Thu 17

Slipping quietly through slumbering city streets listening to the intense whispered tarmac dreams and the quiet concrete mumbles. "I stood here, and saw before me the unutterable, the unthinkable gulf that yawns profound between two worlds, the world of matter and the world of spirit; I saw the great empty deep stretch dim before me, and in that instant a bridge of light leapt from the earth to the unknown shore, and the abyss was spanned.” Arthur Machen With additional elements by Cecily Devine and Xanthe Horner    

Artist bio:  
The Spectral Transmissions Research Unit is a collaboration between Ben Branagan and Luke Pendrell dedicated to constructing, receiving and transmitting Spectral Assemblages, Producing both temporal artefacts and modes of experimental cognitive practice.
Each transmission develops through Spectral Assemblage, where fragments of everyday life gather in stochastic accumulators of latent potential, forming temporary constellations of association and alignment. These fluid states of indeterminism generate unexpected configurations, Denkinstruments enabling alternative modes of thought and meaning.
Before transmission, assemblages are collapsed or fixed. Broken symmetries crystallize into temporal moments. Fluidity is sacrificed to enable closer inspection of the encoded relations and emergent entanglements.
    
Website/social links   
https://theeluddpuca.cargo.site/
https://benbranagan.co.uk/
https://soundcloud.com/spectral-transmission

No Longer a Horizon: The Decadence of Rocky Flats is a three-part radio collage mining the contaminated legacy of Rocky Flats, a Cold War plutonium facility northwest of Denver, Colorado. From 1952 to 1989, 70,000 nuclear triggers were assembled by hand, polluting the surrounding grasslands with plutonium that persists across a half-life of 24,000 years. Through accounts given by whistleblowers James Stone, Jacque Brever, and activist Daniel Ellsberg, the work plots Rocky Flat’s violence onto bodies, ideology and environment. Part I examines worker disablement and safety abuses, Part II probes nuclear proliferation debates against the psychosis of obliteration and Part III considers the AEC's 1972 buffer zone proposal as Denver's population swelled. Combining oral histories, field recordings, and a toxic alpine desert score, No Longer a Horizon traces how 'wastelanding' renders landscapes and communities expendable.      

Artist bio:  
Charles Ballas and Conor Walker run the Obsolete Future cassette imprint. Their friendship began in a Colorado basement radio station, producing the outer jazz programme Spirits Rejoice! As Ouse, they released The Imitation of Nature (Somatic, 2017) and the compilation Bladder by the Light (Obsolete Future, 2022). 
 
Charles' projects include Dyad, Wolf Eyes, Royal Trux and Howling Hex. 
 
Conor is an AV archivist, field recordist and broadcaster, currently transmitting Member Ship Card on Radio Buena Vida. Previous collaborations include Walker Harris English with Thor Harris and Lawrence English, and Long Meg & Her Daughters.    

Website/social links   
https://www.obsoletefuture.com/
https://aporee.org/maps/work/projects.php?project=allnotesoff
https://buenavida.co.uk/member-ship-card/

Myself and Seth, travelled days down from Marrakech to meet our musician friend Sofyane in Zagora, and then all together we drove through the Sahara to Festival Taragalte, in Mhamid. The work that I put together is a mixture of field recordings that I took, and recordings of the poetry that Seth wrote on the journey. Without knowing Sofyane, and having a connection with him through the warmth of our friendship and love of desert blues, this sound piece would not exist. A recording of him singing and playing the guitar is part of the piece. Seth says, 'this is our ode to Morocco', from the winding medinas of Marrakech, and Jamaâ El-Fna, to the vibrations of sound in the burning dunes of The Sahara. A celebration of music, craft, tradition and the elemental gathering and movement of people under the sky. With love, to Morocco.    

Artist bios:
  
Ali sha Sha is a Glasgow based songwriter, and guitarist, who's music calls attention to the themes of ecology, importance of community and friendship and the existential.
 
Seth Hannah is a Glasgow based romantic, absurdist, poet and artist, whose work explores the themes of love, memory, grief and mental illness.
 
Sofyane El Yazioui, is a Zagora based musician and painter. He gathers meteorites from the desert, and plays the traditional music of Zagora. His playing style is sensitive and complex, and I hope to help him release some music.    

Website/social links  
https://www.instagram.com/ali_sha_sha_/
https://www.instagram.com/s.hann.eh/

The 2025/6 Conduction Series   Sustained Fallout 7/4/2025 August Black, Peter Courtemanche, Jeff Economy, Jimmy Garver, Maximilian Goldfarb, Virginia Mantinian, Rodrigo Ríos Zunino    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/

1 Nichola Scrutton - Lateral (11:15)  
2 M. Cristina Marras - Incantation for Restoring Democracy (4:50)
3 Akari Komura - drops and a breeze (7:44)
4 Kg Augenstern– Gravefieldsounds (3:31)  

1) Nichola Scrutton - Lateral

Lateral was originally commissioned for High-Slack-Low-Slack-High – a suite of audio works relating to the Clyde River curated by Minty Donald for GI Festival of Visual Art 2012. Subsequently, I created a studio version of the work, which has been broadcast internationally.

The starting point for the work was the idea of a ‘Lateral System’ - a system of navigational aids comprising shapes, colours and numbers, used to guide boats up river channels into ports and docks. River water sounds, place names, info from tidal charts and signal/radio sounds serve as signposts, rooting Lateral in the real world. But the flow of water and rhythms of a vocal landscape contribute to a sense of multiple spatial and historical resonances, and to ideas of flowing with and against the current.    

Nichola Scrutton is a composer, artist, performer, and facilitator based in Glasgow.    

https://www.nicholascrutton.co.uk
https://nicholascrutton.bandcamp.com
http://eepurl.com/gihZh9
IG: @nic_scrutton
BS: @nicholascrutton.bsky.social

2) M. Cristina Marras - Incantation for Restoring Democracy

This piece reflects a journey from witnessing US events and feeling powerless to taking creative action. As an independent audio producer living in Sardinia (Italy), I could not make sense of my desperation while witnessing ICE violence in Minneapolis. I was horrified, so I decided to channel my energy into creating an incantation, using my skills to feel less powerless. This piece aims to be cathartic resistance and magical defiance against oppression. I used the only weapon that I have, my creativity, as a tool to denounce horrific realities and, hopefully, inspire other creators to use art for activism to contribute to change. Please note: The protest sound at the end has been recorded in Minneapolis, used courtesy of stevevader101 -- https://freesound.org/s/841767/ -- License: Attribution 4.0    

I'm an indigenous Sardinian from an island that pushed me to travel young (10 years in Germany, 20+ in Australia), then back home. Moving through cultures sparked my fascination with how memories shape places and how sound shapes memories and belonging. Working at national radio during the podcast boom let me experiment with immersive sound narratives. Now an independent producer, when I'm not playing the hustle game, I use my time collaborating with fellow creators worldwide, using audio to weave connections between people, places, and experiences.    

http://www.cristinamarras.com
https://www.linkedin.com/in/cristinamarras
https://www.instagram.com/addressapproximate
MY PORTFOLIO
https://www.canva.com/design/DAG8C0iwIu4/apRjKmGPkXcCNDmKaONAUg/view

3) Akari Komura - drops and a breeze

Synopsis of piece:  The work narrates the logs of a week-long diary individually documented by the performer, Natalia Merlano Gómez, and by myself as the composer in March 2024. The dual texture of voices and daily records amplifies the intimate, subtle, and personal observations of everyday life.    

Akari Komura (b.1996) is a composer-intermedia artist from Tokyo, Japan. Her works center around contemplative mode of listening and soundmaking. She is interested in calling attention to the everyday space and blurring the boundaries of individual/collective, life/art, and performer/audience relationships. Her works have been presented at the American Composers Orchestra EarShot Reading, Composers Conference, HEAR NOW Music Festival, and MATA Festival. She holds an M.M. in Composition from the University of Michigan and a B.A. in Vocal Arts from the University of California, Irvine. Akari is currently a Ph.D. composition student at the University of California San Diego.    

https://www.akarikomura.com/
https://www.instagram.com/sonichabitat/

4) Kg Augenstern – Gravefieldsounds  

In the last years, Kg Augenstern focused on energetic experimental art projects. The artists stayed in the island of Pantelleria (Italy) for two months in early 2024 and again in Winter 2025. Due to it's volcanic activity, Pantelleria is said to have strong electromagnetic fields. Kg Augenstern did a research at different places about this earthmagnetic power. With very sensitive sensors especially made for this purpose, they measured the electromagnetic radiation and the impact of art and rituals on it. On one of our first walks on the island, we passed along a place with four empty stone graves. We found out that they date back to around 700 a.d. when byzantine christians settled on the island. It is very likely that monks from the nearby monastery were buried here. Gravefield sounds is the recording of the sounds while measuring the magnetic field on this graves.    

Kg Augenstern Christiane Prehn and Wolfgang Meyer (Berlin) Kg Augenstern works in the field of audiovisuall/ audiokinetic installation, performance and video.
Solo exhibitions: - Heaven can't wait, research and exhibition, Messina, Italy (2025) - Knocking on heaven's door, research and exhibition, Pantelleria/Catania, Italy (2024) - A ghost refuge, Installation and performance, Dalarna, Sweden (2023) - Nowhere Land, Installation, Gallery Hosek Contemporary, Berlin (2021)
Group exhibitions:
- Knocking on Heaven's Door, Installation, selected project, Larnaca Biennale, Cyprus (2025) - Sceccu, ritual object, Art Figura, Germany (2025) - A ghost refuge, LoosenArt Rituals, Rome, Italy (2025) -      

http://www.kg-augenstern.com
https://artfacts.net/artist/kg-augenstern

5 VIRID and David Minnix - Slow Images III. River Rocks I (5:24)    
6 Oronnok Prithibi - Moss Beneath the Concrete (3:02)    
7 Olivia McCannon / Glenn Keiles – Scroll (2:26)
8 Isidora Kauak - Domestic Seánce (7:53)        
9 Night Wire - Housel Bay (9:50)
10 Jey Wang- 你在听吗 (Are You Listening?) (3:00)  

5) VIRID and David Minnix - Slow Images III. River Rocks I
Slow Images, an experimental work for percussion, electronics and modular synthesizer, explores memory and sensations of texture through imagery. Each movement contains structured improvisations written in response to images with distinct characteristics. The photos were collected and compiled by the group and depict personal instances of fleeting encounters with striking environments. One finds that the longer they gaze at one of these photos, the more intrigue it offers, thus giving the record its sense of endless peculiarity.      
Based in Southeast Michigan, VIRID explores the space in between electronic music and classical percussion. Amorphous yet always compelling, the duo is committed to experimentation, incorporating a blend of songwriting, electroacoustic production, and improvisation into their unique sound worlds.
 
David Minnix is a composer, performer, producer, and instrument designer based in Ann Arbor, Michigan. David has a passion for writing for and performing with the modular synthesizer, livecoding improvised music with Tidalcycles, and creating new musical instruments out of salvaged electronics. David's work combines electronic and acoustic improvisation and seeks to create organic textures from synthetic parts.      
https://www.instagram.com/virid.duo/
https://www.instagram.com/minnix_xinniw/
https://virid.bandcamp.com/album/slow-images

6) Oronnok Prithibi - Moss Beneath the Concrete    
A sound work that represents the moss beneath the concrete of our society. How the urbanization suppressed nature and the echo is still there beneath the ground.      

Oronnok Prithibi is a sound artist and film sound designer.      
https://www.instagram.com/oronnok.prithibi/

7) Olivia McCannon / Glenn Keiles – Scroll
'Scroll' is a sound piece grown out of a poem from The Lives of Z (Pavilion Poetry 2025) and a collaboration produced by sound designer Glenn Keiles.
I turned to sound to create after-lives for the poems, to keep them moving and retranslate their presence beyond the page. If a poem is owned by the cyclical, recycling energies of Earth, how might it decompose and transform?
Each of these poems is speculatively imagined as an object or artefact unearthed from an environment in which humans are a toxic trace, a remixed memory or a misplaced presence. They respond to a need to imagine alternative ways of being, with and within the extractivist ruins of English, and the landscapes and lives it has shaped and devastated.
This sound project-in-progress seeks to question the place of human authority and offer poems as polyphonic experiences, whose voices belong to complex human and more-than-human soundscapes.
Olivia McCannon is a writer of poetry and fiction and an emerging sound artist.Glenn Keiles is an experienced composer and sound designer who has worked with the poet Tony Harrison, among many others.
Instagram: Oliviamcc (occasional posts)
 
8) Isidora Kauak - Domestic Seánce
Domestic Séance is a piece that forms part of the project Espíritus Domésticos, an artistic research project that addresses spiritualism in Chile from both a historical and contemporary perspective, emphasizing the domestic space as an essential site of mediation and communication with the invisible. Drawing on the study of spiritualist practices developed primarily in the nineteenth century, the project examines the home as a territory where the private and the public intertwine, and where women played a central role in activating these practices, generating spaces of autonomy, knowledge exchange, and forms of collective experimentation.
The sound piece is composed around a mantra-like rhythm, integrating sounds of double bass and sitar, whispers, domestic sounds, archival recordings, and hidden messages embedded in the voices of deceased family members.    

Isidora Kauak Aguad is a Chilean visual artist and researcher, born in Santiago, Chile, in 1995. Her practice is situated at the intersection of contemporary art and theoretical research, with a particular emphasis on the study of Western Esotericism and its manifestations in contemporary artistic creation.    
http://www.isidorakauak.com

9) Night Wire - Housel Bay
Night Wire is an ongoing project examining the hidden electromagnetic soundscapes of our world. Housel Bay is the first in a series of location-based pieces, recorded in Cornwall via conventional and software-defined radio, near the site of the first transatlantic wireless transmission. Early spiritualists and engineers alike considered radio a means to communicate with dimensions beyond our own. Cromwell Fleetwood Varley, one of the engineers responsible for the first Atlantic telegraph cables, thought it could be used to listen in to the conversations between angels. In the present day we are suffused by signals that help us navigate, keep our watches running, open doors for us and keep track of our devices. At Housel Bay sing wave data buoys, submarine communications, radar and digital data modes, while the lighthouse foghorn sounds from cliffs shrouded in cloud. There are plenty of ghosts to be heard.    
Emmy Lambert is a composer and sound artist focussed on textural, timbral and spatial explorations in sound. Her practice incorporates technical and cultural research, data sonification, field recording, acoustic and electronic instruments, collaboration and installation and considers themes of perspective, technology, humanity and the natural world.    
http://www.hothousediscord.com
@hothousediscord
 
10) Jey Wang- 你在听吗 (Are You Listening?)
This artwork explores encrypted testimony as a form of self-protection performed through everyday speech. Fragments of casual conversation between women appear light, yet certain phrases function as signals recognisable only to those with shared experience. Laughter operates as a public surface, allowing difficult material to circulate without direct exposure.

The work shifts between synthetic voice, sparse dialogue fragments, and processed water textures. Two voices reading the same text in stereo operate as repetition rather than emphasis, acting instead as a form of verification. As the piece develops, layered water sounds expand into a masking field, gradually overwhelming intelligibility and destabilising meaning.

The composition treats listening as a passage from private whisper to shared acoustic space. Voices do not seek visibility or confession; they move carefully within the public field, testing whether a listener exists who can recognise the signal without turning it into spectacle.    

Jey Wang is a London-based sound and multimedia artist and a graduate of the University of the Arts London. Working across recording, text and installation, her practice focuses on listening, emotional perception and the instability of everyday speech. Through fragmented audio and minimal structures, she explores how gendered experience, migration and belonging shape inner states and public communication.

1 Martha Riva Palacio Obón - khthónios - invocación (5:04)    
2 Borja Flames & Barbara Dang - SOY TIERRA (I am earth / I am land)- Datos / Data (4:33)
3 Jessy Dulheuer Bliah - Là où elle se tient / Where She Stands (11:36)
4 Matteo Zoppi and Tommaso Cappelletti - This Goes Against Our Community Standards (16:41)

1) Martha Riva Palacio Obón - khthónios - invocación

Interspecies hymn built from the digital mix of crickets chirping and human vocalizing in different frequencies. khtonic spirits that decompose and regenerate the compost - underworld, creating with their bodies the cyclic rhythm of life and death. Microscopic, inefable transit. Invocation: to bring back through sound an ancient bestiary in order to recreate a fragmented and spectral testimony, of those who once inhabited this wounded planet. Khthonios, from earth.    

Martha Riva Palacio Obón is a Mexican author and interdisciplinary artist. She studied a BA in psychology and a MBA in visual arts. Her sound essays have been presented in spaces such as Tsonami, Sur Aural, soundpedro, prior editions of Radiophrenia, the Center of Complexity Studies (UNAM) among others. She's the human behind Sono-bot, a non-human entity that generates an infinite inventory of problable and improbable sounds in Bluesky. Among her published works are Liquen amonita, El mono infinito and Amor virtual con variaciones.    

https://www.instagram.com/balighieri9/
https://bsky.app/profile/sono-bot.bsky.social

2) Borja Flames & Barbara Dang - SOY TIERRA (I am earth / I am land)- Datos / Data    
(poem by Maricela Guerrero - Mexico)

Barbara Dang (France) plays prepared piano. Borja Flames (Spain) speaks/sings and plays electronics.
We have composed this pieces together, and they are part of a 9 tracks album recorded in june 2025, not yet released.
This collection of pieces go under the name SOY TIERRA (I am earth / I am land), and are based on contemporary latin-american and spanish poems. The poems explore the relationship between the body and its environment and society, ranging from metaphysical introspection to earthly and cosmic thought, and narratives of interpersonal relationships, love, and desire—the driving forces of life and purpose.

Spanish composer and singer Borja Flames lives in Normandy, France. Has published several solo albums, and collaborated with Marion Cousin, John Greaves, Areski Belkhacem and many others. Pianist, composer, and improviser Barbara Dang lives in Lille, France. Has worked with Sophie Agnel, Ensemble Dedalus, Tom Johnson, Radu Malfatti, Michael Pisaro, Halory Goerger, David Boinnard. They both tour often in France and Europe, together, solo, or with their different projects. More info in the website below.    

https://www.muraillesmusic.com/artistes/borja-flames-barbara-dang-soy-tierra/

3) Jessy Dulheuer Bliah - Là où elle se tient / Where She Stands

Composed from the sounds of objects, recordings of a double bass, and voices, this piece is punctuated by crescendos in the intensity of a sonic environment that "she" must resist. "Where She Stands," where she does not falter, characterizes the climax of the piece, the moment when "she" reaches her peak and does not retreat.      

Jessy Dulheuer Bliah, born in 1991, is a musician and studies electroacoustic composition at the Pierre Barbizet Conservatory in Marseille (CPBM). She sings, improvises (voice, objects), and leads music workshops for diverse audiences.      

https://jessydulheuerbliah.bandcamp.com/

4) Matteo Zoppi and Tommaso Cappelletti - This Goes Against Our Community Standards

A performance for two voices within a system of control.

The stage is empty. Two performers move through a choreography of microphones, cables, and stands. No fixed roles.
The desire to control – and the unspoken desire to be controlled – shapes how we navigate digital space, where platform guidelines quietly govern visibility, speech, behavior. Control is equated with containment. To be controlled can mean safety, legibility, or disappearance. These dynamics are rarely mutual. They are imposed, often without consent. When such logic becomes embodied: who gets to speak, and who disappears?

Echoing Peter Handke’s Self-Accusation, the piece reimagines it within digital regulation and content moderation. What unfolds is both a sound piece and a choreography of sabotage and submission. The lights never change. The curtain never falls.
What kind of silence are we being trained to accept?

Recorded at Tropez, Humboldthain Sommerbad, Berlin, 2025.
Introduction by Nora O Murchú.    

Matto Zoppi is a sound artist and performer working at the intersection of live electronics, poetry, and extended voice. His practice merges elements of theater, radio art, and performance art to explore language as both a sonic material and a tool of perception, investigating themes of control, memory, and transformation.

Tomato Cappelletti is a product designer and researcher exploring pop culture, interfaces, and the symbolic architectures of the internet, and co-founder of Clusterduck Collective. His practice blends UX/UI, art direction, and speculative design to create playful hybrid experiences that examine how digital tools and cultural narratives shape one another.
     
@mattozoppi - http://www.mattozoppi.com
@tomatocappelletti - http://www.tomatocappelletti.com

1 Simon Rattigan - River Habitation Unit (12:08)      
2 Carey Lin and Gabriel Gilder - The cat says it in his language (2:21)      
3 Kristina Kapilin and Laura Selby - Breath (1:41)
4 John Roach - Northfork Wind Sketch 2 - Steam (4:29)  
 
1) Simon Rattigan - River Habitation Unit  

The sounds of the river and its environment are recorded and synthesised, compositions arranged for Radio to explore post "New Brutalism" in architecture and nature. The flow of the river changes direction twice a day. It is pushed and pulled by the ocean tides and powerful, celestial forces. A new town is placed on the marshland at the cities edge, on the banks of the River Thames. The water moves like a shifting language to deliver the new town its name, Thamesmead. Previously on this muddy piece of ground, tanks tested their guns. 1960’s idealism built the estate in utilitarian style in poured concrete. An invisible river flows below ground and carries another type of water from the vertically stacked homes. This wastewater drops through the heart of the towers into the horizontal sewer beneath. Brutalism, as truth of material, where nothing is hidden and characterised by noise and decay.    

Simon Rattigan is an artist living in London, working with moving image and sound to discover new configurations of history, memory, and personal shared experience. His practice encompasses recording, collecting ephemera and researching archival documents. Creating a synthesis of real and illusory phenomena entering into social, biological and technological histories. In his work materiality of media is processed to evoke questions of authenticity, hierarchies of knowledge and cultural belonging. Occupying a hybrid space in which we materially and psychologically reconstruct and redefine our relationship to the past and other temporal conditions. His work has been displayed nationally and internationally.    

simonrattigan.com

2) Carey Lin and Gabriel Gilder - The cat says it in his language        

This piece is inspired by a drawing that our 4-year-old son made and the story that he told us about it. We were intrigued by his playful descriptions and unique logic. Reinterpreting his narrative through our layered voices, effects, and music, we’ve attempted to reveal a dynamic imaginary world. This piece was originally created for Small Audio Art #5 — Pictures and was featured in the 2025 XMTR Audio Arts Festival.    
Carey Lin and Gabriel Gilder are San Francisco-based visual artists who have collaborated since 2016. Their practice has taken the form of film and video, animation, sound compositions, publications and interactive walking tours. Recent work has been showcased at the San Francisco Independent Short Film Festival (2021); APAture Festival’s Visual Arts Showcase (2023); the West Virginia Mountaineer Short Film Festival; and “Exquisite Corpse” at Millenium Film Workshop (2025).    

https://www.lingilderprojects.com/
https://www.careylin.com

3) Kristina Kapilin and Laura Selby - Breath
     
Breath was created in collaboration between Kristina Kapilin and Laura Selby as part of a participatory art project and installation titled Woven Words, which also included textile artist Linnéa Duckworth. Breath features field recordings by Laura Selby from Fulham’s South Park, and collaborative sound design by Kristina Kapilin and Laura Selby.

The artists examine how connecting with the environment and language through sensory exploration can inspire a sense of wonder and appreciation for the natural world. Rooted in the practice of field recording and deep listening, Breath reflects on the often overlooked sounds and atmospheres woven into London’s urban nature.

Kristina Kapilin is a London-based interdisciplinary artist and filmmaker exploring the relationship between listening and ecological storytelling.

Laura Selby is a Croydon, London based interdisciplinary artist, sonic experience designer and researcher exploring listening-led climate justice.
     
Website: kristinakapilin.com
Instagram: kristinakapilin

Website: laurakrselby.com
Instagram: laura_selb

4) John Roach - Northfork Wind Sketch 2 - Steam  
   
 “Steam” is a work in progress and part of an ongoing series about wind – it features the voice of sailor and sculptor Arden Scott. All other sounds were derived, in one way or another, by the wind and Arden’s steam whistles. This sketch was created during the Uncommon Arts Residency at the Sound View in January 2026 in Greenport, NY on the North Fork of Long Island.      

John Roach is an interdisciplinary artist with a particular interest in sound and multisensory experience and he builds environments that blur the line between what we see and what we hear. His sound compositions often focus on themes related to ecological systems, biodiversity and climate and exist in a space between electroacoustic music, documentary and experimental radio art. These pieces, shaped by a playful embrace with uncertainty, bring together his field recording practice, instrumental passages, and conversations with artists, scientists, writers, historians and others.    

https://johnroach.net/
https://www.instagram.com/johnroachart

1 (CWxWC) - countermapping the ecotone (15:00)  
2 Cécile Lartigau & Andreas O. Hirsch - Horloge cassée (12:50)

1) (CWxWC) - countermapping the ecotone

 ‘countermapping the ecotone’ weaves together three landscapes, incorporating spoken word with field recordings from the unique ecotone at Cley on the North Norfolk coast, where vegetated shingle beach meets salt marshes; the port at King’s Lynn; and chalk pits in Cambridgeshire, to challenge nativist, border-centric conceptions of land, environment, and power.
Structured around three proverbs from Arabic, Sudanese, and Greek traditions that suggest what the sea can teach us about cyclical and linear patterns of time, connection, and community, ‘countermapping the ecotone’ explores the environmental and postcolonial significance of ecotones, ‘contact zones’ where biomes meet. This sonic act of countermapping aims to reframe borders and imagined differences in the face of techno-fascism, anti-migrant rhetoric, and climate denial.
Populated by the seen, heard, invisible, inaudible, and our imaginaries, the work muses on human and more-than-human movement and migration on our shores and at other contested and destabilised sites around the world.
     
 (CWxWC) is the collaborative project of artists, educators, and activists, Dr Cecilia Wee and William Crosby. Their work is concerned with how image, text, and sound move and operate between communities and the ecological, between the human and more-than-human, to conjure conditions under which critical, expansive, respons-able, decolonial listening can become embedded into everyday practices of coming together.

Dr Cecilia Wee is Tutor at the School of Communication, Royal College of Art. William Crosby is lecturer in music, sound, and media at Anglia Ruskin University, and PhD student at Creative Research in Sound Arts Practice, University of the Arts, London.  

IG @_CWxWC

2) Cécile Lartigau & Andreas O. Hirsch - Horloge cassée    

Horloge cassée is an excerpt from a program recently developed by Lartigau & Hirsch for their first concert in January 2026, marking the beginning of their new collaboration, in which they bring together two rare instruments: the Ondes Martenot and the Electrified Palm Leaf. The Ondes Martenot is a historic electronic instrument from the 1920s that is inherently monophonic and combines the world of early sound synthesis with the possibilities of a string instrument such as the cello. The Electrified Palm Leaf is an electroacoustic instrument with a warm, woody character, developed by Andreas O. Hirsch himself, offering a whole range of possibilities between abstract noises, rhythmic figures, and evocative soundscapes. Horloge cassé takes up the image of a broken clock and develops into a work in its own right, moving towards gentle, drone-like textures and signals.    

A rare ondist with a singular path, Cécile Lartigau positions her work at the crossroads of contemporary music, experimental improvisation, and the great orchestral repertoire. She has appeared alongside prestigious ensembles including the Vienna Philharmonic, Boston Symphony Orchestra, Berlin Philharmonic, among others. Andreas O.  Hirsch is a musician, visual artist and producer. With his homemade instruments and the use of effects pedals, he creates a playful space between electro-acoustics, experimental electronics, downbeat and non-Western influences. Hirsch is one third of the trio The Knob, The Finger & The It and runs makiphon, a label for experimental music.    

https://www.cecileondesmartenot.com
https://www.instagram.com/cecilelartigau_onde
https://hirschonhirsch.com
https://andreasoskarhirsch.bandcamp.com
https://makiphon.de

1 Heather Warren-Crow - Audio Evidence of Indefinite Universal Supplication Breakfast (12:00)    
2 Ivan Pisino - Beyond the Surface (14:00)    
3 jonesy jones - woolf worldings (1:14)
4 Junchang Zhang - It May Contain Something (3:52)
 
1) Heather Warren-Crow - Audio Evidence of Indefinite Universal Supplication Breakfast
 
Audio Evidence of Indefinite Universal Supplication Breakfast is an audio performance in which I recorded the intimate sounds of eating pancakes and sausage and drinking coffee while reciting the proverb "the voice of the people is the voice of God." A translation of the Latin vox populi, vox dei, the statement is contentious; as 8th century deacon Alcuin of York writes, "And those people should not be listened to who keep saying the voice of the people is the voice of God, since the riotousness of the crowd is always very close to madness." This phrase is particularly resonant in light of our fraught political climate (especially precarious in Texas) as well as the use of data mining techniques to extract the voice of the people from social media. But, which people? Whose voice? Radio, given its longstanding use for political purposes, is the perfect medium for this recording.    
Heather Warren-Crow is an artist and writer based in Texas in the US. Her work across performance art, sound art, video art, and experimental film foregrounds the voice and plays with sound-image relations. She has exhibited in galleries and in performance spaces, on screens and on stages, in Argentina, Brazil, Colombia, El Salvador, India, Japan, Mexico, Tanzania, Taiwan, Trinidad and Tobago, and across Europe and the United States. Recent exhibitions include London Experimental, Venice Under the Stars, the International Kansk Video Festival in Siberia, and the New York City Independent Film Festival.    
 
2) Ivan Pisino - Beyond the Surface
 
In the Anthropocene era, where the all-powerful human being positions himself as supreme, erasing all other life forms, this piece brings together different levels of narrative, worlds that focus precisely on the invisible or on that which is made invisible.
In this biocentric dimension, there are frequencies that we have learned to ignore. These frequencies do not communicate human meaning; they are simply evidence of life happening, in the form of guttural, expressionless sounds and telluric movements.
It is a dimension that invites us to be listeners rather than narrators.    
 
Composer, researcher and experimental performer. His work has developed in the field of electroacoustic music, including acousmatic compositions, experimental performances with live electronics, collaborations with film and theatre, soundscapes and installations. His main interest is the manipulation of ‘sound objects’ through the design of generative algorithmic systems and graphic sequencers that create possible worlds.    
 
https://ivanpisino1.bandcamp.com/
https://soundcloud.com/naiv40

3) jonesy jones - woolf worldings

old memory
hits a ghost artery
sparking
a l c h e m y

This is the first dive in to the instinctive otherness of the expansive worldings of sounds.
This is a memory glitch switch making queer cacophony with the ghosts.
This is a Woolf swish fish in to the swirling abyss of ghost paths and archaic messagings.
This is river life, woolfing in the luminous dark, curious in the heart beat -
pulsing the deeps - trans-ing the cares - immersing in the kindnesses  
of the non human world.
it seeks to be our P O M O N A      

a fugitive in the sound world
an escape artist from the theatre world
sometimes up - sometimes down - mostly upside down
dancing - looping - listening
making - sometimes - faking
always d.i.y
in the radicals of resistances - deviances - protestas
seeking discoveries of new bellisimos queerissimos
for all our glory days

4) Junchang Zhang - It May Contain Something
 
Junchang Zhangb is a sound artist from China and currently based in New Zealand. This sound work mainly talks about a kind of intimate feeling beyond language.

1 Thanos Chrysakis - Psyche (5:38)
2 Paige Alice Naylor - Spectre Song (14:04)  
3 Slyn - A calling from the silver seas (23.20)    

1) Thanos Chrysakis - Psyche
 
Exploring the depths and boundaries of the psyche through seven compelling electroacoustic compositions, Greek composer Thanos Chrysakis delivers a deeply psychedelic, mysterious, and immersive sonic journey, masterfully blending electronic textures and acousmatic elements that resonate within the listener's consciousness, psyche, and imagination — a vivid reflection on complex inner landscapes.    
Thanos Chrysakis is a Greek composer, musician, producer and sound-artist focused on electronic and contemporary music, improvisation, and electro-acoustic music.    
 
https://eternalmusicprojects.bandcamp.com/

2) Paige Alice Naylor - Spectre Song

Spectre Song is a sound essay that originates from a light and sound installation I produced for my MFA thesis at the School of the Art Institute of Chicago. In a format similar to radio, the work was transmitted in real time to 15 separate sets of wireless headphones that accompanied programmed lights in the room. It is told in a format that is directly speaking to the listener to create both an intimate experience for them, as well as a collective experience for everyone listening.

The essay is a sonic reflection of my personal dealings with grief and how philosophical and ecological metaphors act as a salve to a common experience we all have or will have to endure through loss.    

Paige Alice Naylor is a Chicago-based experimental vocalist, sound artist, technologist and educator. Through sound-making and performance, she investigates the dissolution of time, the breakdown of language, and themes of death & rebirth by way of multichannel sound installation, electronically processed voice, tape loops, handmade electronics, field recordings, text scores, poetry, and repetitive, layered production. Her direct and interpersonal approach creates live sonic environments which feel vulnerable and intimate.

Her work has been featured in the Wire, NPR, Longform Editions, Sixty Inches from Center, Newcity Art, sun-13, WHURK Magazine, and the Documentarian.    

https://www.paigenaylor.art/
https://www.instagram.com/paigealicenaylor/

3) Slyn - A calling from the silver seas
     
This piece explores hydrofeminist ecological theory, using ambient pads, hydrophone recordings and vocals, it aims to submerge the listener into a watery world through sound. Starting off calm and serene, the piece opens to clear, calm waters, bringing the listener under the shoreline into the wonders underneath creating a sense of beauty, peace and acceptance. As the piece progresses into the darker, deeper waters a sense of tension and pull is created, aiming to represent the anthropogenic forces we are putting on these ecosystems. Overexploitation, pollution and eutrophication, the piece explores how the water may feel, aiming to bring the listener into this world through emotion. Ending with a sense of urgency but releasing into hope, the piece aims to create a sense of reflection and feeling around our watery homes, using sound as a vessel for experience. An ode to the ocean which I love.      

slyn is a sound artist and live performer whose work sits at the intersection of experimental music, sound art, and marine ecology. Drawing on her background in marine biology and frustrations between the disconnect between academics and the arts, her practice aims to explore listening as both a scientific and emotional act. Her productions often use hydrophones, field recordings, vocals, and textured electronic composition, creating fluid soundscapes. slyn co-founded @gravitypleasure a label inspired by hydrofeminism and queer ecology, supporting artists in experimental electronics. She also co-runs @skinny.dipping__, a Glasgow-based event series that highlights women, non-binary, and trans in electronics.    

https://soundcloud.com/s_l_y_n
https://www.instagram.com/_slyn___/

4 Agnija Anča - Ex Somnia (7:13)
5 Vincent Eoppolo - Non e il tempo a passare (6:32)
6 Denim (2:01)
7 Water Feature - Various Birds - false partridge (0:51)

4) Agnija Anča - Ex Somnia
   
A sound piece that takes a well known Latvian lullaby "Aijā žūžū, lāča bērni", supposedly a safe and secure place related to the childhood, and lets it evolve freely, tripping over fears, insecurities and facing the real life. thus marginalizing with a nightmare.    

Agnija Anča, Latvian born Mexican multidisciplinary artist, exploring graphic, sound and video art and photography, mainly analogue techniques (pinhole, cyanotype, lomography, etc.), as well as submerging in the fields of installation, performance and live sonorous-visual acts. Was the radio host of a bilingual (Latvian-Spanish) program "El Laboratorio" with focus on culture, art and traditions on sabersinfin.com platform. Counts with solo and group exhibitions in multiple countries, imparts workshops, translates and manages cultural events.    

IG: colectivolapesera
FB:  Agnija Anča

5) Vincent Eoppolo - Non e il tempo a passare
 
Vincent Eoppolo (Ioppolo) is an American composer from Wilmington, Delaware. 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://vincenteoppolo.bandcamp.com/
https://open.spotify.com/artist/4CFAy7K6LpWMvtFN5EpKPT?si=RzmH3nRoS0iHvsaNYWR4bw
https://www.youtube.com/channel/UCvTgM-QDa-d6roSJ8Y9Kurw
https://soundcloud.com/vincent-eoppolo
https://www.facebook.com/vincent.eoppolo.2025/

6) Ladé – Denim

Taken from Chia Seeds, a selection of sample based ambient sounds. Intuitively made, emotionally driven and trance inducing      

Ladé is a Scottish Nigerian producer whose work is rooted in abstract, sample-based experimental music. From ambient compositions to footwork and abstract hip-hop, their intuitive, emotional work draws on the Afro-diasporic consciousness, guiding listeners through transcendent Black rhythms and global sonic landscapes.
     
https://linktr.ee/lade444?utm_source=linktree_profile_share&ltsid=fc3f14e4-d9ab-458b-8fe2-e94687739b43

7) Water Feature - Various Birds - false partridge

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/

1 Lidiia Griaznova and Sergei Komarov -Truth Table (13:12)  
2 Radna Rumping - Moving, Repetition  (13:52)    

1) Lidiia Griaznova and Sergei Komarov -Truth Table  
 
Initially, this piece was created as our contribution to the group installation "Phenomenon and Paradoxes of Information Transmission", presented as part of CYFEST: Midpoint at the Yerevan Botanical Garden (Armenia, 2025). This piece born from a long-term interest in radio subcultures, particularly cataloguing of number stations and the 1970s phone-phreak milieu, with specific attention to Evan Doorbell. Sergei’s section is based on generative FM experiments, while Lidiia’s part is constructed using an online version of the speech program SAM for the Commodore C64, combined with modular synthesis improvisations. There is an imagined unidentified number station with endless transmission where the composition evolves from fragmented polyrhythmic textures repeatedly interrupted by coded messages hidden in plain sight. It is not even necessary intended for human hearing. Only the one who recognises the message as addressed to them can fully possess it. But no one prevents eavesdropping and listening.    

Sergei Komarov is an engineer, sound artist, and curator. He co-founded the band Kurvenschreiber, develops CYLAND MediaArtLab installations as a Max/MSP programmer, and produces independent sound works. He lives and works in Yerevan. Lidiia Griaznova is an artist and designer working across publishing, sound, and media art. Her practice uses sound, archival fragments, and experimental book forms to question dominant constructions of time, space, and the body. She holds an M.A. in Curatorial Studies from Bard College and works between London and Yerevan. Since 2024, she has co-curated the CYLAND Audio Archive and the CYFEST sound program.    
https://www.instagram.com/depth_dept/
https://www.instagram.com/relational_self/

Release on the CYLAND Audio Archive, CAA-60, a live recording of how the initial installation sounded, where we shared the space with other artists: ceph, Purpurniy Dyadya, Sergei Komarov & Lidiia Griaznova, Nikita Bugaev, and the concept horse. Available for free listening on Bandcamp:  
https://cyland.bandcamp.com/album/caa-60.

Our collaborative works on CYLAND MediaArtLab website:
https://www.cyland.org/artists/lidiia-griaznova

2) Radna Rumping - Moving, Repetition  

Over and over.
Time and time again.
She has seen that shape before.
The expected still strikes unexpectedly.
Delayed response.
How do you move a feeling?

Moving, Repetition (2025) is an audio piece that takes the form of a spontaneously edited collage. A story recorded by Radna Rumping (recalled from memory) describes a group performance and the experience of navigating repeated power dynamics. This narration is interwoven with music by The Raincoats, reworked into loops by Levi Lanser. The composition is framed by quotations from Sara Ahmed’s Living a Feminist Life and Madeline Gins and Arakawa’s Architectural Body, voiced by Angeliki Tzortzakaki and Lorenzo García-Andrade.    

Radna Rumping is an Amsterdam-based artist, curator and writer. Her practice is relational and collaborative, engaging with public space, experimental archiving, forms of gathering, and conditions of (in)visibility. She is drawn to artistic practices that defy categorisation, with a special interest for performance art. Radio and sonic exploration run as a continuous thread through her work. In 2015 she co-founded Ja Ja Ja Nee Nee Nee, an online radio platform dedicated to the arts. Between 2010-2020 she hosted the radio show Future Vintage at Red Light Radio.      

https://radna.nl/
@radna

1 Adam Buffington - True Blue (for a hot mess) (12:04)  
2 Catherine Clover - City Making Practice  (3:09)
3 Miguel Antonio Contreras Hincapie – Akallabêth (18:28)

1) Adam Buffington - True Blue (for a hot mess)    

True Blue (for a hot mess) originated as a 3-minute track sampled entirely from Calibre Auto Recording discs, and was released by Brighton-based label Chocolate Monk on their compilation Calibre Five in December 2025. This newly extended version excavates the same sources to generate a slowly cascading series of samples that congeal to form a washed-out mesh of jittery pops and oscillating chants. By utilizing a minimal set of material, True Blue (for a hot mess) generates a suspended yet stirring mood.    

Adam Buffington is a composer and musicologist traversing the boundaries between practitioner and scholar. Specializing in contemporary art and music in Iceland, his research focuses on issues concerning interdisciplinarity, transnationalism, historiography and aesthetics. His artistic practice, rooted in musique concrète and DIY underground aesthetics, is an ongoing exploration of memory and identity’s entanglements with material and sonic culture. His sound work has been released on labels such as Chocolate Monk, Industrial Coast and VEC Audio.

Buffington earned a Ph.D. in Musicology from The Ohio State University in 2020, and is currently based in Reykjavik, Iceland.    

https://adambuffington.com/
https://adambuffington.bandcamp.com/
https://www.instagram.com/adam_buffington/

2) Catherine Clover - City Making Practice
 
This field recording is an informal participatory voicing based on the songs and languages of five migratory songbirds, the Common Reed Warbler, Spotted Flycatcher, Swift, Chiffchaff and Blackcap that migrate between the capital cities of London, Windhoek, Lilongwe, Lusaka, Dakar and Addis Ababa, all shaped by British and European colonialism. The event took place in the Camley Street Nature Reserve in Kings Cross, London. The workshop was part of Quiet Urgency, a symposium in 2024 organised by Gascia Ouzounian, John Bingham-Hall and Diana Ibáñez López (Soncities x MA Cities, Central St Martins) that considered the need for new frameworks of sonic urbanism that can work with, amongst other urgent urban issues, the more-than-human world and its vitality, without silencing or controlling it.    
 
Catherine Clover’s multidisciplinary practice addresses communication through voice, language and the interplay between hearing/listening, seeing/reading. Using field recording, digital imaging and the spoken/written word she explores an expanded approach to language within and across species through a framework of everyday experience, including the use of extant material and found footage. With listening as a key focus and the complexity of the urban as a shared sonic space, the artworks prompt transmission and reception through the fluidity, instability and mobility of voicing and languaging. The artworks are social in nature and frequently involve collaboration with other artists and with audiences.    
 
http://www.ciclover.com/main.html

3) Miguel Antonio Contreras Hincapie – Akallabêth

"Akallabêth (The Downfall)" is a sound art piece that draws a powerful analogy between the fall of Númenor —the myth of pride and ruin recounted in The Silmarillion— and contemporary socio-natural disasters in Venezuela. The work builds an auditory cartography of the crisis, where the sounds of torrential rains, landslides, and affected communities blend with discourses of power and narratives of geopolitical aggression. This composition creates an immersive atmosphere that investigates the relationship between human greed and extreme climatic phenomena. From a non-hegemonic perspective, the piece invites reflection on the invisible forces —social, political, and environmental— that, acting like a collapsing system, precipitate the fragmentation of territory and memory.    

Miguel Antonio Contreras Hincapie develops a transmedia artistic practice focused on sound art and expanded poetics. His sculptural research and dual training underpin a critical approach to the body, space, and narrative. His award-winning work unfolds through hybrid strategies, from museum installations to urban interventions. He has participated in international festivals such as Sur Aural, Tsonami, the Encontro Latino-Americano de Arte Sonora, and Punto y Raya. In 2023, he deepened his research through residencies at Lab Productora (Argentina) and Art Session Innopraktika (Russia), exploring intersections between the physical, the digital, and the situated    

https://machsculptures.com/
https://www.instagram.com/miguelcontrerasescultor/
https://www.facebook.com/miguel.contrerashincapie?locale=es_LA

“via vessel (vol.1)” is a 30-minute sound work tracing interactions between clay and air across different stages of ceramic making and use. The piece follows air as it is displaced from dry clay when water is poured onto it, released through pores and micro-cavities, and later contained, redirected, and set in motion within fired ceramic vessels.
Recordings were made through close contact with clay surfaces, tools, and rotating forms on a pottery wheel, as well as through the movement of air blown into and drawn through vessels of varying shapes and materials. Rather than treating vessels as passive containers, the work approaches them as active mediators that shape, filter, and transform what passes through them.
Sound emerges here as a residue of material processes — a trace of pressure, porosity, volume, and movement — unfolding slowly through form.
 
Artist bio:
@ilenok.art is an interdisciplinary artist and educator based in Glasgow, working at the intersection of ceramics, sound, media art and spatial installation. Her practice explores urban and natural environments through psychogeography, subjective data collection and embodied sensory methods. She often works with clay, found materials and digital systems to create site-specific installations that investigate collective memory, ecological awareness and non-extractive forms of urban knowledge. Her work has been presented internationally at exhibitions, festivals and biennials, including the Gyeonggi International Ceramic Biennale, The Listening Biennial and Cryptic Nights, and has been supported by Creative Scotland and other cultural organisations.

https://www.instagram.com/ilenok.art/

A dundee radio club micro-commission

dundee radio club
a space for sonic exploration
a space for gathering, for listening,
for sharing sounds + opening ears

https://dundeeradio.club/

"Number 11" (2026), is about cycles. The transient cycle of hope, loss, grief, acceptance, letting go and hoping again. Produced by Emilia Sanguinetti and some ambient design by Patrick Bews, Leyla Hussain has designed and curated a soundscape that is filled with poetry written during the moments 'in between', exploring the purgatory of contemplation. She has woven in audio clips of field recordings, archival audio from Audre Lorde, Jim Morrison and Mariam Dagga ( إِنَّا لِلَّٰهِ وَإِنَّا إِلَيْهِ رَاجِعُونَ ). Hussain creates work about the unconscious noise we make when we idle, as the pixels of the world generate, her world being filled with the noise of her big and rambunctious family as a child and now the soft hums of meditation. "Number 11" (2026) is heavily inspired by Ethel Cain, especially her album "Perverts" (2025), Grouper and Aphex Twin.

Biography:
Leyla Hussain is a siren who works with audio witches and sorcerers to procure ambient soundscapes woven with her words of night and the droning of silence. Hussain has recorded congregations of whale-worshipping cults and interviewed the ghosts of poets past. She makes work that explores the intricacies of relationships, the hum of living and the sonic prayer. She is a blessing in disguise.

https://www.instagram.com/leylahussainart/

Produced in collaboration with @emilia_foreverautumn + @ patrickbews.sound

A dundee radio club micro-commission

dundee radio club
a space for sonic exploration
a space for gathering, for listening,
for sharing sounds + opening ears

https://dundeeradio.club/

An alternative imagining of a soundtrack to Luke Fowler's - 'Being in a Place: A Portrait of Margaret Tait'; Even a dog features interviews with Orcadians living and working in the environment of Mainland, Orkney, along with location recordings and music composed and made by Patterson originally intended for use in the film. Commissioned by Ghent's Courtisane Festival: Notes on Cinema in 2023, it is Patterson's personal reflection on the landscape, environment and people encountered while recording location sound for Fowlers' 2022 film. Thanks to Antonia Thomas, Archaeologist, Stromness; the metal smith at Sandwick who wished to remain anonymous; Jimmy and the crew of the Athenian, survey vessel from Stromness; Patrick Casey, construction manager; Alison Ritch and James Ritch, her father, Kierfiold Farm, Sandwick; and of course, Luke Fowler.

Artist bio:  
Lee Patterson uses sound making and recording to devise works for fixed media and performances with a selection of amplified objects, devices and processes, from rock chalk to springs, from burning nuts to vibrating metal.
Based in Prestwich, Manchester, uk., he works internationally and has featured on uk TV, BBC Radio 3, 4 and 6, Resonance FM and radio stations worldwide.  
 
https://leepatterson2.bandcamp.com/

An electroacoustic composition composed of zoom handheld mic H4n recordings of audio recorded on a journey from my flat in a tower block in the city centre of aberdeen to the shop for a pint of milk and a loaf of bread and back.  all audio then edited and arranged in audacity.  was submitted and approved for obtaining my masters degree in sonic art at aberdeen university      

Artist bio:  
Lee Hentze is a multimedia artist who lives and works in the outskirts of Aberdeen. Working with sculpture, audio, video, and performance, his studio practice predominantly concerns itself with an interrogation of Human-Technologic relations within the un-natural history museum context. The research is informed by a sustained engagement with close reading skills of media critique and draws upon narratives of folklore, shamanism and cultural memory to propose alternative methodologies for ‘knowing the animal’.    

Website/social links  
https://www.youtube.com/@FactoryFarmedCorpPolicyRobots
https://vimeo.com/user19152967
https://leehentze.wixsite.com/3-hz

'Cavities' is a series of recordings exploring the acoustics of hollow places. All starting from the aching urge of wanting to know how it sounds inside. Soundscapes meandering from contact mic excursions to live compositions made with microphones and horn speakers, amplified directly back into each room. Caressing the threshold of acoustic feedback, the sound reveals the architecture of each of these spaces, sketching their outlines, amplifying their voice. Artist bio:   Amber Meulenijzer investigates the relation between space and sound, using various means like field recording, horn speakers, various synthesizers and sometimes an old Saab 900. Her work always seeks to connect with the context in which it is developed or displayed, interacting with architectural elements and environmental sounds or dynamics, finding the resonant frequencies of different landscapes. She researches moving sound sources in her work Saab Sculptures, a travelling sound system interacting with its surroundings, and works on different installation and performance formats. Looking for the composition in each space, she is inherently an in situ improvisor.       Website/social links   https://ambermeulenijzer.be/ https://www.instagram.com/ambermeulenijzer/

"A Year In Tottenham" is a poem by J R Carpenter from her collection This Is A Picture Of Wind that was performed by Mags Smith with amplified 'ukulele interludes by williwaw as part of the officially unofficial Radiophrenia fringe event held at the Old Hairdressers on the 13th of September.

1) Ernests Vilsons & Ada Ruszkiewicz - swing of the day - Šķēdes iela  (1:41)
2) Valentin Sismann - Erosia (17:10)    
3) Tony Morris – I don't want you to change (1:00)

 
1) Ernests Vilsons & Ada Ruszkiewicz - swing of the day - Šķēdes iela  

This "catalogue of noisy swing recordings" is an expanding catalogue of recordings that capture noisy swings co-created with Ada Ruszkiewicz. The catalogue is made up of several dozen sound recordings featuring squeaky, creaking, screeching or otherwise noisy swing sets. The reasons for swing noise are various – loose connections or fasteners, aging of the materials used in the construction of the swing, weather conditions affecting them, as well as the load and overload to which the swing is subjected. Although most of the recordings feature swings that only minimally differ in terms of mechanics, construction and materials used, their noise is never identical, providing a sound testimony to the environment in which the swing is placed. Swinging, photos – Ada Ruszkiewicz; Idea, recording, editing and mixing – Ernests Vilsons.

Artist bio:  Ernests Vilsons is a Latvian composer living in Rīga. He writes music for acoustic instruments and electronic means, creates sound installations and performances, and collects field recordings. He is interested in harmony, time, silence, chance, representation and transcription.
E. Vilsons studied at the Institute of Sonology at the Royal Conservatoire in The Hague. His master's research project “Well-Structured Vocalizations: An Attempt To Imitate Birdsong” was awarded the Konrad Boehmer Foundation Prize in 2020. 
https://ernestsvilsons.com/
https://soundcloud.com/ehovi-s
 
2) Valentin Sismann - Erosia    

Beneath the cliffs, the sea crackles. Secret life of the waves, of the wind, without anyone, existing. Outside, a shitstorm of machinery and bodies. Consuming. A pseudo-embodiment of the living.
Two impressions of the same show. Erosion, scum. Autophagy is fantastic. Especially in music: l'art se nique.    

Artist bio:  Valentin Sismann (born in 2002 in France) develops a practice that combines acousmatic composition and video. He explores the idea of expanded music, where sound and visuals are expressed in ways that are either poetic, narrative, or conceptual. His works focus on our relationship with technology, particularly recording media, which he questions and manipulates within critical or imaginary spaces.
     
valentinsismann.com
 
3) Tony Morris – I don't want you to change

Tony Morris has been a fixture on the Glasgow underground music scene for the past several years and dabbles in most of the genres that typify it: from the avant garde to dance music. He sees himself as a kind of deviant cabaret artist who spills his guts on stage to a soundtrack of electronica. Being 73 years old, he has listened to an awful lot of music in his time and channels those memories into his act which is a compendium of tropes from Ready, Steady Go, Chicago blues clubs, his own dreams and whatever venue he happens to be playing in. He specialises in 1-minute duration ‘kind of’ songs – often with accompanying videos. There are hundreds of them on his Instagram account. This is one of them.

Tony Morris will be performing with his leaf blower as part of our live-to-air performances on Saturday, the 19th September. Tickets available through Eventbrite – see the Radiophrenia website for more details.

https://www.instagram.com/tonymorrisssss/

In my work I am trying over and over again to listen and to hear different and not so obvious landscapes of human voice. Landscapes of voices that are not so audible in the foreground of our ability to listen but are more present as some kind of shadows - it's not only that we try to hide those voices (un)consciously, but more as if they are so present that we don't perceive them anymore. Or as if they would be so obvious to our everyday sound landscapes, that we don’t hear them… could be also as if they don’t deserve our attention anymore. On the other hand when speaking of voice we always seem to think of the most obvious dimension - the audio dimension… In a Slovene language there exists a word “tišina” that means silence, but there is also a word “molk” that at least English translation doesn’t have an equal word for it - the closest would be “remaining silent”. In German there is die Stille for silence and  das Schweigen for “molk”. But in French, Spanish, Italian language the distinction between the silence and molk / das Scweigen doesn’t exist.And “molk” / “das Schweigen” belong to voice - so there is a voice or words to say or need to explain something, but for various reasons one “remains silent”, because one doesn’t find the right words, because it is too hard or too emotional or too overwhelming to be even able to speak, or because one doesn’t want to speak up… So I find “molk” as a state of a valid voice presence, that doesn’t have its existence in audio reality, but is still very much present. An absence that is present - one can witness it in the gestures, body positions, face expressions - it’s obvious, but just not through audio dimension.  
So how to acknowledge the absence in the audio work? the absence that is not just silence but also "molk" as remaining silent? Seems like somehow the dis-placed task or need … even incorrect assignment.

I do hear a lot of “remaining silent” in my voice… maybe it is a certain colour of the voice or a certain dynamic or motion in the voice… However at the moment - this moment does last for quite some time now - I am obsessed with  voice that remains silent to a certain extent.
So this work: “a voice as a shadow, a voice as a memory” is somehow made from three parts:
Voice when I was old and cold
Voice when I am wandering and questioning
Voice when I will be as an absence of my self projecting myself

Nothing was recorded in a studio environment, but in my everyday living places like my child's room, kitchen, hall or bathroom…with everyday background noise.
All voices are mine.

The final mastering was done by my long term friend and co-worker Aldo Invančič.
 
A Radiophrenia commission produced with the support of Creative Scotland.
 
Biography:

Irena Z. Tomažin is a dancer, choreographer, performer, vocalist, singer and improviser, strongly present on the local and international scene.

As a musician she made her name with solo project iT, project for voice and dictaphones, where she uses forms of songs, sound poetry, spoken word, theatre, text and performance. The project took her on the path of deconstruction of voice which she deepens as an improviser, solo artist or in various groups and collaborations, where she went further with exploration of sound and noise of the voice, textures and in-between spaces of voice, body and bodily mechanics.

She performs solo or in collaborations with among others: Tomaž Grom, Lee Patterson, Xavier Charles, Christof Kurzmann, Jonas Kocher, Gaudenz Badrutt, Šalter Ensemble, Tim Blechmann, Michael Zerang, Liz Allbee, Alessandra Eramo, Ilia Belorukov, Okkyung Lee, Maja Osojnik, Christian Kesten, Ina Puntar, Dré Hočevar, Matej Bonin and others.

https://it-irenatomazin.bandcamp.com/album/crying-games
https://www.instagram.com/IRENAZTOMAZIN/

Qasem Waleed is a 28-year-old physicist who has lived in Gaza his whole life. Since the beginning of the genocide in Gaza, Qasem has been writing about the chaos and violence of Israel’s military bombardments and how they devastate his and his family's lives. In Doppler Effect, Qasem has tried to find a way to describe Gaza, the reality in which he has been living in, through the lens of science, specifically through quantum mechanics. "As a physicist, my favourite question was - are we alone in the universe? Since the genocide, I must however now reflect on a much smaller scope, are we alone on Earth?"    https://www.instagram.com/waleedq18/ 
 music by Silvia Cignoli
  https://www.instagram.com/silvia_cignoli/ 
 Directed and edited by Alan Alpenfelt
  https://www.instagram.com/alan_alpenfelt/ 
 produced by Vanni Bianconi / Tornasole https://www.instagram.com/vanni_bianconi/     Artist bios:     Qasem Waleed is a Palestinian physicist and writer based in Gaza. He writes for Al Jazeera, Electronic Intifada, Mondoweiss.   Silvia Cignoli is an experimental musician, sound artist, composer for classical and electric guitarist. Alan Alpenfelt works in theatre and for community radios, specilizing in dramaturgy, directing and education.   Vanni Bianconi is a poet and writer and directs various cultural activities such as the online magazine for translation Specimen, Babel Translation festival (2005-2025)     Website/social links    https://www.instagram.com/waleedq18/ https://www.silviacignoli.com/

1 Toni Dimitrov - Sound from the Springs at St. John Church (15:22)
2 Regan O'Brien & SM Milligan – Bounding (19:58)
3 Rodrigo Ramos - À Revelia  (20:20)  
4 Ladé - Aura (2:46)
 
1) Toni Dimitrov - Sound from the Springs at St. John Church
 
The Sound from the Springs at St. John Church is a field recording of water slowly dripping from rock surfaces at a small, intimate sacred site. Capturing the steady rhythm of falling drops, the resonance of stone, and the surrounding natural ambience, the work centers on the quiet persistence of water shaping space over time. Rooted in personal memory - a place visited since childhood and still returned to - the piece becomes both an acoustic document and a private ritual of listening, where landscape, spirituality, and biography gently converge through sound.

Toni Dimitrov is a Macedonian multimedia artist, cultural producer, curator, radio host, and label owner whose work interweaves experimental music, sound art, and field recording. Active for more than twenty years, he has developed a distinctive practice that moves fluidly between experimental composition, radio art, installation, video, and photography, often linking sonic exploration with social and political reflection. He has released numerous albums and EPs through different monikers and collaborations on labels worldwide, and has performed internationally at festivals, events, and residencies focused on experimental and contemporary sound practices. Dimitrov runs the imprint Post Global Recordings and curates Élan Vital Recordings. Through his long-standing radio programs on Kanal 103, he actively contributes to the global discourse on contemporary electronic music, ambient forms, soundscape composition, and critical culture. His work has been presented in exhibitions locally and abroad, including the landmark survey Audiosphere Sound Experimentation 1980–2020 at the Museo Reina Sofía, curated by FranciscoLópez. Dimitrov has also worked on projects addressing political readings of the media. He is currently director of the Cultural Information Center – Skopje.
 
elanvital.bandcamp.com
post-global.com  
 
2) Regan O'Brien & SM Milligan – Bounding

Is a gathering of selves, a ritual to reconceive the power of creation. In this story, the action takes place inside the pregnant mother’s body or more realistically within her psychic womb-space ship. There are five aspects to the main character, each wondering What is self?  when there are two now, bounding through her internal landscape forming, unforming, reforming. Shifting, tumbling, tuning into the exchange, celebrating the fragility and strength of the essence of creation.

Written by Regan O’Brien
Performed by Regan O’Brien and David Layde
Recording by Karl Burke  
Sound Design by Simon Milligan
Production by Simon Milligan    

Artist bio: https://www.reganobrien.com/projects
https://smmilligancom.wordpress.com/496-2 
http://www.smmilligan.com
https://bethaniensdust.bandcamp.com/
https://www.instagram.com/bethaniensdust/
https://www.instagram.com/reganobrienmusic/

3) Rodrigo Ramos - À Revelia  

Track composed by Rodrigo Ramos for the performance “À Revelia” by Duo Strangloscope. The piece was conceived as a sonic response to the recent devastation of Brazilian forests caused by widespread fires and extractivist expansion. Witnessing climate disasters and deliberate criminal actions carried out by sectors of agribusiness—who burn vast territories to convert them into pasturelands or transgenic monocultures—the work channels a sense of urgency, grief, and resistance. The composition articulates tension through layered textures, field recordings, and distorted acoustic materials, evoking both the fragility of ecosystems and the violence inflicted upon them. As spectators to environmental collapse and the brutal logic of predatory capitalism, we often feel powerless before its destructive operations that threaten biodiversity and human life. This track transforms that impotence into sound, proposing listening as an act of awareness, mourning, and critical reflection.    

Rodrigo Ramos is a sound artist and multidisciplinary researcher whose practice explores listening and the relationships between sound, technology, and environment. He holds a degree in Cinema (UFSC), an MA in Visual Arts (UFBA), and is pursuing a PhD in Sound Studies (UFF). He works as a sound designer for theater, dance, and film, notably with Duo Strangloscope. He created Espelho Sonoro (Sound Mirror), a sculpture inspired by WWI acoustic locators, exhibited at MIS, Oi Futuro, Farol Santander, and Caixa Cultural Brasília. He researches sound art and experimental listening at SOMA (UFF).    

http://www.rodosound.com
https://www.instagram.com/rodrigo_rodo_ramos/

4) Ladé - Aura

Taken from Chia Seeds, a selection of sample based ambient sounds. Intuitively made, emotionally driven and trance inducing      

Ladé is a Scottish Nigerian producer whose work is rooted in abstract, sample-based experimental music. From ambient compositions to footwork and abstract hip-hop, their intuitive, emotional work draws on the Afro-diasporic consciousness, guiding listeners through transcendent Black rhythms and global sonic landscapes.
     
https://linktr.ee/lade444?utm_source=linktree_profile_share&ltsid=fc3f14e4-d9ab-458b-8fe2-e94687739b43

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

The recordings in Spit were made in April 2026 in the Lithuanian half of the Curonian Spit, a narrow peninsula of sand dunes between the Curonian Lagoon and the Baltic Sea. Geographically the work’s parameters are marked out by the port city of Klaipėda in the north and the closed border with Russian Kaliningrad in the south. The time of the recordings is bounded at the start by Shaktarp [šaktarpis], the season of the thaw and floods called the between time or the roadlessness, and at the end by the launch of the boats into the lagoon for the start of the summer navigation season.

Spit asks what precedes listening: the geographic, linguistic, political and ecological conditions through which sound becomes meaningful. Military infrastructures, migratory routes, acts of translation and tourist economies slip in and out of audibility. They surface through encounters with overheard voices, forests, machines, birds, electromagnetic atmospheres, radio transmissions, ports and weather. Meaning emerges, falters and accrues in moments of interruption, closeness, misunderstanding, repetition, reciprocity, as listening becomes a process of orientation and reorientation.

Bio:

Hannah Ellul is a Glasgow-based artist working with a particular focus on sound and publishing, often collaboratively. Her work explores sonic experience and critical practices of listening. Themes in recent work include language and social discipline, and the material and corporeal qualities of the voice, as it falters; the play of intimacy and distance that characterises acts of transcription and translation; and entanglements of language loss, (mis)translation and song within the diasporic family.

Recent projects have developed through publications, performances, exhibitions, commissions and residencies. Spit was developed during a residency at Nida Art Colony, Lithuania.

Website/social links  hannahellul.com

This collaborative audiovisual live performance by Jennifer Wicks and Bex Šik combines reel-to-reel tape loops, minidisk players, 16mm optical film, voice, microphones, guitars, and effects. Drawing on recordings of women who devoted years to local community action, the work traces shared threads that propose alternative approaches to memory, authorship, and transmission, valuing the tactile, the collective, the imperfect, and resistant practice. Looping and feedback are used to interrogate memory: optical sound from 16mm film is fed into magnetic reel-to-reel tape, which then feeds back onto itself. This cyclical process continually reshapes and recontextualises material, allowing voices and sounds to evolve over time, generating new temporal layers and associations. Archiving becomes a conversation - a scattering, repurposing, and revoicing of material - prompting questions of ownership and voice: who gets to speak whose words, and how do collective histories circulate through sound and material practice?      Artist bios:     Jennifer Wicks, Glasgow-based interdisciplinary artist, works across installation, live audiovisual performance, moving image, sound art, and writing. Her practice combines analogue and digital media, sampling, and experimental compositional techniques. Her PhD, Re-mediating Memory, examines how expanded cinema and audiovisual performance mediate memory, emphasising obsolete media as temporal, operational structures. Bex Šik is a Glasgow based interdisciplinary artist, with recent work appearing as radio broadcast, installation, live performance & writing. Recently as resident in NLS archive, listening to the women in communism interviews, they’ve been exploring archiving as conversation, as scattering,  as growing (potential) from what we perceive to be defeat.     Website/social links   jenniferwicks.co.uk @bexsik

Created as part of Radiophrenia's 2026 Public Engagement Programme.
 
An exploration of the sounds of Macaulay Farm!

Taking inspiration from musique concrète, students led us on a sonic tour of the farm, recording a varied and rich collection of sounds from across the site including gates closing, sawing, feeding animals, fires, machinery and animal calls.

These recordings became the raw material for a musique concrète-inspired composition, transforming the everyday sounds of the farm into a new musical landscape.

We also held live sessions where students selected objects from the farm and transformed them into instruments. Taking turns conducting the group, the students created live compositions and performances from their voices, and the sounds and objects around them.

This project is a celebration of Macaulay College through listening.

Created and recorded by the students and staff of Macaulay College. Thanks to all at Macaulay College.

Workshop facilitation and production by Robbie and Alicia at HAAR.

Macaulay College was founded in 2010 and is located on Macaulay Farm just outside Stornoway on the Isle of Lewis. The farm extends to 120 acres and is home to goats, sheep, donkeys, chickens and more, along with poly tunnels, vegetable plots and a number of workshop areas, project spaces and relaxation areas. The college provides people with additional social and educational requirements with a programme of activities that encourages them to have meaningful and fulfilling working and social lives whilst achieving their full potential and reaching person specific targets.

https://www.macaulaycollege.com/

1.Clunkety Plunkety repurposing
2. We heart MacRosty Park
3. From Combruith to Soundlab, curious encounters and barefoot adventures (Combruith is the original Gaelic name for the village of Comrie and it means confluence; flowing together).
 
In a week of Radiophrenia workshops with the young people in Strathearn in rural Perthshire, sound-play with field recorders triggers new understandings of environment, objects and people, in some peculiar local spaces…
 
We explore the sonic treasure trove of Remake Community Reuse Charity and Scrapstore in Crieff, investigating the sound-making possibilities of random tools, haberdashery and curiosities. Asking about what has ended up there, and why?
 Come with us on a sound-walk through Crieff’s beloved MacRosty park, with it’s Victorian bandstand and Turret river, hear about its importance to local folk and marvel with us at the echos from hydrophones dropped (carefully!) off the bridge.
 
Sound play on a 2 mile hike from the village of Comrie to Cultybraggan Camp, along the banks of the Ruchill, evolves into a surrealist documentary about barefoot adventures.
Our tale concludes in a Nissan Hut in Cultybraggan former military and POW camp, that’s being transformed into Comrie Soundlab community music space and recording studio.
 
Facilitation, production and sound design by Helen McCrorie, assisted by Laura Cameron.
 
With thanks to community partners Reverb creative studio for young people at Strathearn Arts, LOGOS youth group, Remake Scotland and Comrie Soundlab.
 
Reverb is a free, inclusive and young-person-led creative studio in Crieff, exploring visual and audio-visual arts. It is facilitated by artist Helen McCrorie at Strathearn Arts
 
Logos is a christian-based youth charity in Strathearn that offer Duke of Edinburgh Award, youth clubs and summer holiday activities
 
Remake Scotland is a community reuse charity in Crieff, that offers a Reuse Hub, Repair Cafes and a Community Tool Library. They promote the circular economy and climate awareness through community events
 
Comrie Soundlab community group hold regular open mic nights to support local music. They are fundraising to develop a community music-practice space and sound-recording studio in a nissan hut at former POW Cultybraggan Camp

Created as part of Radiophrenia's 2026 Public Engagement Programme.
 
In 2025, more than 80 chickens mysteriously disappeared from the village of Arnol on the West Side of the Isle of Lewis. Rumours quickly spread that an otter had been prowling the streets at night and taking chickens. Many were in disbelief - could a sweet sea otter really decimate almost the entire population of chickens from one village? The speculation began - maybe it was a polecat, a hungry neighbour - or something even stranger?

The children of Arnol put on their detective hats and set out to solve the case, creating a playful radio drama inspired by the mystery. Moving between Gaelic and English, The Strange Case of The Arnol Otter is a story of chickens, rumours, clues, village life and an investigation into what really happened to all those missing birds.

Created and recorded by Ayla, Everley, Grace, Maia, Cora and Sula.

With thanks to Arnol Gateway, David, Peter and the villagers of Arnol.

Workshop facilitation and production by Robbie and Alicia at HAAR.

Dedicated to all the chickens taken by the Arnol Otter.

1 Dariusz Mazurowski - 3085 Days (12:06)
2 Jai Martone & Micah Hedges - Lord of Wild Things (5:00)        
3 Ezra Course – Meshes (12:00)      

1) Dariusz Mazurowski - 3085 Days

3085 Days (2025) is a deeply personal work, referring to an important stage in the composer's life, which, when the idea for the composition arose, had already lasted the titular 3085 days. It's therefore a somewhat veiled story, hidden beneath a layer of symbolism, about something that is both valuable and difficult, changing and often unpredictable. Never-ending. In the case of concert performances or other forms of presentation, the number of days that have passed since the aforementioned idea for the work arose should be added in parentheses. This idea emerged at a difficult moment in the composer's life. The composition's material essentially comes from two sources: one is vocal sounds, usually fragmented into individual particles, heavily processed and multiplied, the second source is synthetic sounds.    

Dariusz Mazurowski is a Polish electroacoustic music composer, born and currently 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. His works combine analog instruments with the sonic potential of digital technology and computers. His compositional approach is dynamic in that it involves live electronics and live sound diffusion across multi-speaker systems. Mazurowski’s music has been broadcast by various radio stations all over the world, and he has performed at festivals and other events in Europe, North America, South America and Asia.    

Homepage: https://deemstudio.com/
Facebook: https://www.facebook.com/profile.php?id=100086282450366
YouTube channel: http://www.youtube.com/user/DeeMstudio

2) Jai Martone & Micah Hedges - Lord of Wild Things    

Originally written as sound art to accompany the 2025 'Halloween Nights' events at Cardiff's historic open-air St Fagans Museum, 'Lord of Wild Things' describes Cernunnos, a Celtic god associated with the cycle of life and death. Layers of natural ambience - rustling leaves, animal sounds in the distance, creaking trees, branches snapping every now and again - are intertwined with deep, earthy tones, low drones, wooden and animalistic textures. Ritualistic and mythic motifs (drum beats, horn-like sounds, whispers, howls, hunting calls), are interspersed throughout, as tension build and releases but is never too far away. Above all, the music has a sense of presence – as if the forest itself is alive and watching.    

Jai Martone - an emerging composer of Italian descent based in Cardiff, Wales, Jai is currently studying Composition & Creative Music Technology at the Royal Welsh College of Music & Drama. With a particular interest in soundscape music and plunderphonics, their music is frequently direct, unapologetic, ambitious and emotional.
 
Micah Hedges - an English composer also studying Composition & Creative Music Technology at the Royal Welsh College of Music & Drama, Micah's musical background is in piano arranging. An incredibly versatile composer, and their work in sound art spans plunderphonics, acousmatic music, soundscape and spoken word pieces.    

https://sites.google.com/view/jaimartone/links-contact
https://www.youtube.com/@RandomLeopardcorn
https://www.instagram.com/randomleopardcorn/

3) Ezra Course – Meshes      

The soundtrack made to Maya Derren's Meshes of the Afternoon (1945) adapted to a wordless radio play. The piece consists of original field recordings, effects and ambiences from old Hollywood libraries as well as folley originally made to sync with the original image. The piece aims to bring to light an appreciation for the old sound effects and ambiences of the classic Hollywood era through embellishing it with moments of surreal and atmosphereic sound design as well as being an homage to Maya Derren and the film from which this piece grew from.      

I'm a sound designer and field recordist from Edinburgh currently studying sound for film at Edinburgh napier. My main interests are in experimental field recording and creating abstract ambiences for places that don't exist. Currently I'm interested in working with in the analogue sound realm, especially in old archives and libraries for films and giving such sounds exciting and experimental applications.      

https://ezracourse.bandcamp.com/
https://www.instagram.com/ezracoursesound/

4 Solvic Tusin - La Bestia (10:15)
5 Mariangela Angiolillo – WAR (8:57)        
6 Max Gausepohl & Luka Lenzin - barricades (2:34)
7 Gustavo Chab - Blue Luminescence (7:41)
8 Jessica Payne - agne's fridge (1:40)  

4) Solvic Tusin - La Bestia
   
It is a soundscape composition that represents the railway network crossing Mexican territory, used by Central American and Mexican migrants as transportation to reach the United States border in search of a better life. “The Beast,” as it is nicknamed by the migrants themselves. The yellow-headed blackbirds are migratory birds that, during the winter season, travel south in search of warmer temperatures, remaining throughout much of northern Mexico. They coexist with their relatives, the grackles, while resting in the trees. In this piece, the sounds of the birds are used as a metaphor for migrants, and the sound of the train gradually transforms into a beast. This work was created from field recordings made in Ciudad Juárez, which were transformed and layered. It also includes a recording of the detention of a Mexican migrant by train inspectors before crossing into the United States.    

Carlos Alfredo González Olvera holds a Master’s degree in Studies and Creative Processes in Art and Design from the UACJ and a Bachelor’s degree in Music from the UACH. He is a classical and electric guitarist and composer focused on soundscape and electroacoustic music. His work has been presented at the Festival de Arte Nuevo and MUSLAB Planeta Complejo 2023. He received the Premio Chihuahua (2013) and grants from the Programa de Estímulos a la Creación y el Desarrollo Artístico David Alfaro Siqueiros and the Fondo Transborder. He currently teaches audio production, audiovisual media, and guitar at UACJ.    

https://soundcloud.com/carlos-gonzalez-1114
https://carlosgonzalez.webnode.mx

5) Mariangela Angiolillo – WAR      
 
“War” is built around three connected themes. The sea is its core element—opening, guiding, and closing the piece as a constant, unavoidable presence.
The first theme depicts war directly: gunfire, helicopters, screams, writing, an explosion that erases a brief moment of joy. There are no pauses, to keep the listener in continuous tension.
In the second theme, everyday life appears, yet war remains underneath. The jackhammer symbolizes life moving forward while something keeps “hammering” inside. Military planes and a clarinet lead back to the sea and to those who flee through it.
The third theme shifts to nature, but traces of war still emerge—helicopters, interference, voices. A sound gradually transforms, evoking the feeling of being underwater.
Everything returns to the sea, which becomes reflection. War is human; the sea simply continues.    
Mariangela Angiolillo, 22, is a pianist who graduated from the "C. Poerio" Music High School in Foggia. She has participated in numerous piano competitions as a soloist and in performances with orchestras as a clarinetist. She now attends the "electronic music" course at the "umberto giordano" conservatory in Foggia. In addition to music, she cultivates a deep passion for poetry, which has led her to participate in literary competitions and to publish a book. For her, writing and music go together: it was from writing that "War" was born, a song born from the desire to reflect and make others    
 
https://www.facebook.com/profile.php?id=61565258139651&utm_source=ig&utm_medium=social&utm_content=link_in_bio
https://www.instagram.com/mery.angiolillo/
 
6) Max Gausepohl & Luka Lenzin - barricades
 
In “Barricades,” Luka lets images tumble: of blind people fighting for equality and erecting barricades on a beach promenade out of so-called customer stoppers from snack bars, which are supposed to protect them from direct access by the authorities. Max Gausepohl received the spoken text from Luka and captured the mood in an instant. With colliding sounds and soundscapes, Max creates a kind of tumbling in the vestibular system.
Luka Lenzin has explored drawing, music, and language since their study in Hamburg from 2005. As Emol, they create experimental story music, and they play in the bands "Twisk", "Plastiq", and "Poppy Trembles". Their graphic novels "Nadel und Folie" and "rpm" are published by Reprodukt.
 
Max Gausepohl is a sound designer and musician whose work spans abstract sound, spatial composition, and sound for theater, film, and installation projects. After a master’s in sound design at HAW Hamburg, he has worked freelance and, since 2019, as a core member of the radio-play and performance collective "DETEKTOR".    
 
instagram.com/insta_counterproduct
emol.bandcamp.com/music
instagram.com/maxgausepohl
maxgausepohl.com

7) Gustavo Chab - Blue Luminescence

Blue Luminescence is an acousmatic piece for fixed media in its original version for 4 channels (quadraphony) and has a duration of 8 minutes. It was composed during the year 2020.
The visual composition version work belongs to the artist Marcela Morilla who currently resides in the city of Brussels, Belgium and the voices that appear in the recording are from the singer Lia Ferenese.
This piece belongs to a series of electroacoustic and instrumental works that are inspired by colors and paintings that managed to capture my attention.
"like a spontaneous light emission, sounds appear as flashes of energy, cold light; Light energies form an optical range of visible sounds"
Energies with trajectories that are inspired by the behavior of matter.

8) Jessica Payne - agne's fridge

Fridge music. With an intent of feeling sound. How does the light of the fridge reflect on our souls, in moments of joy and sadness and everything at once. This music is made from a fridge among other experimentation with granular synthesis.

I am an experimental sound artist based in Glasgow, making stop motion works with odd sound design, experimenting with granular, and spectral synthesis to create sound works such as fridge music.

'Caketop' is a piece for laptops and modified speakers, utilising tin whistles and bioplastic to transform audio outputs into hybrid, quasi-acoustic instruments. Triggered by sub-audio frequencies, which are inaudible on their own, the piece explores the tactility of air as a physical medium and building instruments from cultural detritus. Caketop is part of an ongoing exploration into collaborative strategies around using networks as organisational and performative tools in the compositional process. All pieces by NMG allow performers to share data in real-time through Wifi networks, resulting in emergent behaviour that is different each time the pieces are performed. Artist bio:   Network Music Glasgow is a computer music group with currently five core members, Neil Quigley, Rachel Ní Chuinn, Simon Weins, Laurie Pitt and Nicholas Cooney. We work with audio-visual programming languages to collaborate, compose and perform music in real-time through Wifi networks.     Website/social links  https://www.instagram.com/networkmusicglasgow/

1) Dosimat - Choose To Arrive (8:03)
2) randa megahed - Afkar motakate'a  (11:37) 
3) Tony Morris – House Wine (1:00) 
 
1) Dosimat - Choose To Arrive

Bio - A Collaborative ensemble of Dosimat is a polyglot depot for municipal events.
 
2) randa megahed - Afkar motakate'a    

Afkar Motakatea is a sound work rooted in research around listening, resonance, and feedback. Formally, Afkar Motakatea exists between stability and instability. The piece unfolds through subtle variations in texture and intensity, moving through moments of balance, rupture, and saturation, before settling into a state of fragile and unstable equilibrium. Rather than seeking control or clarity, the work embraces fluctuation, resonance, and the loss of mastery, inviting the listener to engage in active, attentive, and embodied listening. This piece represents the chaos in my mind, unfinished thoughts, and the violence that surrounds us. Feedback, echo, and resonance are approached as closely intertwined phenomena, all based on transformation through repetition, reflection, and instability.      

Artist bio:  Randa Megahed (1997) is a sound and visual artist based between Paris and Cairo. Her practice spans installation, performance, video, image, and sound sculpture, exploring obsolescence, fragility, memory, and the poetic and political potential of residue. She works with degraded images, family archives, repurposed electronics, and unstable sound devices. Megahed holds a Master’s in Musical Creation and Sound Art from Université Gustave Eiffel and INA GRM, a Master in Fine Arts from ESÄ Tourcoing, a Bachelor in Media Design from the German University in Cairo, and a pedagogical diploma (CFPI). Her work has been shown in Berlin, Marseille & Cairo.    

https://www.instagram.com/randa.megahed/
 
3) Tony Morris – House Wine

Tony Morris has been a fixture on the Glasgow underground music scene for the past several years and dabbles in most of the genres that typify it: from the avant garde to dance music. He sees himself as a kind of deviant cabaret artist who spills his guts on stage to a soundtrack of electronica. Being 73 years old, he has listened to an awful lot of music in his time and channels those memories into his act which is a compendium of tropes from Ready, Steady Go, Chicago blues clubs, his own dreams and whatever venue he happens to be playing in. He specialises in 1-minute duration ‘kind of’ songs – often with accompanying videos. There are hundreds of them on his Instagram account. This is one of them.

Tony Morris will be performing with his leaf blower as part of our live-to-air performances on Saturday, the 19th September. Tickets available through Eventbrite – see the Radiophrenia website for more details.

https://www.instagram.com/tonymorrisssss/

Ancient Celts imagined sound bouncing off a cliff face or cavern wall as a child birthed by the stone. In Scottish Gaelic the word for “Echo” is  “Mac-Talla” — "The Son of the Rock”. It’s an elemental spirit, the living voice of the wilderness connected to the human world. When a bard played a lament, the landscape was believed to answer back, as if the land itself were moved to grief, memory, and participation.

This piece was recorded inside Cathedral Cave on the Isle of Eigg, a vast volcanic sea cave beneath the pitchstone ridge of An Sgùrr. Known in Gaelic as Uamh na Chràbhaidh (“Cave of Devotion”), this resonant basalt chamber has long been associated with ritual gathering.

Within this resonant space, a shruti box produces a slow, steady drone: By pumping air through the bellows of the instrument, the vibrating reeds awaken the cave’s own acoustic body. The sound is shaped by the cave as its reflections and resonances fold back into the performance, transforming it into a dialogue with stone.

The recording is then turned back on itself. A secondary cave-captured drone becomes an impulse response, turning the cavern’s acoustic fingerprint into a sonic filter. Processed further through tape, the piece accumulates layers of acoustic memory, spectral traces in which the cave seems to sing its own memory.

Diaphane, from the Greek diaphanēs (“that which allows something to pass through”), understands the cave as a medium. In myth, caves were liminal spaces where the boundaries between human and divine, solid and fluid, visible and invisible became permeable. Abodes of nymphs, gods, and dangerous creatures, where ancestors heard the voices of their deities in the resonant acoustics of the stone. The drone becomes a conduit between the human and the more-than-human, transforming the cave into an active participant in dialogue. It is a (re)connection with a spatial artefact of geological history that invites us to listen deeply to the stone into a state of transformation and metamorphosis.
 
A Radiophrenia commission produced with the support of Creative Scotland.

Biography:

Matt Robin is a sound artist and composer working with electronics, field recordings, and percussion. His practice, both solo and collaborative, centers on exploring complexity through minimal means, using restraint to reveal sonic detail. Guided by curiosity, he explores the textures and tonal possibilities of acoustic and electronic tools through close listening and experimentation.

He is a member of NEY, a Glasgow-based trio whose work combines voice, (electro)acoustic instruments, electronics, field recordings, and live processing. NEY has released music on the label Somewhere Press, performed in Glasgow, London, and Berlin, undertaken a residency at Grabowsee in Germany, and collaborated with Colombian-born, Miami-based experimental sound artist Doris Dana.

Matt currently collaborates with artist Shola von Reinhold, weaving harp, percussion, electronics and voice. Their work explores delicate threads and sudden ruptures, where chaos coils around fragility and entanglement becomes both method and outcome.

Sound:run:brea(d)th had its origins in the sound-runs I embarked on each morning, speed-dating with each locale, listening to their rhythms alongside that of my own breath before returning to them to listen at a slower pace. I filmed also, on an old, low resolution camcorder, moving through open and indoor spaces, connecting with people and occasionally discovering an electronic pulse or a cute sounding object that I knew I wanted to draw attention to.

I think of this piece as a theatre; a space with multiple shifting scenes;
uncovered things covered; field recordings; public squares / architectural spaces / the inner sounds of locally grown fruit / soil in the apartment garden / plant roots and branches / a milk vending machine along the Bega river / bird deterrent devices.

Recordings, composition and mixing by Pheobe riley Law for SEMI SILENT
Co-produced by Simultan
SONIC FUTURE RESIDENCIES 2024    

Artist bio:  
Pheobe riley Law (1997) is an installation artist with a focus in sound, performance, photography, and sculptural activation. Using a symbiotic approach, she builds dialogues between different bodies, borders and devices, activating, flexible new relationships. Prevailing interests include sonic mapping, exploring the life of non-human actors / inanimate objects & thinking about aspects of human activity through the lens of division and borders. She sometimes playfully reverses the roles of humans & non-humans, revealing the object-hood of the human essence, and an animate character of the ‘inanimate’ being.      

Website/social links  
FB: https://www.facebook.com/pheobe.law.5
IG: https://www.instagram.com/pheobelaw/

Manja Ristić and Mark Vernon bring us a haunting electroacoustic journey built from Belgrade’s forgotten sonic debris. At the heart of this soniferous exploration are found tapes salvaged from flea markets, carefully interwoven with field recordings made between 2004 and 2024 and processed on the legendary EMS Synthi 100 at the Electronic Studio of Radio Belgrade. From this unlikely conjunction, sombre compositional structures emerge. Abandoned sonic relics are transformed into living memory, and fragments of lives on the brink of oblivion become an intimate portrait of a city shaped by upheaval, resilience, and tenderness.

Voices recovered from answering machines, dictaphones, and reel-to-reels surface as pockets of the past, echoing the chaos of lives in their unstoppable flow. Together, they draw listeners into a time-bending archaeology of sound, history, and human presence—set against the post-war vacuum of a society deeply submerged in depleted and corrupted values.

Composed by Manja Ristić and Mark Vernon using found tapes, sessions on the EMS Synthi 100, and field recordings made in Belgrade between 2004 and 2024.
https://manjaristic.bandcamp.com/album/volim-beograd


Biographies:

Manja Ristić is a violinist, sound artist, published poet, curator, and researcher. Ristić’s sound-related research, besides contemporary performance in the field of instrumental electro–acoustics, is focused on interdisciplinary approaches to sound and field recording as well as experimental radio arts. Ristić has created commissions for ORF musikprotokoll, INA Grm, Radiophrenia, Radio Art Zone, Kunstradio—Radiokunst, Semi-Silent, Radia.FM, Framework Radio, and all national broadcasting agencies across SE Europe. The winner of several distinctive awards for solo and chamber classical music, holds an honourable mention from the Phonurgia Nova Awards, and a Golden Award for extended media from the Association of Fine Artists of Serbia. She is a founding member of CENSE – Central European Network for Sonic Ecologies.
https://manjaristic.blogspot.com/

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

How does a sad voice sound? How is a dataset of sad voices different to a song, or a field recording, or a poem? This piece, which is derived from five different audio datasets all intended to be used in training AI systems, asks: are datasets worth listening to? What are the poetics of our performances for machines? And what can we learn about these machines by listening?

https://machinelistening.exposed/site-map/works/here-is-a-dataset      

Artist bio:  
Machine Listening is a platform for collaborative research and artistic experimentation, founded in 2020 by Sean Dockray, James Parker, and Joel Stern in order to subject automated systems to political and aesthetic scrutiny. The collective works across writing, installation, performance, music, software, curation, pedagogy, and radio. Our work has been presented at major institutions including the Australian Centre for Contemporary Art, Cricoteka Tadeusz Kantor Museum (Kraków), Warsaw Museum of Modern Art, Galerie Nord (Berlin), the National Communication Museum, RMIT Design Hub, and MUMA. And we have performed at Unsound Festival, Soft Centre, and Melbourne Recital Centre, among others.      

Website/social links   
https://machinelistening.exposed/
https://machinelistening.exposed/site-map/works/here-is-a-dataset

Storia di Laide (before sleeping)
Ep. 1 - Preludio

“Storia di Laide” is a hybrid work blending storytelling, experimental music and poetry. Through shifting episodes, it follows Laide and her evolving sense of body and identity. The bed becomes the core stage: a site of rest, desire, refuge and darkness.

Lyrics ENG

Prelude: Interior. Night. The singer wakes up in an unfamiliar and
empty but, at least for now, safe room.
Just a moment, a moment before sinking into the relief of
silence, I will tell you a story, one last song before
sleep, one last more.
Laide laida Laide
That you do not yet know well the evils of the heart,
the evils of the world.
Laide, dirty white, dances among the ugliness of the space she inhabits. She should restore purity, but instead she lives in the mud, she lives in darkness.

Storia di Laide (before sleeping)
Ep. 2 - Creature del cielo, Creature del mare

“Storia di Laide” is a hybrid work blending storytelling, experimental music and poetry. Through shifting episodes, it follows Laide and her evolving sense of body and identity. The bed becomes the core stage: a site of rest, desire, refuge and darkness.

lyrics ENG

Dream and rest, do not awaken
Creature of the sky, creature of the sea

Cold
Frost
Sea
Floating
Somewhere
(Repeat x3)

You will not return to your childhood home
You can’t!
You can’t!

You will not return to your childhood home
You can’t!
You can’t!    

Artist bio:  
Giada Pignotti lives and works in Milan (IT). She holds an MA in Fine Art (Painting and Visual Arts) from the Brera Academy of Fine Arts of Milan. Her research revolves around exploring themes such as the fragmentation of identity, memory, and the construction of imaginary worlds, through the performative use of the voice/storytelling and drawing. She’s currently working on the Storia di Laide (before sleeping) project, which has been presented in Lisbon (Prisma Estùdio, 2023; Hangar C.I.A., Cosmos, 2025), Milan (VIR Open studio, 2025) and Genoa (Palazzo Bronzo, 2025).    

Website/social links  https://www.instagram.com/giadapignotti/

Hard Facts TEL. ROYAL 7895 is a three part radio comedy series set in the world of retail. It takes the form of voice messages exchanged between the principle characters. Story synopsis John, Paul and their pals used to be in a group but that was a very long time ago. These days they’re working in retail. Well, John is. He’s trapped managing his former manager Brian's department store. It was only supposed to be holiday cover, but Brian’s gone AWOL leaving John holding the fort. Cast & Production All characters are played by Claudia Duffy, James Paris and Guy Gregory. Tel. Royal 7895 was written by Richard Thomas & Steven Parry and produced by Richard Thomas.

Found recording, reconstructed, and edited by Hunda Sound with Paul Brennen

Back in 2022, I bought an old Nokia from a pawn shop in Perth with a view to making some glitchy bit-crushed melodies. Before long, I realised that far from having been wiped clean, the phone was still home to a stack of voice notes. I was sufficiently unsettled by them to take them to the police who began an investigation. Weeks later, they came back to me with the news that they’d uncovered nothing of note and suggested I’d been taken in by a hoaxer, “arts poseur” or “arts-based drug-user”. Quite possible. Then again, this is Perthshire: things happen here.

Enter Radiophrenia, the ideal platform to air the recordings in all their liminal strangeness and perhaps an opportunity to connect with someone able to shed more light on the mystery.  

Featuring actor Paul Brennen, Untitled is Hunda Sound’s reconstruction of the Nokia voice notes based entirely on the original recordings and incorporating elements of their audio. Hoax? Fugue? Burnout? Assumption? If nothing else, these clips are another single strand in the manifold weave of Perthshire’s mythico-history.
 
A Radiophrenia commission produced with the support of Creative Scotland.
 
Biographies:
 
Originated by Luke Sutherland, Hunda Sound sits at the confluence of multiple disciplines. The current primary focus is in creating art - often through improvisation, with strong entropic elements - birthed from interactions between the expressive impulse and the geography, psychogeography, history, social memory, and mythology of rural Perthshire.

Paul Brennen is a RADA-trained actor, writer, director and teacher whose career spans more than three decades across theatre, film, television and audio.
His stage work includes leading roles at the National Theatre, the Royal Shakespeare Company and Shakespeare’s Globe, as well as productions in London’s West End and on Broadway.
His screen credits include Alien³, Men in Black: International, Borgia and The One,
An accomplished voice artist, Paul played Rhalic, God of Humans, in the BAFTA-winning video game Divinity: Original Sin 2.
Alongside performing, Paul directs and teaches actors internationally, with a particular passion for Shakespeare, ensemble practice and the living relationship between voice, text and imagination.

1 Applied Silence - Ghost Weight (Binary Star) (17:47)        
2 Indiara Nicoletti e Seht Zhan - Dew of chaos (3:40)    
3 Martina Morger - Your Dreams As A Soft Opening (6:03)   

1) Applied Silence - Ghost Weight (Binary Star)      
Fátima (Marion Landers), a dancer-choreographer, and David (Steven Hill), an architectural historian, separated many years ago yet remain profoundly connected. One night as the world tumbles into quiet catastrophe, each lay sleepless in a different city, on a different continent, each thinking toward the other, revisiting shared experience, revising arguments, investigating motives, signs and portents, and the elusiveness of purpose.
Part travelogue, part long-term love story, part essay on architecture and memory's place in the body, Binary Star hovers in that intermediary space where story and reverie intersect. Weaving through motifs of wilderness and the built world, stillness and movement, solitude and intimacy, Fátima and David’s voices relay in tandem with the music of Stephen Lyons. These three elements drift in and out of each other's orbit, unable to make direct contact, casting signals into the dark.    

Applied Silence was formed by composer-musician Stephen Lyons and writer-director José Teodoro to craft fusions of music and story to be realized in collaboration with artists of various disciplines from around the world. Their inaugural project was the tandem narrative ghost story Screen Door, which debuted live in 2021 before being recorded and released on vinyl and online via Offseason Records in 2023. They have presented or developed work in Canada and Colombia under the auspices of Pi Theatre, Playwrights Theatre Montreal, and the Cali International Film Festival. They are currently developing a song cycle about work, family, and migration.    

https://www.appliedsilence.ca/
https://appliedsilence.bandcamp.com/album/screen-door
https://www.instagram.com/applied_silence/
https://www.instagram.com/offseasonarts/
José: https://www.instagram.com/chiminomanic/
Stephen: https://www.instagram.com/fondoftigers/


2) Indiara Nicoletti e Seht Zhan - Dew of chaos    
Dew of Chaos is a sound piece based on Indiara Nicoletti Ramos' text "Dream in the Cosmic Night," for the installation with text, sound art, and engraving "Fragments of a Lost Matrix." The intimate text evokes dreams, fantasy, and feminine eroticism, while Seht Zhan's sound art induces the enigmatic forests of night and infinity.
The installation with the metal engraving and sound art was part of the Vortex Festival in 2025. The text was written from sensations and dreams that linger in the air and are never defined, forming a tapestry between the enigmatic and the intimate and suspended space of poetry. It is a poetic sound work by Indiara Nicoletti and Seht Zhan.    

Indiara Nicoletti
Visual artist and writer, she has participated in several exhibitions, including the International Biennial of Contemporary Art of Curitiba/PR, São Paulo/SP and Florianópolis/SC/ 2019 and 2020, “Bodies that traverse an exhibition space”/FUNARTE/SP/2018, “Xilograffiti”/SESC Consolação/SP/2022, “Imperfect”/Lisbon/PT/2020 and 2022, “Volante Project”/Canada and Brazil/2012.
She has participated in more than 50 exhibitions in Brazil, Canada, Portugal, London, and Argentina. She has participated in artistic residencies at FUNARTE/SP and Atelier Piratiniga/SP. She attended the printmaking workshops at the Lasar Segall Museum, Oswald de Andrade Cultural Workshop, CIC/Florianópolis/SC, Ceart/UDESC, among others. Author of the book "Canção do mar além"/EDITORA CÓRREGO/2019, she participated in several anthologies and literary magazines. She works with printmaking in the expanded field of literature; her research permeates the paths and textures of visual arts, literature, and music, with the term she created, "Image-word." She works with video art, performance, and sound art installations. She participated in the exhibition "Membrane" – curated by Raquel Stolf, with sound recording, Instituto Meyer Filho/Florianópolis/SC/2014.

SEHT ZHAN
Seht Zhan is an artist, musician, sonologist, performer, cultural agitator, and label manager from São Paulo focused on improvisational, experimental, and interactive music. He studied composition and piano at the Souza Lima Conservatory and later Sonology at the renowned Royal Conservatory of The Hague, in the Netherlands. He also took numerous essential courses at specialized schools such as Harvestworks in New York and the now-defunct Ibrasotope in São Paulo. Seht lived in Europe, in addition to The Hague, also in Berlin where he stayed for more than a decade. There he organized several events and, back in Brazil, he still manages his label, Pataphors.  
https://www.instagram.com/indiaranicolettiramos/   
https://www.instagram.com/indiaranicoletti/
https://www.instagram.com/setherian/
sethism.bandcamp.com

3) Martina Morger - Your Dreams As A Soft Opening
In a culture driven by performance, the optimisation of body and mind has become both a mandate and a myth. Your Dreams As A Soft Opening collages spoken texts drawn from health brochures, yoga instructions, self-help slogans and the artist’s own scripts. These fragments are layered and recited, their gentle promises of rest and well-being dissolving under the weight of their own repetition. What begins as an invitation to relax reveals itself as a loop of admonition — a subtle but relentless push toward productivity, efficiency, and self-surveillance. Through overlapping voices and shifting tones, the work excavates the tension between care and control, exposing how language of rest is often complicit in the very systems it claims to oppose.    
 
Martina Morger works across performance, video, and installation to examine how care, desire, and power become visible and negotiable in public space. Her body-based, often minimalist gestures — cleaning, licking, planting, carrying, driving, walking, digging, repeating — reveal invisible labour, overlooked narratives, and ecological entanglements. Many of these actions recur across long-term, serial bodies of work that let themes unfold through repetition, variation, and sustained attention. She uses slowness, softness, and tactile focus as critical strategies that challenge normative expectations around bodies, roles, and productivity.
http://www.martinamorger.com
http://www.instagram.com/martinamorger

4 MARF - Frizinghall Vérité  (3:30)
5 Raphaël Amour Corniglion Faccioli - À l'autre corps raide attenant (12:58)          
6 Nairy Fstukh - soft moon rose radio (2:07)
7 yol – shopping (15:00)    
8 John Hughes and Sissy Christopoulou - You Want To Build A Bust (0:28)      

4) MARF - Frizinghall Vérité  
     
The sounds of a summer’s day in Frizinghall, Bradford. Using field recordings captured across one week in June 2024, chronologically stitched together by time-of-day. All recordings captured from within the property boundary of one terraced house in a lively and culturally diverse area of the city of Bradford, West Yorkshire.
Originally made for ‘The Turbynes Hour’ radio show on BCB 106.6 fm. Recordings inspired by audio documentary style of ‘Shut Up, Little Man!’ - coined as ‘audio vérité’. Originally aired on Episode 3 (you can listen to MARF introduce the piece around 26 minutes into the show.)
     
MARF is an audio & video artist / producer - working largely across independent theatre and as a commissioned artist for public-facing cultural & heritage projects, as well as for film and radio / podcast. She is also a music-maker, vocalist and songwriter - in the past, working as a recording & performing artist within the ‘UK Bass’ scene. She is currently developing new experimental solo work while based in Dumfries & Galloway. Many of her recent audio-led projects have been as one half of collaborative duo, ‘Turbynes’.    

https://www.mixcloud.com/turbynes/
https://bradford2025.co.uk/programme/channels/
https://www.instagram.com/auntymofo/
https://homeofmetal.com/episode-1-at-the-1-in-12-club-a-place-of-resistance/

5) Raphaël Amour Corniglion Faccioli - À l'autre corps raide attenant      
 
“ The ruins of the abandoned murderer’s impulse give rise to regret’s revival through the corpse’s lingering sorrow”
La geste amputée    

6) Nairy Fstukh - soft moon rose radio

Welcome to soft moon rose radio, an erotic audio artifact series. This transmission is from a parallel realm where desire is the ancient and native language. Listen to the siren song in technomancy slip past your defenses and wake the erotic in you.      

I’m a surrealist artist, writer and Jungian astrologer. I’ve been immersed in archetypal arts since childhood and find home in metaphor which I know to be the truest way to describe and understand the ineffable. I create immersive sound art as essential, sculptural worldbuilding. My 'soft moon rising' Substack is ranked 42 on the Philosophy bestseller list where I reach 5,000 readers a month.      

https://softmoonrising.substack.com/
https://www.softmoonrose.com/
https://www.instagram.com/softmoonrose
https://www.threads.com/@softmoonrose

7) yol – shopping    

the colleague announcement is a rattling fridge unit that probably isn’t keeping the food at a safe temperature why is everything dripping or slightly sticky i met someone who said they enjoyed shopping and liked going to big tescos instantly a gulf opened up between us a screaming void a colleague announcement they were still talking to me but all i could hear was rattling fridge units colleague announcements do you have online banking there is a cashier free but not for you i have a hernia and a doctor told me i cannot yell so i thought i would see if shopping might fill that gap this is how it went      

Yol is an artist working in performance, visual art and text. Found objects, mouth noise, mangled language. Starting points are space/situation, found objects, and self generated mangled text, explored alongside experimental vocal techniques. End point is broken sounds, broken words. Everything is an instrument, or nothing is, it’s hard to tell.      

https://yolnoise.bandcamp.com
https://www.youtube.com/user/yol1971
https://www.instagram.com/haribo_voodoo_ritual/

8) John Hughes and Sissy Christopoulou - You Want To Build A Bust  

Political Protest songs for the radio.      

John Hughes and Sissy Christopoulou's sound work has been heard on One Minute Wonders, Hello Goodbye Show, Resonance FM.

My Variations is a radio drama-sound art hybrid. According to the legend, Bach wrote the music for the Count Kayserling, who was an insomniac. Kayserling would call his private harpsichordist to perform the variations during the night to pass the time and fill his sleepless hours. Apparently, he would call Goldberg and say “Play me some of my variations”. To that end I used AI (Eleven Labs); made the three voices- I fashioned a Count, a Goldberg, and me. It starts out as an exploration of the legend, then focuses in on the foibles of the characters of the legend, but then starts moving towards the mechanics of such a legend -language itself.      

Artist bio:  
Bernard Clarke (28/3/1967). Award winning broadcaster working for RTÉ lyric fm (Ireland's public service broadcaster).      

Website/social links 
https://mastodon.ie/@BernardBlue
https://soundcloud.com/bernard-clarke

Memory is a wayward faculty, preserving only that which it cannot bring itself to let slip into oblivion.

This thought returned to me while listening, as if the sound itself were thinking in my stead. What reached the ear was not so much music as the residue of music, a sequence of tones already in the process of withdrawing, carrying with them the faint pressure of what had once insisted on being heard.

Certain sounds appeared only to vanish again, leaving behind a brief hollow; a silence thickened by expectation. Others lingered longer than they should have, worn thin by repetition, like phrases copied too many times in a ledger whose purpose has been forgotten. One sensed that the piece was not unfolding but eroding, depositing layers of near-silence, as dust settles on documents no one consults anymore.

Listening in this way, it became difficult to distinguish between what was present and what was merely recalled by the ear. The music behaved like memory itself: not selecting, not narrating, but hesitating, circling fragments it could neither fully retain nor entirely discard. Each sound seemed to ask whether it was still necessary, and to remain only because no one had yet consented to its disappearance.

By the end, what endured was not a theme, nor a resolution, but a condition, the sense that something had been kept not out of will, but out of reluctance to erase. And it occurred to me that perhaps memory works in the same manner as this music: as an archive of effacement, preserving less what matters than what refuses, quietly and stubbornly, to fall silent.
    
Artist bio:  
Bruno Duplant is a prolific composer and a musician living in the north of France. He has collaborated with many musicians around the globe and has also made solo works. His recordings have been published by various labels For Duplant, composing and playing music is similar to imagining, creating new spaces/realities, new entities which he calls fictions. But it is also a reflection on memory and on all that is invisible, intangible.

His music, strongly inspired by the writing (Francis Ponge, Gaston Bachelard, Georges Perec, Mallarmé among others) and some artists/musicians/theorists (John Cage, Luc Ferrari, Eliane Radigue, Rolf Julius & Raymond Murray Schafer), is imbued with a sweet melancholy. His photographic practice and writing (novel & poetry), for some time, join his musical practice, in many crossings, for many exchanges.    

Website/social links  https://bandcamp.com/search?q=bruno%2Bduplant