forms paths that don’t quite repeat. The spiral frames the way patterns return at different scales, from tiny biological curves to movements that shift light, air, and weather. A shared structure keeps resurfacing and shows how things grow and reorganize, how memory drifts, and how repetition comes back slightly off axis, opening another turn.      

Artist bio:  The Conduction Series is a collaborative live radio broadcast produced by sound and transmission artists across the Americas on Wave Farm’s WGXC 90.7-FM Radio for Open Ears in New York’s Upper Hudson Valley. Artists names are: Betsey Biggs, August Black, Peter Courtemanche, Florencia Curci, Jeff Economy, Anna Friz, Jimmy Garver, Maximilian Goldfarb, Virginia Mantinian, and Rodrigo Ríos Zunino. The Conduction Series is syndicated on Radio MonteAudio in Montevideo, Uruguay, Radio Tsonami in Valparaíso, Chile, Radio CASo in Buenos Aires, Argentina, CITR FM in Vancouver, Canada, New Adventures in Sound Art in Ontario, Canada, and on Radio 1190 in Boulder/Denver, USA.      
https://conduction.wavefarm.org/

Music for magnolias is an outdoor sound installation. It consists of several sound-making "Spots" - each made-up of a small solar cell and a tiny electronic circuit. These Spots are attached to the lower branches of a large tree (preferably a Magnolia). As the sun moves across the sky, it shines through the leaf coverage of the tree and produces a dappled light effect on the solar cells. This causes the solar power for each circuit to fade in and out, allowing each Spot to play with different sounds and signal strengths at different times of the day and in different weather conditions. This radio piece is a recent recording of Magnolias playing in the winter sun, with a bit of the outdoor background noise and some added birds and sounds from the summer.    

Artist bio:  Absolute Value of Noise (Peter Courtemanche) is a sound artist living in Vancouver. He works with radio and sound installation in indoor and outdoor locations. He likes to work with bio-electric circuits, magnetic transceivers, and "little electronic brains" that observe and respond to local phenomena. His outdoor installations typically integrate solar-powered electronics with plants. These works investigate themes of bio-diversity, extinction, and fragile eco-systems. They emphasize the invisible, drawing attention to things people normally overlook or avoid (insects, lichen, moss, weeds, pollution). The sounds from the outdoor works invariably make their way onto the radio and into various performance pieces.    

Website/social links  
https://absolutevalueofnoise.ca/
https://absolutevalueofnoise.bandcamp.com/

1 Marie Vermont & Rudi Gier – Ampheedback (6:00)
2 Gustavo Guzmán - Stromboli-1940 (23:15)
3 Shape Of Mustard - strange kinships (20:00)
4 Sergio Valente/ Gurrola Alvarez - “The Eccentric: Laughter Before the Abyss” (10:25)

1) Marie Vermont & Rudi Gier – Ampheedback

In “Ampheedback” frogs engage in dialogue with one of the most distinctive sound sources in amplified music: feedback. The interaction between field acoustics and amplified voltage is reflected in the steadily growing and subsiding movement between foreground and background. The composition features a recording of a frog concert that slowly develops, reaches a climax and dies down again. It was recorded at a small pond in Vorarlberg, Austria, which was originally built in 1860 as a village swimming pool and is now home to a variety of creatures.    

Marie Vermont and Rudi Gier are Vienna-based artists and musicians, constantly scoring and compos(t)ing new sonic narratives on common and non-common places, the climate crisis and queer ecological theories.      

https://marievermont.world/ Instagram: marievermont666
https://www.evamariamueller.net/ Instagram: gmorrk

2) Gustavo Guzmán - Stromboli-1940

A four-part suite of acousmatic landscapes inspired by the culture of radio listeners of the magnetosphere, assembled from recordings of Chilean birds, very low frequency (VLF) radio excerpts, and various forms of visual sound synthesis (e.g., spectral drawing of contours and structures). More than a linear piece, it is a collection of different "moments" within this landscape that aims to be both inductive and evocative. The idea is to play with the notion of the "atmospheric" as a medium in which all kinds of concepts, textures, sonorities, and metaphors are suspended to experience a phantasmagoric transduction from technological to natural soundscapes, and viceversa. Thus, Stromboli-1940 becomes an aural non-place for ecological rumination.    

Gustavo Guzmán is a composer, artist, and researcher with an extensive transdisciplinary background. His sustained, research-driven trajectory underscores his long term commitment to using art and technology as tools for ecological resilience and social transformation through the lens of gesture. Professionally, Gustavo Guzmán has composed and produced for film, video, and theatre, and toured extensively across Mexico, presenting solo and collaborative sound poetry at large scale venues. Recent highlights include experimental music performances for Radio UNAM (2022-2023), research on situated experimental musical interfaces for the Global South (NIME LATAM 2025), and eco-acoustic collaborations with Tsonami sound-art collective (2025), among others.    

http://gustavoguzmancom.wordpress.com/

3) Shape Of Mustard - strange kinships

In strange kinships, Shape of Mustard (composers Eveline Vervliet and Philipp C. Mayer) explore the fictive story of a group of researchers from the 1860s, in search of the nature and culture of pigeons. The only things left are a book and some old audio tape recordings. With this documentation, the artists try to reconstruct the team’s research path and results. What are the limits of our understanding of another species? And what are the limits of our materials in acquiring and documenting such findings?    

Eveline Vervliet is a composer based in Germany. In her work, she explores the interplay between musicians and technology, and between humans and non-human animals. Her current practice revolves around memory, erasure and composing with transience - works that change and fade over time.  Philipp C. Mayer is a composer. He works in the field of music theatre, concert music and installations. Since 2022 he is working in a theatre collective with Rieke Süßkow, Mirjam Stängl and Sabrina Bosshard. Mayer studied composition with Isabel Mundry, Stefano Gervasoni and Luxa Schüttler.    

https://evelinevervliet.com
https://philippchristophmayer.com

4) Sergio Valente/ Gurrola Alvarez - “The Eccentric: Laughter Before the Abyss”
 
Voice is the original resonance of the human experience. It agitates and moves. Beyond pantomime, voice is the most genuine medium: it goes from the inside out, it is graduated according to the intensity, height and strength of emotions. Voice is moldable, bearer of a secret and musical communication.
Whereas, the face is suitable for concealing. Man is set outside of himself through his face, he is given into any reaction, before being able to protect himself.
Laughter opens the threshold of fragmented behavior and ruptures. When we laugh we lose control of our body and unpredictable responses are produced that break our usual composure, allowing an endless resource of knowledge of the human being to emerge.
“Excéntrica” is a piece put together based on the laughter of women of different ages.
In the midst of the wild eruptions of female laughter, there is a revelation: the secret composition of human nature is manifested.
In almost no other expression is it as difficult to distinguish the authentic from the not authentic.
The immediate and the involuntary is what makes laughter an authentic expressive gesture. Its original bond to human moods sticks to our eyes and ears with irresistible power.
When the abyss surrounds us, laughing isn’t a frivolous attitude, but a need to conserve our balance facing the void.
     
Audiovisual Director, Composer, and Sound Artist Sergio Gurrola is an artist whose work transcends the conventional limits of art to plunge into the deepest territories of human experience. His work is not only heard or seen; it is felt, lived. With a narrative that oscillates between noise and music, testimony and poetry, Sergio builds sonic and visual universes that defy traditional categories, inviting the viewer to explore the outer edges of perception and emotion.

https://sergiogurrola.com/
https://www.instagram.com/
https://www.youtube.com/@778MILLONESDEKM

Based on the experience of my family and me traveling overland from Jakarta to West Sumatra to return home for the Idul Fitri holiday, this sound Documentary consists of fragments of sound that we passed through during a journey that was constantly in motion and in transition. In 'Through the Opened Window', I minimize efforts to manipulate the sounds and tend to let the sonic situations breathe and flow on their own. I want ordinary sounds—often considered unimportant or boring—to be given space here. There is a fragment of an interview with Ibu Yani, a coffee stall owner behind a gas station in the Pelayangan area, where she talks about the government’s latest tax policies. The composition also includes a recorded conversation with Uda Eman, my cousin, who shares his experiences related to gold mining activities in Sisawah Village and several other areas in Sumatra.    

Artist bio:  
Van Luber Parensen is a transdisciplinary artist based in Jakarta. He is part of Forum Lenteng, a cultural organisation in Jakarta. His films have been screened at several national and international festivals and forums. As an artist, he works in various mediums, such as musical composition, soundscapes, painting, sketching, and collage. Since 2023, with SIGISORA, a listening initiative based in Jakarta, he has been focusing on sound-based art, both in the realm of composition practice and study.
    
Website/social links  instagram: https://www.instagram.com/burungkobra/

Host and Producer : Boris Chassagne A compilation of radio art works produced for the 2026 international radio art competition 60 Second Radio, in Montréal, Québec, Canada. In this second of two parts you will hear : Take Me Back to Indonesia-Boyi Bai-China, Genocide-Noel Molloy-Ireland, In Soho (Over Denmark Street)-Gerry Hectic-UK, Pungakerarotsoko-Ferran Destample-Espana, Sound-Timo Kahlen-Germany, Tombee des nues-Charlotte Fromenteaud-France, Fêter la fin-Alain Lapierre-Canada,  Inexistence-Zumaia-France, Les dents de l'amertume-Alain Lapierre-Canada, mUrMuRes-Philippe Neau-France, I Dentity-Hans Castrup-Germany, Panic-Ashrita Achar-India, 60 Seconds-Chuze Fernandez-Spain, The Journey of Me-Mel-Alexis Weaver-Australia, Funnel-Audrey Nelson-USA, Ted's Pumpkin-Panayiotis Kokoras-USA, Lucidité lancinante-J. Champagne-N. Larchet-Canada, On ecoute-Oilvar Premier-France, Vicuña against the doppler-Alejandro Cornejo Montibeller-Peru, The Space Between-Gabriel Furmuzachi-Austria, Lundi quatorze heures-Fanny Damerval-Sara Guillerme-France, Limit-Anja Kreysing-Germany, Il nastro di Möbius-Marco Dibeltulu-Italy, Message de rentrée-Emmanuelle Soler-France,  IA is gobbling me-Maria Ponce-Remi Teal-Maria Ponce-UK-Germany, Beautiful and fleeting world-Daisuke Nakajoh-Japon, Un peu plus loin au Sud-Sandra Giscard-France, Dos Jinetes de Lorca-E. Pérez-Mexico, Paganism!-Heathland Fleur-Austria, A Song from Beyond the Planets-Mark Vernon.

Bi Glic is co-presented by myself (Duncan MacLeod) and Shona MacClennan, building from our RSPB commissioned soundwalk of the same name. The programme explores Gàidhlig birdlore: the words, stories, songs, place-names and ways of knowing birds that circulate through everyday life and oral tradition of the Outer Hebrides. In Gàidhlig, bi glic means “be wise” or “be prudent”, and it is also heard as an echo of the oystercatcher’s call: “bi glic, bi glic”. That double meaning sets the tone. We will move between first-person conversation, spoken word, sound archives, song, field recordings, traditional and original music. The programme will drift through seasonal listening on Uist (Western Isles of Scotland), from machair to shoreline, with close voice giving way to open-air soundscapes. 

Artist bio:  Duncan MacLeod is an award-winning composer and sound artist, and Professor of Sonic Arts at Glasgow School of Art. His work spans concert music, installations, participatory projects and site-specific soundwalks. Informed by folklore and place, he explores place, identity, heritage and environment in the Anthropocene.

Shona MacLellan is a photographer and cultural historian from Uist, and Community Engagement Officer for the RSPB Outer Hebrides. A Gàidhlig speaker, her work centres on place-based storytelling and collaboration, connecting communities with local landscapes, heritage and wildlife through creative engagement and public-facing projects across the Western Isles of Scotland.
     

Website/social links  
 
Duncan MacLeod
Website: https://duncanmacleod.org/
SoundCloud: https://soundcloud.com/duncan-macleod
Instagram: https://www.instagram.com/leod_music/

Shona MacLellan
Instagram: https://www.instagram.com/shonamairi/?hl=en

A piece of speculative research, fabulation and performed composition that began with a focus on the life and death of Joy Gardner, but has since expanded into broader explorations of the relationship between Jamaican life in the UK, funerary traditions and ritual sound. This work takes the format of a sonic broadcast as a route into the affective, reverberant and opaque experiences of the afterlives of Transatlantic slavery, another way to engage the psychic & emotional ruptures that characterise one’s journey into one’s own history when Black in the diaspora. The performance will collect together field recordings set to tape, found and archival sounds from my own family and the Bernie Grant Archive, live reading of my own poetic work, and samples processed through pedal chains and an SP-404SX. It is a broadcasted obituary or epitaph, for all those unnamed and lost to the wake of anti-Black colonial violence.

Artist bio:  
Myles Westman is an artist and musician based in Glasgow. Their poetic and sonic work explores the relationship between contemporary Black life and the archives of slavery and colonialism. It posits a question of ‘Black sound’ - do Black sonic practices achieve marronage or remain captive within the colonial imaginary? They blend song, poetry, field and archival recording with traditional instruments and pedal chains, creating affective and unsettled atmospheres in which to pose their unresolvable questions. They’ve developed broadcasts with CBR, Radio Alhara & Lumbung Radio, and have exhibited/performed their work in French Street, Market Gallery, civic house & Fruitmarket    

Website/social links   
https://www.instagram.com/makaya.ow/
https://soundcloud.com/mwm_wmw

Using Sounds which have been sourced from a personal archive of acoustic encounters accumulated slowly over many years, Dosimat incorporates field recordings, acoustic sketches, pastoral fragments, vhs tapes, ambient textures and slowly evolving drones with hypnotic rhythmic structures to create a long form sound collage.
 
A Radiophrenia commission produced with the support of Creative Scotland.
 
Biography:

A Collaborative ensemble of Dosimat is a polyglot depot for municipal events.

The piece is constructed from raw, rough material—at times subtle and evanescent—that intertwines through successive transformations. Hence the title "Chacona," that Baroque dance based on variations of a single theme.
 
A Radiophrenia commission produced with the support of Creative Scotland.
 
Biography

(Argentine-France) Doctor in Aesthetics, Science and Technology of the Arts at the University of Paris, Justel currently works as an independent composer and video artist. 

Her works have received numerous awards in international competitions, such as : Prix Ton Bruynel (The Netherlands-2005), International competition of electroacoustic music (Bourges, France-1989-2001), Stipendienpreiss (Darmstadt, Germany-1990)  and were commissioned by the French government and different European studios. She has developed a pedagogical and research activity at the Universities of Marne La Vallée (France) and Pompeu Fabra (Spain) and several European schools of music.

Recordings by Empreintes Digitales – Canada (imed-0785 / imed 9837 / imed19161) (http://www.electrocd.com/fr/bio/justel_el/discog/), and other publishers.

In 2007 she created the Foundation Destellos to promote electroacoustic musics and digital arts, organizing an International competition.
http://www.fundestellos.org/Bio.htm

1 Voiceover - A Literary Canon (13:05)    
2 Sibylle Pomorin - Kleines absurdes Hörstück (8:03)    
3 SnowKrash (Barry L. Roshto & Ursel Quint) – Circles (8:20)  

1) Voiceover - A Literary Canon
     
"A Literary Canon" is a work of 'sample poetry' using snippets of readings by various authors who I like and who are part of my own personal literary canon. These speech fragments are looped and layered, as well as changing elements again and again, resulting in a pattern comparable to a spoken canon.    

Marc Matter (‘1974 Basel, CH) works artistically and as a researcher in the field between sound and spoken language. Works appear on records (Futura Resistenza, Chocolate Monk, Mount Analogue, Slim Volume, Spoken Matter), as commissioned works for radio (Deutschlandradio, SWR, WDR) and as live performances. He is also a member of Institut für Feinmotorik, resident DJ at Salon des Amateurs, was part of The Durian Brothers and co-runs the Spoken Matter label for spoken word experiments and sonic poetry.    

https://soundcloud.com/mr_mueck-1
https://www.instagram.com/marcmatter3/
https://spokenmatter.net/

2) Sibylle Pomorin - Kleines absurdes Hörstück  

My radio play 'Kleines absurdes Hörstück' (A short, absurd radio play) is designed so that everyone listening to it can conjure up different images and associations.

When composing this "musique concrète", I had a small scene in mind—a campfire, perhaps in the woods. The fire conveys peace and a sense of security—warmth. In the distance, you hear animal sounds, then matches, clinking glasses… The people sitting around the campfire begin to talk, to converse—in different languages. What they say seems as if they are talking past each other. Someone is walking around, another is fiddling with dishes, then tinkering with a cardboard box. Sounds of conventional instruments and singing reinforce the harmonious, positive atmosphere; you hear laughter. Toward the end of the piece, the "conversation" becomes more lively. The scene seems fantastical, outside of reality—absurd.
  
Sibylle Pomorin (*56) was already working as a guitar teacher at a private music school at the age of 15. From 1975 until 1980 she studied flute and saxophone at the Staatliche Hochschule für Musik in Münster, Germany. At the same time she played in chamber ensembles and jazz groups for which she also composed.

In 1984/85, she studied composition under Ernst Bechert in Hamburg, Germany and in 1994, she received composition lessons and an introduction to electroacoustic music from the American composer and electronic musician Alice Shields during a sixmonth stay in New York.

Between 1982 and 1994 she toured with improvising musicians of the international scene and toured with her own groups and compositions through Europe and Israel.

Since 1986, she lives in Berlin, the German capital, as a freelance-artist and composer. She received composition commissions for ensembles, festivals, broadcasting, and theatre as well as numerous prizes and awards (inter alia the SWF Jazz Prize and the first prize at international composition contest “Soundscapes voor 2000“ in the Netherlands) and was promoted by various working scholarships - inter alia in New York, Istanbul and Iceland. Scores publications and CD releases inter alia by Moers Music and in the Furore Verlag. Co-operation with musicians of the international improvisation and avant-garde scene. In 1992, Bavarian Television broadcast a film portrait of the artist ("Neue Töne aus Berlin", portrait of the musician and composer Sibylle Pomorin by Carla Kilian).

Since 1994, studies and productions in the studios of the Columbia-Princeton Electronic Music Center in New York, the Center for Art and Media in Karlsruhe, Germany, the Electronic Studio of the Technical University of Berlin, Germany, and the Nederlandse Programma Stichting in Hilversum, Netherlands, and in her private studio.

Her music has been performed at international festivals for contemporary music in Europe, Israel, Mexico, Australia, Canada, Georgia, Japan and the USA.

http://www.sibylle-pomorin.de
https://www.instagram.com/sibylle.pomorin/
https://www.facebook.com/sibylle.pomorin/
https://soundcloud.com/sibylle-pomorin
https://www.youtube.com/@sibyllepomorin9007

3) SnowKrash (Barry L. Roshto & Ursel Quint) – Circles        

Circles is a composition for Spoken Word and piano, written by Barry L. Roshto. It is inspired by the ground breaking genre “Word Jazz” created by the American voice-over artist Ken Nordine produced in the last half of the 20th century. Word Jazz induced a kind of euphoric-nonsensical profoundness of sensible and sensual self-evident experiences. (Smoke 'em if you got 'em.)

Circles uses geometrical specifications and psychological implications of circles metaphorically. Circles as representations of the cycles of time and subsequently (consequently), LIFE. A circle as a symbol of life could be construed as negative, inferring tedious repetitions or inescapable treadmills. But, cyclical systems can, and do provide balance through their symmetrical and ritualistic patterns.    

SnowKrash is collaborative dispute over the relationship of sound to sight. Since 2009 Ursel Quint (Ger) and Barry L. Roshto (USA/Ger) have been exploring different aspects of this link through the process of producing and presenting original audio-visual works. Whether they are recording the underwater sound of rivers, taking EKG’s of bridges, pipelines or trees, sonifying the electromagnetic fields of their environment or composing film music, they are constantly trying to circumvent the usual.    

http://www.snowkrash.org
http://www.facebook.com/SnowKrashinfo/
https://vimeo.com/channels/snowkrash

1 Ruta Reu - Vėjonė (“Wind-dream”) (10:05)  
2 Earrational Measures - 39 Alpha, 39 Bravo: The sound of detention’s economies (10:00)        
3 Estefania Piñeiros - "Entre estados" & "¿Oyeron?" (7:12)    
4 Water Feature - Various Birds - brown yipper (1:42)

1) Ruta Reu - Vėjonė (“Wind-dream”)

Vėjonė (“Wind-dream”) is an electroacoustic soundscape composition built from field recordings on the Curonian Spit, a UNESCO World Heritage landscape shaped by the entanglement of human presence and natural forces. Threaded through the work are extended sounds of the kanklės, a traditional Lithuanian plucked zither.
The piece emerged during a summer working as a dune ranger in the Curonian Spit Nature Reserve. It traces long walks across protected dunes between the Curonian Lagoon and the Baltic Sea, in heat and sandstorms that once buried whole villages, listening for what wind and shifting sand will shape next. Wind becomes both subject and composer, drawing “graphic scores” in sand and grasses that unfold into evolving texture and form.
The site also carries WWII memory: bunkers remain embedded in the terrain, offering resonant, enclosed acoustics. Materials gathered during conservation work became preparations for the kanklės, letting traces of the shoreline enter its timbre.    

Ruta Reu is a sound artist, composer and vocalist based in Vilnius, Lithuania. Her work explores the meeting point of sound, environment and emotion, drawing on field recordings, electroacoustic composition and experimental electronics. She graduated with an HND in Music from North East Scotland College (NESCol) and recently completed a BA in Electronic Music at the Lithuanian Academy of Music and Theatre. Her recent work includes sound for short films and audiovisual installations, as well as immersive multichannel pieces. Rooted in attentive listening, she shapes place, texture and feeling into immersive pieces.
     
https://on.soundcloud.com/MDmzUhELw2EfLtZ2Vy

2) Earrational Measures - 39 Alpha, 39 Bravo: The sound of detention’s economies      

39 Alpha, 39 Bravo tells the story of profit and exploitation within a specific immigration removal centre throughout 1 day, through data sonification. It is an uncanny journey through the 24 hours of Campsfield House Immigration Removal Centre (near Oxford, UK) in 2016, from the perspective of Pilo Moreno, the co-producer of this track and expert by experience. Pilo guides the listeners through a whole day in Campsfield House, retracing a generic day, a recurring and repeating sequence throughout the 5 months he spent there. In the background, and as part of the track’s rhythmical backbone, you will hear how much three different characters earned in one day back in 2016: the director of the private corporation managing the removal Centre, the custody officer working in the facility, and a detainee who is employed by the centre for menial duties. Through the juxtaposition of data-sonification, haunting sounds and first account    

Earrational Measures is a collaborative platform reimagining how data and stories are told and experienced through sound and music. By bringing together artists, journalists, and experts by experience, we transform data into sonic landscapes and shared musical creation. Our work exists at the intersection of investigative storytelling, lived expertise, and experimental sound design—turning statistics into sensory experience, personal narratives into collective composition.
We believe that sound can reveal what numbers alone cannot, and that the most powerful narratives emerge when we break down the traditional hierarchies between expert, subject, and artist.    

https://earrationalmeasures.bandcamp.com/album/39-alpha-39-bravo

https://www.instagram.com/earrationalmeasures/

3) Estefania Piñeiros - "Entre estados" & "¿Oyeron?"

These soundscapes form part of my research into the acoustic relationship between people and the Chimborazo volcano in Ecuador. Drawing on recordings made at different elevations, Entre estados (Between States) and ¿Oyeron? (Did You Hear?) work with the sounds of water and ice as they shift in rhythm, texture, and states of matter, treating these transitions as indicators of climate change. Voices of mountain guides and park rangers anchor these listenings in lived experience: climbing routes that are closed, meltwater arriving earlier, and an increasing climatic uncertainty that makes seasons harder to predict. This aligns with research on the vulnerability of Andean tropical glaciers, which receive higher solar radiation and are very sensitive to small changes in temperature or precipitation. Although Chimborazo’s glacier may disappear in the future, people find it difficult to imagine that this would also entail a loss of the mountain’s symbolic and mystical power.    

Estefanía Piñeiros is a transdisciplinary researcher working across the arts, humanities and social sciences. Her work explores the embodied, sensory experience of place and landscape. During her PhD in Cultural Studies at the University of Edinburgh, she combined walking, photography and mapping to examine how residents of Quito’s historic centre experience, narrate and imagine everyday urban space. Her current research extends these methods to high-Andean environments. Through ethnography, field recording and creative practice, she investigates how people perceive and engage with acoustic ecologies, asking what produces sound, how listening practices unfold, and how vibration shapes cultural understandings of changing landscapes.    

https://epineiros.ju.mp/
https://www.instagram.com/etsefiana/

4) Water Feature - Various Birds - brown yipper

A collection of somewhat convincing birdsong and foley created entirely on a small battery-powered drum machine. Many imaginary and fanciful 'species' including the Pond Bather, Golden Nuthatch and Brown Yipper are featured. A long-form sound collage of many species is the central work, and 'close-ups' are also included. In one sense the project is a sincere tribute to bird identification records and tapes one would find in garden centres in the 90s, of which the artists have a large collection. In another sense it is an uncanny objection to a contemporary relationship with nature that romanticises and objectifies it from a safe distance. The sounds have been sampled in records by other artists, used in an extended arrangement for an installation in the Jardin Des Plantes in Paris, presented with narration by a supposed ornithologist, and are played constantly via an internet radio station.    

Water Feature is a 'collage band' formed of several contributors, creating utopian, absurd and low-fidelity environmental(ist) music. There is a strong reactionary and naive spirit to the project which aims to replace lifeless, boring, synthetic ambient music with an alternative chaotic, colourful and organic musique concrète. Recording and composition revolves around improvisation with cheap gear, tape-splicing and other uncivilised practices and accidents. 3 records (including Various Birds) have been released through the DIY Morsels label/collective.      

https://variousbirds.net
https://morsels.website
https://www.instagram.com/morsels.website/

Friar Bacon is trying to make a statue speak. Alone with his books, machines and a patchy understanding of the human anatomy, he sets out on an arduous quest to synthesise the human voice. As he traverses the deep history of speech science, his experiments grow unstable, feverish and strange.

Points of Articulation is an experimental radio drama exploring the politics and poetics of synthesised speech. Based on an Elizabethan stage play about a scholar who makes a pact with the devil to make a brass statue speak, the piece explores a history of speaking machines and our changing attitudes towards them.

Artist bio:  
Seth Scott is a sound designer and composer who uses programming, writing, audio recording, and musical performance to explore the manifold relationships between sound and technology. His work takes a range of forms, including fixed media and concert music, sound installations, interactive mobile apps and performances. Seth’s work has been exhibited across the UK in venues including the Barbican Centre, Serpentine Gallery, Bloomberg Space, and BBC Maida Vale. He works regularly with visual and mixed-media artists, producing sound and music for films and installations which have been shown in galleries and film festivals worldwide.    

Website/social links:  
http://www.sethscott.co.uk

An audio postcard from Dundee - a c.30 minute, immersive sound walk through the city that invites listeners to encounter place through attentive listening. Hearing from the pavement, moving through streets and slopes, tuning into shifting acoustics and sensing the geological and ecological histories that shape the city along and back from the edge of the River Tay. Through layered field recordings, spatial positioning, and voice, it will trace Dundee’s clamber and climb - thinking to it's conflicting topography, taking us from tidal edge to volcanic hillside. Thinking of the ways that the Tay is both central, yet circumvents - the composition will sonically explore the tensions of proximity and separation, flow and obstruction, ascent and descent.     Artist bio:   dundee radio club [ddrc] is a space for sonic exploration; a space for gathering, for listening, for sharing sounds + opening ears. Through an annual marathon listening festival + ad-hoc online broadcasting, ddrc seek auricular connection through amplifying local voices + tuning to global vibrations. A quiet space for sounding out + an invitation for longer listening together. dundee radio club was founded in 2023 and is collaborative project hosted + produced by Becca Clark + Su Shaw.     Website/social links   dundeeradio.club (website) @dundeeradio.club (instagram)

For the first part in a new audio series focussing on the hills of Glasgow, sound artist Ruaridh Law and the voices of Rachel Robinson and Morag Law explore the area of Sighthill through fictional texts, non-fiction documentary, field recordings and original music.

Bio:  
Ruaridh Law is an artist and musician based in North Ayrshire, Scotland. Over 20 years he has performed in groups, in collaborations and solo across a wide range of festivals, arts spaces, venues and clubs as performer, improviser, DJ and artist. His mediums include sound and installation art, film and writing. His works have ranged from intimate audio performance and gallery installations to large-scale outdoor works combining sound walks, improvised performance and experimental storytelling. His artistic focusses are on data-visualisation, human voices and their stories, unusual paradigms for performance and composing, and marrying abstraction to a beating human heart. These have manifested themselves in a tarot deck that generates music, sequential stories told over film and radio, right-wing propaganda twisted and sanitised into more worthwhile content and a walk through a forest and its imagined mythologies in the dead of night – as well as countless CD, DVD, vinyl and other music releases. He runs several record labels and, more recently, No Roof Only Sky, a small press publisher.
 
ruaridh law / tvo / broken20 / no roof only sky. / logicofthesignifier
ruaridhTVO.com | broken20.com | noroofonlysky.com | logicofthesignifier.bandcamp.com

1 Leonardo Vita – Granciporro (4:58)      
2 Killer Estralandia – Guatemala (4:00)    
3 Chloe Cavender - Subway VLF, Cowcaddens to Buchanan Street (1:40)        
4 Andrea Laudante - Nel ventre (5:17)  

1) Leonardo Vita – Granciporro
Granciporro is an acousmatic exploration moving between the residual and the concrete, between the sound that carries the imprint of its source and the sound that rejects it. The source sound material is indeed divided into two categories. On one hand, concrete elements, taken from reality, recordings of everyday objects manipulated through spatialisation techniques and granular treatment. On the other, glitches, background noise, dirt, what is usually called ‘mistakes’. The title itself refers to this second definition: the granciporro (Cancer pagurus), is a type of Mediterranean crab on which the idiomatic phrase ‘catching a crab’, making a gross mistake is based. Mistakes, residues are thus now elevated to protagonists and the track becomes a celebration of error. The ‘noises’ become expressive material and emerge in a mutated form; the sounds of the machinic and the organic are interwoven in a residual, erroneous, fragmented, post-digital aesthetic of noise. 
 
Bio: Leonardo Vita’s artistic research concerns the relationships between the physical sound environment and the gesture-sound, explored through field-recording, prepared instruments, and graphic scores. The same themes return in his work as a composer and as an improviser, performing in Italy and abroad with various ensembles and as a soloist.
He participates in workshops, residences, masterclasses, and in projects of local and international scope, while active as musicologist and curator.    

2) Killer Estralandia – Guatemala
This soundscape emerges from field recordings captured during a journey through three Guatemalan cities (Guatemala City, Antigua, and Monterrico), exploring the intersection between natural and human-constructed sonic environments. The work documents how industrial development—motors, electrical devices, factories, highways—inevitably permeates rural soundmarks, reflecting contemporary tensions between ecology and human domestication of space.
Recordings from multiple perspectives—beaches, rivers, ferries, small towns, factory installations, churches, markets—create acoustic coordinates prioritizing temporal marking over geographical location. The composition weaves cultural testimonies: church bells as colonial heritage, voices documenting daily life, ferries symbolizing development intersecting nature, and factory drones generating strangely musical presences redefining "the natural."
The narrative transitions from natural to artificial and back, reflecting cyclical human-environment interaction that constantly deconstructs our concept of nature. Minimal post-production preserves recording authenticity while establishing sonic hierarchy and spatial depth.
 
Bio: Emilio Barriga Montoya is a sound artist, audiovisual producer, and educator based in Colombia. He holds an MFA in Sound Arts from the University of Barcelona. His practice operates at the intersection of sound experimentation, obsolete technologies, and expanded audiovisual narratives, with emphasis on generative systems, sound ecology, and immersive experiences. Under the moniker Killer Estralandia, he develops radical sonic territories through analog and modular synthesis, electronic component experimentation, and electroacoustic research. His work explores aesthetics of error, Latin American popular imaginary, and found materials from tapes and forgotten archives, articulating a poetics of noise that interrogates perception and memory.
https://killerestralandia.bandcamp.com/ / https://soundcloud.com/magneticfillia

3) Chloe Cavender - Subway VLF, Cowcaddens to Buchanan Street       
 ‘Subway VLF, Cowcaddens to Buchanan Street’ is a recording of the journey between two stations on the Glasgow Subway made with a VLF (Very Low Frequency) radio receiver. The receiver picks up radio waves far below the typical broadcast range. When used outside, it picks up radiation from the Earth’s magnetosphere, but when taken underground it picks up radiation emitted by the subway train’s motor, which changes sound as the train accelerates and deccelarates.     
 
Bio: As a fine art photographer, my work often deals with ‘the Photographic Condition’, using an understanding of historical photographic techniques to explore the history and the nature of the medium of photography. My current work explores the medium of radio as it relates to photography, because both involve the transmission and reception of electromagnetic waves, although the visible light waves used for photography occupy a very different part of the electromagnetic spectrum to radio waves. However, while photography relates to vision, radio is undetectable to our senses despite constantly filling our environment.    
 
https://chloecavender.com/ / https://www.instagram.com/chloecavender_photo/

4) Andrea Laudante - Nel ventre  
Nel ventre is one of the result of a residency I did in early 2025 at Sletness fyr, the northernmost continental lighthouse in the world. This project combines poetic text and field recordings to document the extreme experience of the Arctic winter. I explore the lighthouse as a solitary sentinel, capturing the sounds hidden beneath its steps and reflecting on the transition from human habitation to mechanical governance.  Realized with the support of the Goethe-Institut and Creative Europe.     
Bio: Andrea Laudante (Napoli,1993) is an Italian composer of electroacoustic music and multi- instrumentalist. His works have been performed across all Europe, Canada, Australia, South America, Taiwan, China and Hong Kong in festivals as Akousma - INA GRM (Paris), Forum Workshop - IRCAM (Paris), Totem Èlectrique (Montréal), Festival Futura (Crest),  Andrea has also been awarded the first prize of INA GRM Découvertes 2021, first prize of Totem Electroacoustic 2023, and a distinction mention for the fixed audio category at Prix CIME 2023 and  “Teresa Rampazzi” prime at XXIV CIM 2024 as part of the Totaleee collective.
    
https://www.andrealaudante.com/ / https://www.instagram.com/andrea.laudante/

5 Gregory Kramer - Late Shadows  (5: 50)  
6 Isis O'Regan – Confluence (5:50)    
7 Mélanie Métier - J'ai ramassé quelques brindilles (5:09)
8 Johannes Christopher Gerard - K33 (2:55)

5) Gregory Kramer - Late Shadows

Late Shadows was created during my time at Dyski residency, Composing with Tape, in Cornwall. The reel to reel tape loops I made flipped themselves inside out during playback resulting in a very different ambience from the original recordings. Rerecording them became the basis for this composition with some added piano and tennis racket.    

Gregory Kramer is an interdisciplinary artist and musician working with sound and space. He composes and performs using electronics, field recordings, found objects and traditional instruments, while also building sound making devices which transform found materials into instruments with new purpose. His work has been exhibited at Spain’s Museo Centro de Arte Reina Sofia, Belgium’s Site Specific, Mexico’s SONOM Sound Art Festival, Indonesia's Setia Darma Museum of Masks and Puppetry, Ecuador’s MUSLAB Contemporary Global Art exhibition and various online venues. He has album releases on Taâlem, MuteAnt Recordings, Pharmafabrik, Monotype Series and Impulsive Habitat.    

http://www.gregorykramerstudio.com
@gregorykramerstudio

6) Isis O'Regan – Confluence      

Ingredients of Confluence all come from the Cairngorms: recordings of birds, bells, and vibrations of the wind recorded via contact mics on wire fences all tangled with sheep's wool. Hugging them together are cello strings and fog horns. This is a response piece to Nan Shepherd's pean: The Living Mountain. It's a short score that evokes her love, and sometimes even lust, for the land. It traces a journey of stepping into the harsh elements, taking you to a moment of respite and inner calm. "I have walked out of the body, and into the mountain" - Nan Shepherd.
     
Originally from Galway, Ireland, and currently based in Glasgow, Isis O’Regan's creative practice stretches from sound art to poetry. Her itinerant radio series, Éisteacht Aisteach (translating from Irish as “weird listen”), recently premiered via NTS, and since has been hosted via 12th Isle's Forecast series. In 2020, she was the recipient of the BBC Arts and Arts Council England Current Transmissions grant, leading to the creation of sound art piece "Wet Cement" which was exhibited at the ICA and in 2024, she exhibited sonic work at the Engine Room, London.    

https://isis.cargo.site/
https://www.instagram.com/thenicestisis/

7) Mélanie Métier - J'ai ramassé quelques brindilles
   
In 2025 i have been surrounded by fire : in a few months two fires burnt my house, my garden and part of my district in Marseille. I started then a work around wind, fire and water, as elements that brings energies that overcome us but also opens new windows, getting out of anthropocentric points of view. Coming from documentary radio fields, the fire took me in a more radical sound approach, getting closer to music and fieldrecording, away from human voices. This electroacoustic piece, created to be played on the "acousmonium" of Cité de la Musique in Marseille, is a collection of sounds around me, fieldrecordings of simple things of the day-by-day life : the wind in the trees, the cook, the seaside. Melted together, they bring us to a journey along the fire. I light a match and a new word appears from the darkness.    

Mélanie Métier is an architect and sound artist. She taught herself radio techniques with Radio Panik in Brussels then joined the Radio Monobloc collective in 2020. She’s doing works combining architecture and sound creation. In her projects, she often integrates isolated, seldom heard people, which belongs to her creative process, particularly with health or social organisations. In her projects, MM pays attention to the coherence between the place, the approach and the creations they display, in particular by shifting our gaze, our attention, towards hidden places or to the edge of others.    

https://melaniemetier.com/
https://www.instagram.com/melanie__metier/

8) Johannes Christopher Gerard - K33
 
The work is based on personal experiences traversing the paths and rooms filled with trash and debris in a former conservatory building in its final days before demolition. The work seeks a dialogue not only with the physical waste, but also with the spiritual debris of abandoned ideas, thoughts, and feelings
 
Born in Cologne, Germany. He studied at Vocational College of  Printmaking and Design, Cologne, Germany and at the Dun Laogharie School of Art and Design (IADT) in Dublin, Ireland. Throughout his artistic career, he has lived and worked in various countries on five continents. He currently lives in The Hague, Netherlands. He only began exploring sound and electronic music in 2022, after participating in the sound project NEW EMERGENCES by German sound artist Anne Wellmer in The Hague. Since then, he has regularly participated in video, film, and sound projects, festivals, and radio programs worldwide.
 
https://www.johannesgerard.com/english/audiovisual/sound-tone/
https://www.facebook.com/johannes.gerard.3/
https://www.instagram.com/chrisger9/
https://www.johannesgerard-visualart.com/

9 Ham Tanid - packages (4:52)  
10 Frederico Pessoa - A Serra vai, deixando no meu corpo a paisagem (8:46)
11 Gabriel Barreto Acosta – Antrostatik (3:50)
12 Hector Bravo Benard - Una Cierta Dosis de Ternura  (5:28)  

9) Ham Tanid - packages

"packages" documents an improvisational live performance using Curabab, a modern adaptation of an Asian folk instrument, and classical guitar, processed through Max/MSP. The work explores “packages” as vessels of communication, reflecting on how humans continually reshape their mediums in response to environmental change. From ritual offerings carried by natural elements to electrical signals transmitted through technological infrastructures, communication evolves alongside shifting ecological and planetary conditions. These transformations are framed not as progress, but as adaptive responses to instability. Acoustic sources dissolve into synthetic, unstable, and glitch-like textures, mirroring ecosystems in flux and the unpredictability of mediated systems. The performance embraces responsiveness to space, atmosphere, and audience presence. Sound functions as an environmental archive, carrying traces of human, technological, and cosmic layers that we encounter while only partially understanding.    

Ham–Tanid Sintaratana is an electro-acoustic artist, guitarist, and composer whose practice connects improvisation with traditional music and Buddhist philosophy. Through live looping, computer music, and site-specific field recording, he explores sound as a spatial and experiential medium, creating immersive sound installations and performances. Notable works include the album “RhizomE x Ju Ju,” created in collaboration with the artist Lolay, which earned the “Best Asian Creative Artist” award at Taiwan’s Golden Indie Music Awards (GIMA) in 2023. Additionally, the track “Fragments” from this album was selected for presentation at Ars Electronica Forum Wallis 2025 in Münster, Switzerland, in 2025.    

https://hamtanid.wordpress.com/
https://www.facebook.com/hamtanidd
https://hamtanid.bandcamp.com/
https://www.instagram.com/hamtanidd/

10) Frederico Pessoa - A Serra vai, deixando no meu corpo a paisagem

 “A Serra vai, deixando no meu corpo a paisagem” is a sound piece that makes use sounds that remind us of (and partly belong to) the machines that undertake long and slow journeys across the global oceans: immense bulk carriers, metallic whales whose sounds fascinate the listener but which are also, paradoxically, signs of greed, destruction, and death connected to capitalism and to the flow of raw materials (entire mountains of ore) from the Global South to “developed” countries.
Brazil exports approximately 350 million tons of iron ore annually, with the main extraction center located in the State where I live, Minas Gerais.
The piece addresses these two themes: fascination with the grandeur of these vessels and amazement at the destruction and death they symbolize.

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.

http://www.fredericopessoa.net
https://www.facebook.com/frederico.pessoa.50/
@f__pessoa
 
11) Gabriel Barreto Acosta – Antrostatik

…static, an interview in China, propaganda in Uganda, static, a political ad in Ecuador, static, a sports commentator in New Zealand, a debate about Bad Bunny in India, an evangelical sermon in Italy, advice on pet care in Iceland, static, static. That’s what a knob moving across the Anthropocene era might sound like.
Antrostatik is a monthly radio experiment. Each episode is a ten-minute sonic capsule built from random fragments of broadcasts from different parts of the world. The pieces are generated through a system programmed in Pure Data that captures, mixes, and processes signals in real time, producing a radio exquisite corpse. In most cases, the mix will be slightly edited before transmission, although a fully live episode format is also considered.
Antrostatik proposes a meta-radio: radio made of radio, aiming to generate an archive of these human days.
A sample audio of the proposal is attached.
    
I am Gabriel Barreto Acosta, a musician, artist educator, and industrial designer, based in Madrid. With over 20 years of experience and performances both nationally and internationally, I have explored diverse forms of sound-based creation, combining percussion, sound synthesis, and programming in environments such as SuperCollider and Pure Data. My interdisciplinary work spans performing arts, installations, and education, with projects carried out in various regions of Ecuador, including the Galápagos Islands. Currently, I am researching experimental lutherie as a space to integrate my musical, technical, and pedagogical knowledge.    

https://gabrielbarretoacos.wixsite.com/osonoro
https://www.youtube.com/@orsogab
https://www.instagram.com/orsogab/

12) Hector Bravo Benard - Una Cierta Dosis de Ternura  

This piece is made up of sounds produced using different feedback techniques, including feedback frequency modulation and cross patching of envelope generators to produce chaotic micro-rhythmic patterns. It presents dense noisy material in a very condensed form, representing anger and resistance, but also a certain beauty that can emerge from chaos. The title is inspired by a Zapatista song, a section of which, loosely translated, reads: “It takes a certain amount of tenderness to see, in this darkness, a little bit of light.” It is dedicated to the Zapatistas in Mexico, to the people of Palestine, and to everyone who suffers under oppression and refuses to be erased from this world by the forces of capitalism and colonialism, and who still manage to find beauty, hope and love in the face of disaster and in the most difficult of circumstances.    

Originally from Mexico, studied philosophy and music at UVic, Xenakis Centre, Sonology, KonCon, Codarts, UNAM,  DXARTS, and U. of Birmingham, where he received his Ph.D. He composes sound-based music focusing on timbral and spatial elements, and natural phenomena such as non-linear dynamical systems. His work has been presented internationally at major festivals and conferences such as ICMC, SEAMUS, NYCEMF, MA/IN, BEAST FEaST, and Sonorities, among many others. Lives in the Netherlands and Germany, working as an independent artist, researcher, and music-software developer.    

https://www.hbbenard.com/

A series of pieces thematically stitiching together works presented on our 'Radio Commons: A Sonic Archipelago' web platform, showcasing the work of Radio Commons, and the artists we work with. Our methodology for creating these pieces reflects our archipelagic mentality, influenced by Edoaurd Glissant, using contexts of flowing and growing together to build  solidarity and collective agency for global artists and thinkers acting sonically to find new ways of working with the global commons. For example, one show might be entitled 'Counterflows' and would stitch together edited material by artists such as Blanc Sceol and Breakwater (Youngsook Choi and Taey Iohe) from the island of the same name- and from across our platfrom that engage with the context of water and fluidity. Other pieces in the series may take themes such as 'Island Dialogues', 'Sonic Worlds' or 'Fugitive Belonging' as starting points for new explorations of our archive.      

Artist bio:  
Radio Commons is an international, multi-lingual platform for sonic interventions, seeking to practice solidarity by building collective agency. Co-authored by a remote collective of artists and cultural workers in Palermo, Berlin, and Sheffield, the project is an experiment in commoning at distance, initiated during the lockdowns of 2020. It’s current manifestation - Sonic Archipelago - was brought into being in 2022 with support from Relais Culture Europe (Paris). Since 2022, the archipelago has grown through emergent relationships with Dancing On The Edge (Amsterdam), XMTR (Hastings, UK), Tarkib House (Baghdad), Small Theatre Festival (Rome), Radio Dopo (Palermo), with more in development.    

Website/social links   
https://radiocommons.org
https://radiocommons.org/island/counterflows/
Instagram: @radiocommons

The work is an experimental live radio broadcast from Stella's 24 Hour Eatery in Jersey City. The restaurant table forms the stage for a live radio broadcast, mixing together live audio and archival traces that are sifted through in real time while sitting at the table. The shuffle of transcribing sheet music, excerpts of voice memo song ideas from the early 2000’s played from an audio recorder found in a drawer, and recordings from practice sessions are opened and played back at the table. Folders of impulse responses gathered to make convolution reverbs from various acoustically interesting spaces are played through and merged into the live mix. The unfolding situation at Stella’s, passing conversation, drone of refrigeration, and repeated unanswered greetings bleed into the broadcast, becoming part of the piece. The result is a remote live stream from a 24-hour diner in New Jersey. Artist bio:   Elise Macmillan is an American artist and musician living in Norway. Her practice spans media, including sculptural installations, instruments, and sound works accessible as a telephone hotline.  Her work has been presented at The Lofoten International Art Festival, The Kitchen, NY, Rewire Festival, Festspillene i Nord-Norge, Shedhalle Zurich, Ella Lissey’s, Haus Der Kunst Oslo, Sandaker Trialektek, and Kunstnernes Hus. She is currently part of the group Three to Thee to the Heart, the duo Our Beethoven with John Andrew Wilhite, and the Norwegian artist collective Verdensteatret.       Website/social links  https://elisemacmillan.ee/ https://www.instagram.com/_____eeeeemacs

A Love Supreme is a rewrite of John Coltrane’s album of the same name. L — the three-piece rock band that can’t help but fall apart — attempts to hold together a choir of ten. Each performer wearing headphones, responds to private instructions.
Somewhere in the noise: A Love Supreme.

Recorded live at Glasgow’s Glad Café on the 2nd July, 2026. A Radiophrenia commission produced with support of Creative Scotland.

band/artist bio:

L are a Glasgow trio made up of vocalist/ card magician Jack Paton, guitarist Jack Mellin, and drummer Laurie Pitt. Together, they perform intense, dissociative music that combines Paton’s confrontational spoken word with Mellin & Pitt’s blistering take on metal, jazz, noise and art rock.

L are praised for their emotional live shows. Paton’s earnest vocals veer from cartoon-croon to body horror—set to the microsecond by Mellin & Pitt’s pinpoint shredding. Through explicit narratives and technical demolitions, L create a tragicomic theatre of existential pain and absurd freedom.

Five works about the pressures of air and water featuring original writing, music, field recordings and camera audio. The Storm God Sleeps An original short story narrated by myself with recordings of Storm Eunice and music by The Dave Howard Singularity. From the Deep An instrumental partly recorded live at Iklectik’s first space featuring train whistle, synthesiser, electric guitar, resonated strings and Rebeca Burden on cello. Handling Noise A work built entirely from found sounds of GoPro cameras moving, falling, flying through air and water and between hands. The Job An anonymous plumber speaks from memory about a finished job, featuring sounds from a camera thrown into the sea. The Courtyard A short piece of writing, original music played on a pump organ and recordings of an underground waterway. Sounds and text years apart, brought together. Milo Thesiger-Meacham is an artist and writer. Last year he published his first book, Audible Heat, on Tenement Press. This summer he was artist in residence at Asociația STOL, Bucharest. He is Artistic Director of the community radio stations Resonance FM & Extra.      Website/social links    https://www.instagram.com/_milotm_/ https://soundcloud.com/milotm https://vimeo.com/milotm

1 Junchang Zhang - It May Contain Something (3:52)
2 Alfredo Travieso – Alar (2:20)        
3 Kaya Joan - BOOMBOX OF THE EMPIRE EATER (3:06)
4 Keith de Mendonca - Slow Water (15:25)  
5 Alejandra Alarcón-Bautista - Dreaming of Water (5:09)  

1) Junchang Zhang - It May Contain Something
 
Junchang Zhang  isa sound artist from China and currently base in New Zealand. This sound work mainly talks about a kind of intimate feeling beyond language.
junchangzhang1105@163.com

2) Alfredo Travieso – Alar        
 
Sound experiment using editing, layering and electronic techniques.    
Alfredo Travieso  was born July 1, 1973 in Bogota, Colombia and was trained in film and arts. His studies include a Bachelor's degree in Communication Arts from Marymount Manhattan College, film directing and production at Parsons New School University, and numerous production collaborations with New York University's (NYU) TISCH School of the Arts film program. He currently resides and works out of the city of Miami, Florida. He has obtained his MFA at the School of Visual Arts: Art Practice program in New York city, where has exhibited work. In Miami, Alfredo has curated shows and runs @trashroom_gallery, he has also shown work in Philadelphia.    
 
https://www.instagram.com/zeligbot/?hl=en
 
3) Kaya Joan - BOOMBOX OF THE EMPIRE EATER
 
The empire eater is an trans-dimensional, intergalactic being. Upon their shoulder is a boombox, a tool for transmuting non-linear temporal networks of sound, sonically mapping towards liberated futurities through broadcast. The boombox in a historical context, is a tool of refusal. It is an amplifier of politicized sounds, transforming bodies and space; a disruption, a rerouting of attention, a remixing, a portal into possibility. The empire eater carries these legacies, deeply rooted in philosophies of hip-hop and subcultures of guerilla radio, on its shoulder. Piecing together audio from web-based and personal archives, as well as sounds created with digital instruments, this piece explores, what is The Empire Eater amplifying across radio waves? As borders are abolished, what is the broadcast for the fall of the empire? What is transmuted, drawn together, and collaged, across time and space, to archive this process of simultaneous collapse and emergence?      

Kaya Joan is a multi-disciplinary Afro-Indigenous (Vincentian, Kanien’kehá:ka, Jamaican, Irish) artist born, raised in Toronto, currently based in Tiohtià:ke (Montreal) un-ceded Kanien’kehá:ka territory. Kaya’s practice explores archival practices, relationship to place, storytelling, Black and Indigenous futurity and creation stories-deeply informed by temporal geographies and radical ancestral practices. Kaya has been working in community arts for 7 years as a facilitator and artist, engaging in collective practices of creation and world-building to unpack and explore themes of identity, land and community. Kaya is currently pursuing an MFA in Intermedia Arts from Concordia University.      
 
https://kayajoan.com/
 
4) Keith de Mendonca - Slow Water

This piece uses audio recordings of water - pouring water, a hydrophone recording of ferries in Helsinki harbour, jetties flexing in Bangkok and the Thames to respond to the tide. Dripping taps in Malaysia, wind blowing across a boat's mast by the sea. Many of the recordings are slowed down in software to allow new rhythms and elements to emerge. You are 60% water. Is this you?      

Keith de Mendonca took his first tentative steps into field recording in 2000 and since then he has been a contributor to the long-running radio show “Framework” on Resonance FM. His audio recordings have been aired on the ABC, BBC, ORF and other radio stations worldwide. Keith’s work has been used in the soundtracks of experimental films, appeared on CDs and been the subject of a DivFuse installation in London. For the last 2 years Keith has also been photographing live music events in London.

https://frameworkradio.net/tag/keith-de-mendonca/
https://soundcloud.com/keith-de-mendonca
https://www.instagram.com/keithdmphoto

5) Alejandra Alarcón-Bautista - Dreaming of Water  
 
Due to the war and energy shortages, Germany has chosen to increase its coal imports from Colombia to enhance its energy supply. El Cerrejón, located in Colombia, is the largest open-pit coal mine in South America from which part of Germany's coal is extracted. Unfortunately, the extraction of this raw material has not only severely decimated the local population, displacing them from their land and violating their human rights, but has also led to the displacement of entire rivers and contamination of water sources in one of the country's most arid regions. What is the true cost of Europe's industrial progress? "Dreaming of Water" is a collage of mining sounds in the Guajira region where this extraction is happening, contrasted with the natural soundscape that it's been destroyed.      
 
Alejandra Alarcón is a Colombian artist who studied Fine Arts at the Universidad Nacional de Colombia and Media Art at the Academy of Media Arts in Cologne. In 2017, she moved to Berlin to pursue studies in Stage Design and Scenic Space at the Technische Universität Berlin, where she completed her Master of Arts degree in 2019. Since then, she has been living and working in Berlin, collaborating with other artists in the theater and performance scene while also developing her own audiovisual projects, which focus on decolonial practices.      
 
https://www.instagram.com/maalarconb/
https://www.behance.net/maalarconb

1 Thomas Finbarr - Real Stupidity (7:50)    
2 Sam Hawkins - Bee Count: A Mancunian Soundscape (07:04)
3 LANE/LOUISE – interlaced (13:44)      

1) Thomas Finbarr - Real Stupidity  

After having suffered a major hard drive failure, attempts to recover the original sound files of a piece I had been working on resulted in a folder full of mangled wav and aiff files.
I have used some of these mangled files to create this piece. The title of the piece is "Real Stupidity" the opposite of Artificial Intelligence and a referenec to not backing up files properly.    

Having studied Sound Design at Edinburgh University I have created several sound pieces of which Real Stupidity is one as well as sound artworks in Madrid, Perth and Barcelona where I am currently based      

2) Sam Hawkins - Bee Count: A Mancunian Soundscape

Welcome to Manchester, a hive of activity. Here, the worker bee is emblemic of the city's industrial past and sense of community. 'Bee Count' introduces a binaural soundscape that was recorded in Castlefield Bowl in 2025. In this central location, you can enjoy all kinds of sounds, including the whining, rattling trams and trains passing on the viaduct overhead.

Interested in biodiversity and the changing climate, I have sonified data from BeeWalk surveys over a 15-year period. This piece has linked count data for the most common bee species in Great Britain to volume. Each bee species has a unique pitch: a manipulated sample recording of the Manchester tram toot. The result is a musical pulse: the number of bee sightings rising and falling over the weeks, months and years.

Sam Hawkins is a sound artist based in Manchester, UK. His main interests are oral histories, spatial audio, and data sonification.    

https://www.instagram.com/thisissamhawkins/

3) LANE/LOUISE – interlaced      

frequencies capturing the dense ambient soundscapes of winter, interlacing digital piano distressed by audio effects, atmospheric electromagnetic interferences with diy receiver, walk and traffic field recordings, and a homemade acoustic-based instrument built with household resonators, played with a bow and mediated by time-based effects.
     
LANE/LOUISE is a duo based in Tkaronto/Toronto, Canada/Turtle Island consisting of amateur musician and group drone collaborator, CORINNE and her longtime partner, artist and musician CHRIS who also performs as IDERDOWN, a one person electronic, ambient, experimental act, and who forms one third of the band WITHIN.
     
https://soundcloud.com/lanelouise
https://www.instagram.com/iderdown13/
https://www.iderdown.com/
https://www.youtube.com/@iderdownmusic

“Between two rivers: a journey into the mind of the land/Rhwng dwy afon: Taith i feddwl y tir” is a radio artwork in English and Welsh, realised close to the sources of the rivers Severn and Wye, in Ceredigion, Wales. These give this area a unique character which is reflected in terms of linguistic diversity, with dramatic and imaginative extrapolations and quasi-mythic content. Moving between the palpably real and the clearly ideal, this broadcast combines interviews with local inhabitants, dramatic monologue, new music and field recordings. It’s made by Ed Baxter (Resonance Radio Orchestra; Statue of Liberty Big Band; BASCA Composer of the Year 2013 etc); Steffan Cennydd (Theatr Cymru’s “Romeo a Juliet” 2025; Criminal Record; Gwledd; Craith; Yr Amgueddfa etc); Richard James (Evolution of Beauty; Hotel Et Al; Gorky’s Zygotic Mynci etc); and Michael Umney (Gold Award Winner, New York Festivals Radio Awards 2025; Winner, URTI Radio Grand Prix 2024 etc). It features Dan Craig, Sandy Craig, Neil Haymer, Dewi Roberts and members of Tai Haf Heb Drigolyn. Thanks to all at The Haning Garden, Llanidloes, Amanda Thesger and Tim Meacham. Supported by The Colwinston Foundation, Hinrichsen Foundation, The Leche Trust and Unity Theatre Trust. This special mixdown for Radiophrenia has been prepared by Ed Baxter.

SPDM is a collaborative hard drive excavation, a free-associative remix of our recent media consumption. A high velocity conversation through film, music, field recording, social media detritus - anything that can be stored as an audio file.       Artist bio:   SPDM is an ongoing collaboration between domingo castillo flores and Jeremy Segal. Using free-associative sound collage as their primary method, SPDM explores sound, meaning, and circulation through radio, performance, and music production.   SPDM improvises live remixes of their recent media consumption once a month on 90mil Radio. In December 2025 they presented The Merve Tapes on Cashmere Radio, a six-hour broadcast and accompanying zine exploring a collection of cassettes housed at Diffrakt Centre for Theoretical Periphery.   SPDM has recently performed (under various monikers) at Bar Neun, Roter Salon, and 90mil. They are currently working on a studio album.

‘Communing with the dark’ is a text-based sound work set on an unnamed island, inside a stranger’s home. In this first chapter of the work, we encounter our protagonist on her journey to the island by boat. A journey which is by no means linear, interjected with dream sequences, seascapes, portals to the past, veils of the otherworldly, and blockages across time and space. The text-based performance is accompanied by a soundscape comprising a collage of field recordings, tape loops, and haunting drones.

‘Communing with the dark’ is an audio work that explores emotional transference through maternal family lines, physical, psychological, and spiritual blockages, and the roles that nature, (emotional and physical) distance, landscape, and the otherworldly can play in the processes of non-linear healing.

Text by Amy Gowen, sounds by Andy Norstrom.    

Artist bio:  
Amy Gowen is a writer and editor based in Rotterdam NL, originally from Hereford UK, who works with text-based practices across the mediums of writing, publishing, radio, and curation. 
She works for School of Commons, a peer-learning alternative education programme, and co-founded the commons-informed publishing project HumDrumPress. She runs the writing and radio project Off Margin on Substack and Radio Worm, dedicated to interior and exterior reading and writing lives, and text that moves off the page.
In her spare time she writes experimental and literary fiction.
     

Website/social links  
https://www.instagram.com/off_margin_/
https://substack.com/@offmargin?utm_source=menu
https://www.instagram.com/amygow/
https://www.instagram.com/andy.norstrom/

Amongst brooding electronic drones, and discordant strings, the voice of a tree with low self-esteem tells of a tree-loving human called Franz, who leaves letters at her base and has entered her dreams of self-oblivion.      

Artist bio:  Paul Rooney is an artist based in Liverpool who makes installations, videos, and records, all with writing as their common basis. He has shown work at Tate Britain; Tate Liverpool; BALTIC; The Arnolfini; and Whitechapel Gallery; and has exhibited internationally at places such as Museo Tamayo Arte Contemporáneo, Mexico City; Centro Andaluz de Arte Contemporáneo, Seville; Kunst-Werke, Berlin; and Museo Nacional Centro de Arte Reina Sofía, Madrid. Paul Rooney’s sound work has been broadcast by John Peel (Radio 1), Ian McMillan (The Verb, Radio 3), Huw Stephens (Radio 1), Stuart Maconie (6 Music) and Tom Service (Music Matters, Radio 3).    

Website/social links  https://www.paulrooney.info/

A radio piece exploring inaudible nighttime ecologies and acts of surveying, using recordings I have taken over the past years from my job as an ecological Bat Surveyor for development projects. During the surveys we communicate through handheld radios, sharing observations and information about what we are listening to as we locate bats emerging from buildings and using the spaces surrounding them. Through different dimensions of listening taking place - through bat detectors transposing ultrasonic echolocations, through radio's listening to surveyors recount observations and daily life, and new musical constructions, the piece explores the thresholds of (in)audibility, between species, acts of taking care and making sense of the night. 
 
Artist bio:  
George is a multidisciplinary artist and spatial researcher. His work engages with acoustics, ecology and other-than-human accountability. George’s practice investigates and aims to create systems of meaning that communicate alternative forms of orientation, interconnectedness and intimacy within the context of an ecologically damaged planet.
 
Website/social links  
Link to bandcamp: https://fallow-fallow.bandcamp.com

Somewhere between performance lecture and score, Dung Wharf/Mount Pleasant is a new piece conceived for radio by Rory Salter and Ash Reid, a play that will imagine itself at the annual World Wormcharming Championships, just outside the market town of Nantwich, Cheshire. Following the rules of the contest, with 30 minutes to charm as many worms as possible out the ground without any form of digging, the piece will extract, via the inanimate characters of the wormcast and the miasmic cloud, the relationship between urban planning, land restructure and notions of ‘the civil’. Asking why, in a period of ongoing austerity, enclosure and privatisation, there continues to be an increased focus on ‘rewilding’ council-owned plots of green space in Britain, Dung Wharf/Mount Pleasant will use the various histories and rhythms of communal production to investigate these contradictions from the bottom up. A play for 4-5 players.    

Artist bios:  
 
Rory Salter is based in London, working mostly with sound and performance, as a musician and sound technician. Recordings are available via Index Clean, TEETH, Research Laboratories, Zoomin' Night & others. 
 
Ash Reid is a performer and writer, currently finishing a PhD researching feminist film distributor Cinenova, and its relation to film and video production and national identity in Britain. Her work uses historic layering as a compositional practice to think about contemporary rituals of work and instances of revolt, through their specific sounds, texts and rhythms. She is a member of oral history collective MayDay Radio.

Website/social links  http://www.rorysalter.online/, https://audio.maydayrooms.org/

Figures in a Landscape is a 12-hour 15-minute radio work telling the story of an environment gradually becoming conscious of itself. As listeners dip and out, they visit a world both familiar and alien, science and fiction. Much of the sound derives from a long duration recording of an installation presented in September 2025. In both works, synthesized and recorded sounds are shaped and modulated by real-time streams of seismic and geomagnetic data from the Eskdalemuir Seismic Observatory in the Scottish Borders. Rather than ‘map’ data in a rational way, sounds are floated upon or textured by it, as the boughs of an oak are floated by an unseen breeze and dappled by streams of sunlight falling upon them through taller trees. 25 paragraphs about Figures in a Landscape are added in voice-over, describing a recent visit to Eskdalemuir and other, quite varied, reflections.      

Artist bio:  
Jorge Boehringer is a composer, artist, and writer who explores texture and time, creating sonic ecosystems from natural forms, processes, and patterns. Based in Newcastle-Upon-Tyne, Jorge works as an itinerant artist and interdisciplinary researcher, specialising in spatial audio and data sonification. He studied composition at the Centre for Contemporary Music at Mills College with Pauline Oliveros, Fred Frith, and Alvin Curran, and in workshops with Allan Kaprow, Paul DeMarinis, Maryanne Amacher, and Gordon Mumma. He received a PhD from the Centre for Research in New Music at the University of Huddersfield where he studied with Bryn Harrison and Peter Ablinger.    

Website/social links   
https://coreofthecoalman.bandcamp.com/
https://www.jorgeboehringer.com/
https://ongrowthandform.bandcamp.com/