Tue 05

For each Intermix, I recorded a performance video where I resonated plastics with my body. This was sent to a collaborator; my wife Jennie Huggins, radio artist Joan Schuman, writer Hugo Danino, and poet Mark Anthony Pearce - who responded aurally to what they witnessed. Listeners are then invited to visualise what was performed solely from each collaborator's perspective.

I made these performances after discovering that plastics now exist within every body on Earth. Pollution and climate change appear so beyond our control, our governments reticent to act, it leaves one feeling powerless. Driven by our ambiguous relationship with plastics, material both useful and destructive; I wanted to engage with this material in a bodily way that would also confer the conflict I felt. In denying myself a voice, inviting others to speak, act on my behalf, there is I think an analogy to our relationship with the climate emergency.

Artist bio:
Seth Guy appropriates, reconfigures and juxtaposes materials to create playful performative works which explore the discourse between ear and eye. Influenced by his interests in experimental fiction, art, and music, Seth's research investigates the intersections of shared language, of memory, and imagination, in which the acts of listening and visualising are investigated. Often collaborating and devising projects of a participatory and experiential nature, Seth makes both sonic art and visual art - sound compositions, performances, and collage - work which is often humorous, and occasionally disquieting. Seth lives in London. His work is held in public and private collections worldwide.


Website/social links
https://sethguy.bandcamp.com
http://www.sethguy.co.uk
https://www.instagram.com/sethguy.art/
 
 
plus short work:
 
Carys Wall - El Poble

El Poble is a soundscape of a protest in Valencia, on the 9th of November 2024, when over a hundred thousand people demanded the resignation of the Valencian president in response to the DANA flooding which killed over 200 people and caused catastrophic damage. I took my recorder and ended up feeling compelled to make a record of this extraordinary time with so much anger, fear and grief in the air, as well as solidarity, resilience and hope. People chant "while you were eating, the people were dying" and "they're not deaths, they're murders".   
 
Carys Wall is an audio producer based in Spain who likes to Live, Laugh and Listen to Weird Audio. They have produced work for Short Cuts, the Food Programme and BBC World Service's Amazing Sports Stories.
https://www.instagram.com/soniquetesaudio/   
https://x.com/Ccaarryyss 

1) David Watt - A Scottish Minstrel's Song of the Waves (15:00)
2) Mendel Lee - Fast-Paced World (9:45)
3) Michele Abondano - The Inner of Matter (20:00)
4) Craig Gell – Arcade (15:00)

 
1) David Watt - A Scottish Minstrel's Song of the Waves

Soprano: Lisa Lulis (credit)

As a songwriter, Carolina Oliphant hid her identity in pseudonyms of Scottish Minstrel, SM, Mrs Bogan of Bogan, BB, for fear of not being taken seriously as a female songwriter ​(Donaldson, 2023)​. The exact extent of her work is not known. With Robert Burns, Baroness Nairne (as Carolina Oliphant became) was one of the foremost Scottish songwriters helping to transform the politics of resistance in the Jacobite rebellion to a national identity. A Scottish Minstrel's Songs of the Waves recasts Nairne’s work and collages three songs: Caller Herrin’, Charles’ Landing at Barodale; The Boat Song O’ Clyde) ) Each work explores the relationship of estuaries and water courses to the Scottish Landscape. In this work Nairne is reworked into the present day using sonic material processed from the vocal performances with found sounds of objects located close to the water courses.

David Watt is lecturer in music and sector Manager for music industries and theatre arts at UHI Perth, having previously completed doctoral study with Rajmil Fischman and Diego Garro at Keele University. Previous works have been performed at INTIME, Ai-maako, Portbello Film Festival, and explore connections made in structure and narrative through sound transformation.
https://linktr.ee/davidwatt
https://davidwatt.bandcamp.com/album/voices-landscapes

 
2) Mendel Lee - Fast-Paced World

Years ago I found myself wondering what it would sound and feel like to be standing or walking in the middle of a road with fast and loud vehicles speeding by me on all sides. I imagined closing my eyes, feeling the slipstream air whip my hair around as vehicles of all shapes and sizes passed by me. Because this would be hazardous to experience in real life, I set my sights on creating a digital audio work that could represent this phenomenon. Fast-Paced World is the result, an atmospheric work aimed at transporting the listener into what would be a dangerous sonic environment made safe and meditative by transforming the sounds into a peaceful virtual soundscape.

Mendel Lee (he/him) (b. 1975) is a New Orleans-based composer whose music explores both the evolution of singular ideas over a long period of time and layered syncopated rhythmic patterns and hemiolas over an underlying groove. Recognized as a VCCA Fellow and a NPN Take Notice Fund Grantee, he is committed to using his creative practice and entrepreneurial spirit to strengthen collaboration between composers, performers, and audience to show that new music can be for everyone.
https://mendellee.com/
https://instagram.com/mendelleemusic
https://youtube.com/@mendellee

 
3) Michele Abondano - The Inner of Matter

‘The Inner of Matter’ is the first electroacoustic composition of a series of timbrescapes that responds to the hybrid possibilities between the creation of a timbral experience and the interaction with a particular soundscape. Here, the soundscape was recorded and electronically processed. Objects of diverse materials were collected to create a set for improvisation sessions, which were recorded and processed as well, thus the compositional process focused on the timbral creation of a hybrid experience between the acoustic and the electronic entities. The inner in this work is approached as a scrutiny of the inside of each source. The search for the internal content and structure of matter in each object. Scraping, cutting, digging or extracting, I attempted to capture their uniqueness, expanding or even disrupting their nature.

Composer, experimental performer and researcher. Her work has been developed in the areas of instrumental and electroacoustic music, live electronics and collaborations with dance. Her main interest is to explore timbre, especially, its multidimensional and dynamic condition. She has been a fellow of the Stiftung Künstlerdorf Schöppingen, an artist-in-residence at CMMAS, as well as a winner of the Ibermúsicas Prize of Composition and Premiere of Work, and the Grant for the Creation of Contemporary Music funded by the Colombian Ministry of Culture. Abondano was awarded a PhD in Composition at the University of Leeds.
https://micheleabondano.com/

 
4) Craig Gell – Arcade

‘Arcade’ is a montage of recordings made at Dymchurch amusement park in Kent. The piece was originally created to augment an installation by the artist genuinefake at the Folkestone Triennial in 2021, but was never used.

Craig Gell is an artist and composer from Bournemouth.
He has created multimedia installations, interactive apps and electroacoustic compositions largely informed by nature and the natural landscape - recording impulse responses in quarries (Lithoscapes), programming sonifications of live sea wave data (Wave Machine). Craig is also an experienced musician and composer of more conventional music, including for a number of short animated films.
craiggellmusic.com
Soundcloud.com/craiggell

Lowbrow Process is a cycle of Lo-fi short fictions inspired by the arts of the lowbrow movement. Rénoviction takes place in the middle of the housing crisis in Quebec where the wild eviction of tenants has created a movement of graffiti on the buildings of real estate sharks. The Barbe.Blu episode is a typical mise en abyme of video games where the distinction between the player and his avatar is deliberately blurred. The Paradox episode was recorded in an important art gallery (a paradoxical place for lowbrow arts) where speakers broadcast sound elements along the journey of the storyteller Paul Bradley who tells us about his visit to a strange and fictitious museum. Collage episode takes extracts from the 20 sound tests produced during the research phase with the fifteen participating artists, in order to create an fragmented poetic story.

Artist bio:
La Quadrature is a research and creation organization in contemporary storytelling led by Paul Bradley, Céline Jantet and Nicolas Rochette. La Quadrature question the very act of the action of telling. Active on stage as well as in public spaces and on the web, La Quadrature's creations have received several distinctions including the NUMIX 2020 - sound and experimental fiction and the English Sound of the Year prize - innovation in sound technology.

Lowbrow Process main artists:
Paul Bradley, Étienne Legast, Simone d'Ambrosio, Jérome Bérubé, Isabelle St-Pierre.

Website/social links
https://www.laquadra.ca
https://www.facebook.com/laquadratureconte/

A pressing immersive radiophonic journey sharing the personal accounts of those living next to Walley’s Quarry a Landfill in Newcastle-Under-Lyme, run by Red Industries who breached its permit over 111 times and caught fire this summer.

After over a decade of complaints from local people and members of action group Stop the Stink, Walley’s Quarry legacy will live on. Unfortunately, it’s the tip of the iceberg of a national scandal caused by current legislation, regulation and management of landfill in the UK and with that the legacy of air and water pollution left behind.
 
In Oct 2024 it was found emissions of hydrogen sulphide emitted from the site had been under recorded by the EA between 2016 and 2023, in Oct 2024.  Newcastle-under-Lyme Borough Council took legal action against the firm and finally the EA took action to close the site in Dec 2024, however the stench continues as they cap it off and deal with the mess.

The artist Magz Hall became aware of a growing national scandal after experiencing the stench from Shelford landfill Canterbury during lockdown, it led me to research this site and others which she plans to document in the future. She hopes the work will give a voice to some of the many people and communities directly affected by landfills built far too close to homes and allow the audience to experience what it’s like to be gassed in your home on a daily basis.

Thanks to the community of Newcastle-Under-Lyme and Stop the Stink for contributing.
New research shows landfill leachate treatment, which is the water cleaning process at such sites is creating and increasing banned PFAS chemicals substances into UK water table,  all hugely concerning.

The work also features geranium plants from the artists radio air garden project, inspired by landfill air pollution as they are great absorbers of pollution.  This is stereo mix of the work which was initially made as 16 speaker immersive radiophonic doc for the WinterSounds Festival and is being shared across platforms.

Artist Producer Magz Hall
Music Mieko Shimizu
Supported by Screen South and Arts Council England

Artist bio:
Magz Hall is a UK sound and radio artist born in Keynsham Somerset, she is concerned with art the art for the environment, expanded radio, expanded sculpture, with a focus on wireless technology across the spectrum. She been developing a series of expanded sound art works around air pollution for her Radio Air Garden Project. She was awarded an Oram Award in 2021 and nominated for an Ivor Novello in Sound Art for Waves of Resistance also aired on Radiophrenia for Galway 2020. Tree Radio at The Yorkshire Sculpture Park was nominated for a BASCA in sound art.

Website/social links
https://magzhall.com/
https://www.instagram.com/hallmagz/
https://www.instagram.com/radioairgarden_/
https://www.facebook.com/magzz.hall/
https://www.facebook.com/radioarts.org.uk
https://x.com/expandedradio
 
 
plus short work:
 
Frontera Glaciar - 'Meditar' From the EP 'Patio Nevado'

Compilation of sounds and voices from Patagonia, including personal elements, natural and tourist spaces of Punta Arenas (Strait of Magellan, Plaza de Armas).

Artist bio:
Ignacio Núñez Oyarzo (Patagonia, Punta Arenas) Graduate in Education (UMAG, 2015) Pedagogue (UMAG, 2016) and Master in Arts (PUC, 2020). Sound artist, producer and DJ. Frontera Glaciar is his artistic name and personal space in which Ignacio experiments and combines soundscapes of the Patagonian territory with various voices. His name is due to the fact that he was born and lives in the city of entry to the polar territory. His line of work is divided into the creation of sound series (radio art) and sound experimentation and live performance. And he develops projects linked to: climate change, territory.

Website/social links
https://fronteraglaciar.wixsite.com/site
https://www.instagram.com/fronteraglaciar/
https://www.youtube.com/@fronteraglaciar
https://soundcloud.com/frontera-glaciar
https://fronteraglaciar.bandcamp.com/album/patio-nevado

This piece was composed by sending Tartinis Devil's Trill Sonata through a micro delay plugin, I developed during my master's in Sound Design in Scotland. The plugin takes in the input audio and then splits it into 20 different buffers, uniquely processes each buffer and then joins them back together creating a sonic mosaic of the original piece.

The title Stream of Consciousness mirrors the intensity and flow of a frightening or impactful dream with the aim to reimagine Tartini's journey to deconstruct the dream that inspired him to compose the original Sonata in G Minor.
 
My favourite moment in this piece takes place at duration 8:30 when the evolving feedback loop gets cut off and then brought back in with only certain highlighted fragments. Similarly at 14:00.

Artist bio:
Sound Designer and Developer with a background in Electronics Engineering. My goal is to bridge the gap between embedded technology and audio production, fostering a deeper physical connection in how we, as artists and sound designers, create music and sound. By combining the realms of analog, digital, and AI-driven technology, I aim to innovate and expand the possibilities within the audio production landscape.

Website/social links
https://yashiquechalil.com/
https://soundcloud.com/yash-que-chalil

One hour audio composition. This album was created at The AARK (Archipelago Art Residency in Korpo, Finland). More Glimmers …. As it was summer, the days were long, stretching into what would normally be considered night. Free of almost any responsibilities, we drifted in what felt like a timeless space that allowed for long meandering walks through the forests and shorelines, bicycle rides and sea kayaking. There was also the ferry taxi that takes people much further out to sea, where the islands are more sparsely populated and the blue expanse seems even larger. Some days we would ride bicycles on the curving road into town and sit at Hjalmar’s bar, sipping ciders and eating probably the best french fries Mykel has ever tasted. Sometimes it was quiet, other times the place would be full of travelers crossing through the archipelago on holiday.  Artist bio: Who we are: post doom romance. What Mykel Boyd and seah (Chelsea Heikes) have in common when forming their collaborative artist group, post doom romance, is a keen eye and ear for textures. In both sound and image, we have been solo artists working both in the music industry and the fine arts world. Together, we produce sound, video, and still image compositions that are sensitively layered and textural. Our aesthetic is such that we do not heavy-handedly depict. Rather, we ruminate together in the feeling space of both literary and physical spaces, building our aural and visual language through Website/social links http://www.postdoomromance.com https://somnimage.bandcamp.com/album/glimmers-on-the-archipelago

The click of the derailleur, the whirr of the hub, the hum of a carefully lubricated chain – in an era of climate breakdown and energy scarcity, the bicycle is an orchestra of sounds that embody attributes of energy-efficiency and recycling that will be essential to an low carbon future. Reduce, Reuse, Re-cycle takes the listener inside the bicycle workshop via a forensic collage of repair sounds as beat-up bikes get nurtured back to smooth working order. Chain-lines are analysed, barrel adjusters are manipulated, hanger alignment is checked and bottom brackets are checked as the low-carbon vehicles of the future are forged. Derek Walmsley is a writer and bicycle mechanic based in London, and the former editor of The Wire. His bylines have appeared in Electronic Sound, The Quietus, London Review Of Books and elsewhere, and he teaches at the London College of Communication. You can find him blogging at slowmotion.blog Weblink: slowmotion.blog

Most of the time radio is used by and for people to communicate with each other, to project sounds into the invisible space, to make causal connections and statements. We are curious about the sound of that invisible space - what can it communicate back to us if we shift our perception of the senses? We aim to explore the ephemeral, that which lies beyond our regular range of hearing and perception. By listening, we ask where, when and how do we exist in the sound field? In the piece we work with coils and field recordings. The coils act as receivers and amplifiers for the EM field around us, including sound emissions of the broadcasting equipment; but also as speakers - transmitters of the past. Combining and processing field recordings from the past and various places we decontextualise them, and reflect on ever-present change, memory and the position in the sound field. Throughout the piece we facilitate an interaction between the existing soundscapes - those within and those beyond human perception, bringing them into contact with each other - a process sometimes resulting in attunement. Artist bio: Ni and katarina, are currently based in Den Haag, Netherlands. They are delving into terra spaces where paces and rhythms are subtly morphing, shifting, sedimenting like geological formations and (our) memory. Points of reference are temporal. Moments are transient. We are oscillating in a fault zone. Ni works as a sound designer for film and audio forms editor. They work with analog electronics, field recording, always curious and conscious of the systems and structures that surround them. katarina (id-entity work in progress) is coming from body weather background. Currently studying at Institute of Sonology, they explore the realms of sound. Website/social links https://www.instagram.com/postintrotwone/ https://olpuas.bandcamp.com http://www.instagram.com/sonoronja/ http://www.lllfr.bandcamp.com https://www.imdb.com/name/nm9416108/

1 Vortichez - Want Water (3:19)
2 Shortwave Collective - Collective Listening Across Distance (13:14)
3 Ben Gaunt - 303 Flings (For Beginners) (3:03)
4 Frontera Glaciar - Fantasma Antártico Gris (Grey Antarctic Ghost) (11:30)
 
 
1) Vortichez - Want Water

The electronics in this piece are entirely those of thirsty trees, recorded with highly sensitive acoustic sensors and generously shared by physicist Alex Ponomarenko, manipulated by the composer using Trevor Wishart's CDP (Composers Desktop Project) software.
Trees under drought emit short ultrasound "clicks" whose origin is not clear, but discovered by Alex Ponomarenko to be linked to the appearance of bubbles. The short clicks have been expanded by the composer to engage more deeply with trees' slower timescale.
As we communicate with trees, their thirst can be made known to us. Scientists can use these findings to reconcile stressed trees to long periods of drought brought on by climate change.
Want Water was selected for the Art & Science Days in Bourges, diffused during the Musinfo "Tempus" multimedia concert.
For more information about Alex Ponomarenko's project: https://www.youtube.com/watch?v=uWL0EoZh09w

Vortichez is an electroacoustic project manipulating and reconstructing diverse sound sources into abstract sound worlds. Her work has been released on several independent labels, performed by the composer at the University of Birmingham's BEAST FEaST, and featured at Arts & Science Days in Bourges.
https://linktr.ee/vorticex_
instagram: @_vorticeX

 
2) Shortwave Collective - Collective Listening Across Distance

Originally a live performance, this piece shares the praxis and the thinking behind our methodology of listening across distance. Through a distributed group practice, we listen for the electromagnetic transmissions embedded within a soundscape. We combine our individual and topical experiences into a collective network of listenings. We celebrate the fragility of what is heard, the intricate buzzes and clicks alongside the voices and music, reception as determined by the atmospheric conditions of the moment, or the sound of nothing at all when things do not work or there is nothing that we can hear. It is a plurality of possibilities that we listen to, rather than an illusion of singularity where there is one way of being and one body. These processes allow us to listen to the environmental transmissions that surround us in a way that is open and accessible to all.

Shortwave Collective is an international, interdisciplinary artist group, brought together by an interest in feminist practices and the radio spectrum. We spend time together making, testing and sharing DIY 'Open Wave-Receivers', antennas, and other radio-related technologies, often reusing various components from found and everyday objects. We use radio-listening to reflect together on the situatedness and the material and cultural ecologies at stake in signal transmitting and receiving. Shortwave Collective are: Alyssa Moxley, Brigitte Hart, Georgia Leigh-Münster, Hannah Kemp-Welch, Karen Werner, Kate Donovan, Lisa Hall, Maria Papadomanolaki, Meira Asher, Sasha Engelmann and Sally Applin.
 https://www.shortwavecollective.net/
Instagram: @shortwavecollective
Twitter: @SWaveCollective
https://mstdn.social/@ShortwaveCollective

 
3) Ben Gaunt - 303 Flings (For Beginners)

As part of mjf hothouse 2023/24 Ben Cottrell participated in a number of 'flings'; short-lived collaborations with various musicians of different disciplines/genres. I was very excited when Ben asked me to work on a fling with him.

We both work at Leeds Conservatoire; one afternoon we set up some microphones in practice room 303, and made sounds with everything we could find. Plant pots, chairs, windows, bins... we recorded everything except for the musical instruments, which were left untouched.

This is my fling, and it is a piece about how I hated practising scales and arpeggios when I was a student. In writing the piece, the number 303 became important; it is 3:03 long and 303 beats per minute. If you listen to it 303 times, I will be very happy!

Using the same recordings, Ben has made his own fling.

Ben Gaunt is a composer, sonic artist, and improviser. He has written for the London Symphony Orchestra, London Sinfonietta, Grimethorpe Colliery Band, and many other lovely people. He has been nominated for an Ivor Novello Award, a British Composer Award, and is Professor in Composition at Leeds Conservatoire.
https://www.bengaunt.com/
https://x.com/bencomposer
https://www.bengaunt.com/epk-sonic-artist-and-composer

 
4) Frontera Glaciar - Fantasma Antártico Gris (Grey Antarctic Ghost)

Antarctic Gray Ghost (2025) It is a radio project in which sound experimentation is carried out based on recent scientific studies of Antarctica. At the end of 2023, studies were presented related to the Antarctic cod, a large specimen that lives on the white continent and that can bring answers related to climate change and timely help to the sub-Antarctic ecosystem. Frontera Glaciar that lives in Patagonia, gateway to Antarctica, builds, through sounds, screams, voices and marine spaces of the south, a mini international symposium in which three Latin American scientists (Chile, Brazil and Argentina) participate, alerting us about the importance of their studies and the danger that can occur if timely protection is not provided. In this journey of sounds, the Antarctic cod itself is present.

Ignacio Núñez Oyarzo (Patagonia, Punta Arenas) Graduate in Education (UMAG, 2015) Pedagogue (UMAG, 2016) and Master in Arts (PUC, 2020). Sound artist, producer and DJ. Frontera Glaciar is his artistic name and personal space in which Ignacio experiments and combines soundscapes of the Patagonian territory with various voices. His name is due to the fact that he was born and lives in the city of entry to the polar territory. His line of work is divided into the creation of sound series (radio art) and sound experimentation and live performance. And he develops projects linked to: climate change, territory.
https://fronteraglaciar.wixsite.com/site
https://www.instagram.com/fronteraglaciar/
https://www.youtube.com/@fronteraglaciar
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5 Marc Perez - Hubs (Ft. People) – (4:26)
6 Julia Griner - Dorica Castra – (4:20)
7 Pete Cox - Blast Dunes/Beach (Leezie Lindsay) (10:44)
8 Tess Davidson - Shifting Shadows (3:58)
9 andre birken - 31 monstrous demonstrations -  REGENSCHAUKEL (+MYAMAN) (1:24)
 
 
5) Marc Perez - Hubs (Ft. People)

This is a track made up of various field recordings that took place during early 2023, across 3 different airports in 3 different states within the U.S.
The story created here from these field recordings is one of autonomy amongst various ecosystems of humans, and stories. We have immense identity, yet none all in the same. I hope the world created here brings forth a sense of unity rather than unease, and allows the listener to feel more connected to those they have never met. We are not isolated. We are just waiting for the time, means, and moment to connect to someone new.

Trombone Player, Composer, Improviser, Artist & Author Marc Perez utilizes his unique understanding and approach to improvisation in a broad range of interdisciplinary practices. His approach to sound, music perception & non traditional notation is quickly making Marc a sought-after collaborator and making his work quickly known.

Marc is part of the experimental jazz duo “Frog n’ Toad”, makes electronic music under “Chilaquiles”, makes video game music under “mapmusiq” & leads the exciting and experimental large ensemble, “The Tapestry”.
https://www.marcperezmusic.com
https://www.instagram.com/mapmusiq

 
6) Julia Griner - Dorica Castra

Dorica castra, named after the Latin doubling process of chain rhyme, is a radio attempt at sound concatenation.Orchestrating a discussion between songs and archives, I feed an exquisite corpse narrating the story of a lifejacket while resonating with my artistic influences. Listen closely as the life vest floats away from your overturned ears. An imaginary journey made up of detours through the worlds of leeks, whistles and snow without ever really straying from your life vest, this radiophonic concatenation was designed to buoy up anyone who fell into boredom.

A graduate of the Sound Design master's degree from Esad TALM, in partnership with Ircam (Institute for Acoustic/Music Research and Coordination), Julia Griner is a musician and sound artist. She is interested in questions of gender in her sound manifestations, the title of her master thesis.
Diversion, collage, shift, obsolete technologies, Bach, aliens, ghosts and the sonification of data are at the heart of her practice.
In parallel with her wanderings towards sound material, Julia Griner pursues sound design activities for museum institutions.
https://juliagriner.com

 
7) Pete Cox - Blast Dunes/Beach (Leezie Lindsay)

‘Excerpts from the Ardeer Peninsula’ is a series of three soundscapes each focusing on a specific area of the Ardeer Peninsula which is located in North Ayrshire between Irvine and Stevenston. It was formerly the site of the Nobel Munitions factory and was one of the area’s largest employers with over 13,000 employees. Since closing in the 1990’s, the site has fallen into a state of industrial disrepair with many derelict buildings remaining, whilst the wildlife on the peninsula has flourished and is now the largest brownland regeneration site in Scotland.
This piece focuses on the adjacent beach, where reverberant concrete tunnels reach out into the sea, with the sounds of waves and wind rushing through them.
The pieces were constructed as recordings made in real time of improvisations using field recordings and guitar, processed and recorded through the Max package ‘Ppooll’.

Pete Cox is a Glasgow based sound artist and composer. His work spans field recording, improvisation and sound design practices with a focus on sonic spacial practice. Often using field recordings taken from places that have a personal, familial or environmental significance as a starting point, he explores how the sense of space can be expanded and abstracted though digital processing, looping, and improvised instrumental responses, and how these elements allow exploration into what is present, implied and absent from the spaces, and how this effects the experience of being there.
https://petecoxsound.hotglue.me/?start

 
8) Tess Davidson - Shifting Shadows

This is a soundscape that explores the ways in which doorways are a portal between the anonymity of harsh urban environments and private sanctuaries — and how they contain multitudes, from the claustrophobia and isolation a city brings, to the expansive, joyful potential of welcoming your community.

Tess Davidson is an audio producer and writer from the north of Ireland currently based in London. She has produced for organisations such as the Tate Britain and the Serpentine, as well for BBC Radio 3, BBC Radio 4 and RTÉ in Ireland. She won bronze for Best New Producer in the UK’s Audio Production Awards 2023 and is currently developing her first play with Soho Theatre, London.
Instagram - @tessie_davidson
Twitter/X - tess_davidson
 
 
9) andre birken - 31 monstrous demonstrations -  REGENSCHAUKEL (+MYAMAN)

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

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

Leonie’s nomad project Cultural Spaces returned to Iran in 2019. Her sound portraits of Panjim and the Goan countryside were installed at Motorkhooneh Gallery - an art space that literally and figuratively operates underground. 20 meters underground to be precise, hidden at the lowest level of a parking garage. During her stay there she recorded the sounds you are hearing. They were transformed into this composition in 2023, when Cultural Spaces, with the pandemic finally and completely in the past, was able to come back to life at the Zwitschermaschine in Berlin. It is there that this piece was premiered, while Leonie recorded the sounds for the next stop of Cultural Spaces.

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


Website/social links
http://www.leonieroessler.com
Facebook: Leonie Roessler
Instagram: ljroessler

Soil Balance / Dramatic Words is an assembled melodrama around the themes of surveillance, conspiracy to murder , and transcendence. It was assembled by John Hall in Ulverston. It features the voices of Felix Bressart, Bernard Cribbins, Leslie Crowther  James Gleason, Henry Kendall ·Richard Levitan, Ida Lupino John Mills, Chris Schenkel, Victor Stanley, Arnold Palmer, and William Powell, and additional material by Steve Tyson and Damian Rose

With original music by John Hall

It is dedicated to David Round.

Biog: John Hall is based in South Cumbria, He explores archives, rotting plastic bags in charity shops and all things inbetween to make audio, video,music and print about ritual, tradition and communal memory. He is artist / director of Artspace, produces Flypaper, a zine on vernacular creativity and is compiler editor of the book Play Summat We Know; Independent Music and Community in Barrow in Furness 1976-96, with Barrow Dock Museum.

"A weirdly thrilling project" (Wire magazine)

http://www.johnhallartist.com/

Website/social links
https://www.johnhallartist.com/

1 Wolfgang Pérez - Memorias Fantasmas (9:55)
2 Troy David Ouellette - E-Air (2:35)
3 Dariusz Mazurowski - Summa Technologiae - Homo Sapiens (5:08)
4 Jorge Ramos - Electronik Peace (5:52)
 
1) Wolfgang Pérez - Memorias Fantasmas
Memorias Fantasmas is based on a 1982 concert recording by my family in a church in Segovia, Spain, thought lost but rediscovered last year. The composition uses loops from the original recording, with minimal new material added (e.g., simple oscillators). Each of the three sections begins with a loop that is repeated mantra-like, inviting listeners to focus on sonic details, which are gradually varied and developed. The piece follows principles of Reduced Listening (Pierre Schaeffer) and processes the sounds through sampling, downgrading, filtering, and distortion.
 
The work emphasizes the spaces between sounds, allowing imperfections to take on a life of their own. It reflects the nostalgia for lost futures described in Mark Fisher's Hauntology, as the resurfaced material represents a past I didn’t experience, yet feel connected to.
Wolfgang Pérez, a 30-year-old German-Spanish composer, producer, and multi-instrumentalist from Essen, Germany, is known for blending experimental electronic music with pop. A graduate in electronic and pop composition from Folkwang University, his work explores unconventional structures and electroacoustic textures. His second album, AHORA (2024), sung in Spanish, mixes Latin rhythms with intricate electronic soundscapes, while his upcoming album, Só Ouço, inspired by his time in Brazil, brings Brazilian influences into his experimental pop style. He is currently focusing more on the electronic line in his body of work, experimenting with Soundscape composition and immersive Multi-Channel pieces.
https://www.instagram.com/wolfgangperezmusic/

2) Troy David Ouellette - E-Air
E-Air (2024) consists of sounds that reference place and time, foregrounding the sonic possibilities of Hyères, France and St. Catharines, Canada. Each chosen site resonated differently as the surroundings changed, yet one common theme remained via a tuning fork, which marks the space's sonic resonance. As an object of obsolescence in music, the tuning fork has taken on a contemporary function as a tool for healing through sound. It references the therapeutic nature of resort towns with littoral space as places of convalescence and respite. It also becomes a rudimentary instrument like a bell to transport the listener psychoacoustically from one passage to another.
 
Specializing in acoustic ecology, technology and conceptual art, Troy David Ouellette (he/him) is an Assistant Professor of Digital Media and Design at Brock University's Marilyn I. Walker School of Fine and Performing Arts. Ouellette is a founding member and former Chair of the London Ontario Media Arts Association (L.O.M.A.A.) and "Principal Organizer" of the Sound Art Innovation Lab (S.A.I.L.). Ouellette's research often extends notions of how culture, technology, and the environment might interact beyond anthropocentric concerns.
http://www.troydavidouellette.com/
https://www.soundartinnovationlab.org/
https://brocku.ca/miwsfpa/visual-arts/faculty-and-staff/troy-david-ouellette/

3) Dariusz Mazurowski - Summa Technologiae - Homo Sapiens
Originally, the piece "Summa Technologiae - Homo Sapiens" was composed as part of the extensive performance "Summa Technologiae", based on the book by Stanisław Lem of the same title, first published in 1964. It was commissioned by the Baltic Opera in Gdańsk as part of the series Tuesdays on the Wave 2021, concerts inspired by literature. It was performed live on November 16, 2021. Currently, it is an independent concert piece for prepared piano, synthesizer (or sampler), two actors and tape. It can be presented in various forms - as mentioned before, but also for just a piano with a tape, two voices with a tape, a piano and a synthesizer for one performer, etc. It all depends on what performers are currently available. It is possible to play the actors parts from a tape, or omit them completely and perform them on a piano with only an electronic layer.
 
Dariusz Mazurowski is a Polish electroacoustic music composer born and residing in Gdansk. While the majority of his compositional activity has focused on acousmatic works, he has also composed instrumental music in conjunction with electronics, soundscapes, and mprovised electroacoustic music. His works combine analog instruments with the digital technology and concrete sounds. Mazurowski’s music has been broadcast by various stations all over the world, and he has performed at festivals and other events in Europe, North America, South America and Asia. His installations, visual works have been exhibited worldwide in numerous galleries. His compositions has been released on numerous discs.
https://deemstudio.com/
https://www.facebook.com/people/Dariusz-Mazurowski/100086282450366/
https://www.youtube.com/user/DeeMstudio/videos
https://open.spotify.com/search/Dariusz%20Mazurowski

4) Jorge Ramos - Electronik Peace
During Mahatma Gandhi's stay in England in 1931, when the Columbia Gramophone Company requested him to make a record for them, Gandhi pleaded his inability to speak politics and added that, at the age of sixty-two, he could make his first and last record which should, if wanted, make his voice heard for all time. Confessing his anxiety to speak on spiritual matters, on October 20, 1931, he read out his old article On God.
For the purpose of this work, I extracted the following passage: There is a mysterious power that pervades everything.
 
Jorge Ramos is a Portuguese multiple award-winning composer, sound artist, and researcher based in London. He has written solo, chamber, symphony, mixed, electroacoustic, live-electronics, film, stage, installations, and advertisement music for festivals, orchestras, ensembles, and soloists across Asia, North America, South America, and Europe, while also collaborating with other artists computer music design.
Jorge Ramos holds a Doctorate in Music Composition granted by the Royal College of Music London. He currently serves as a collaborator at The ACTOR Project — Orchestration practice in the 21st century (CAN) and CESEM ESML (PT). He is an European Network of Opera Academies Artist.
https://jorgefpramos.com
<a href="https://www.google.com/url?q=https://w

5 Jane Draycott – Broken (6:05) 6 Clovis McEvoy - Calls for Cages (10:15) 7 Simon Hutchinson - Mental Upgrade (6:35) 8 Vincent Eoppolo - In These Times of Chaos - The Fog of Memory (7:48) 9 Colin James Woods - Near Finsbury Park (3:18)   5) Jane Draycott – Broken   How simple really is the quick fix? How glorious, deep down, is the glorious scar?  Inspired by the upbeat aesthetic of how-to videos and the popularity of the Japanese art of kintsugi, Broken brings together five voices in a poetic montage exploring fracture and mending, mental ill-health and repair.  Recordings from the worlds of gold-panning and the DIY phone-fix, forensic psychology and shattered porcelain are threaded through with a meditation on the idea of beautiful imperfection, and the relation between deprivation and trauma. Grateful thanks are due to artist Momo Nishikawa-Toomey and Holly Price, CPsychol, for their contributions to 'Broken'.   Jane Draycott is a UK-based poet with a particular interest in audio and collaborative work. Her poetry has been nominated variously for the T S Eliot Prize and Forward prizes for Best Collection,  Best First Collection and Best Single poem, while her collaborative sound compositions with Elizabeth James have won a BBC Radio 3 Poem-for-Radio selection and a London Sound Art Award. Twice recipient of a BBC Writer’s award,  her broadcast audio work includes features on BBC R3 (Between the Ears), LBC radio and Resonance FM,  with installation work including Orleans House Gallery and The River and Rowing Museum. https://www.janedraycott.org.uk/ https://soundcloud.com/aneraycott 6) Clovis McEvoy - Calls for Cages Calls for Cages critically examines the practice of displaying animals in cages for human pleasure. It places the calls and songs of primates – recorded at the zoological and botanical gardens in Hong Kong - within an imagined natural landscape, before stripping that sound of its environmental context and brutally reshaping it to fit with a new, human imposed reality. In the closing section, we are finally presented with the original, unedited audio of the city waking up, and the animal calls slowly diminishing to silence. Clovis McEvoy is an award-winning composer, sonic artist, freelance writer, and a founding member of the artist group, Rent Collective. Born in New Zealand, he currently splits his time between NZ and the UK. Clovis’ creative practice incorporates acousmatic music, live electroacoustic music, interactive sound installations, and music for virtual reality experiences. His live and installation works have been presented in over fourteen countries. In 2026, Clovis will be artist in residence at Spreepark Art Space in Berlin, Germany, and Pier-2 Art Centre, in Kaohsiung, Taiwan, where he will be working on a series of audiovisual installations. https://www.clovismcevoy.art/ Instagram: @newlybruised 7) Simon Hutchinson - Mental Upgrade Timothy Morton writes “Thinking ecologically about global warming requires a kind of mental upgrade, to cope with something that is so big and so powerful that until now we had no real word for it.” On one hand, this could be interpreted as a reason for despair—we are not prepared to conceive something so large. We can, however, decide to focus on the hope of this statement instead, that a “mental upgrade” will help humans better engage with this challenging hyperobject. This piece, entitled Mental Upgrade, draws inspiration from Japanese kagura, Shinto music and dance. Shintoism is a religion concerned with multiple kami, sacred spirits that inhabit objects and nature, in a way simultaneously engaging with our perceptions and the sacred infinite. I am not a trained kagura performer, and I make no claim that my synthesized piece is aesthetically connected to this tradition, but, in creating Mental Upgrade, my Simon Hutchinson is a composer and interdisciplinary artist who uses technology as both a creative medium and a thematic focus. His work emphasizes the human dimensions of technology, challenging contemporary technoculture and advocating for a thoughtful approach to our digital age. https://simonhutchinson.com/ https://www.youtube.com/@SimonHutchinson 8) Vincent Eoppolo - In These Times of Chaos - The Fog of Memory Living In Times of Chaos is a collection of 7 compositions that were composed in late 2023 through August 2024. The works are Electro Acoustic, Acousmatic and Musique Concrete in their forms. As the title suggests these works are mediations on the current state of affairs in our world. Vincent Eoppolo born Wilmington, Delaware USA. Eoppolo’s compositions are a mix of various sound art traditions such as musique concrete, acousmatic music, electro-acoustic music and radio art. In recent years, Eoppolo’s fixed media works have been presented at the New York City Electro-Acoustic Music Festival, Mise_En Place New Music Festival in Brooklyn, Utopie Sonore in Nantes, France and De Natura Sonorum in Rome, Italy. Eoppolo’s compositions have been released by Moscow based independent music label Meticulous Midgets and his works are regularly featured on new music radio and internet programs throughout Europe and North America https://www.facebook.com/profile.php?id=100007788824642 https://open.spotify.com/artist/4CFAy7K6LpWMvtFN5EpKPT?si=01YRMOiARguOmFU8-aT8Dw 9) Colin James Woods - Near Finsbury Park Processed field recording from a trip to London.  Includes a jogger, birds and a single spoken word. Originally designed as part of an installation piece with a modified discarded mannequin as the diffusion source. Colin James Woods is an Irish-born freelance artist and sonic practitioner based in Belfast (N. Ireland). Colin was born in Belfast (N.Ireland) and moved to Aotearoa/New Zealand in 2002. Colin went back to study, gaining a Diploma in Contemporary Music (from Unitec, Auckland), a BMus (Hons) in Composition from the University of Auckland, and a Master’s Degree in Creative Technology from AUT (Auckland). He returned to Belfast in 2023 and is currently working on his PhD project at Ulster University, where his research uses his practice to examine the notion of the artist as co-creator. colinjameswoods.com

Walking through a bog is like stepping into another world, where the familiar rules of the land no longer apply. Your first step feels strange - the ground moves beneath you, soft and uncertain.

During their residency in West Cork (Ireland) the artists Yulia Carolin Kothe, Katerina Sidorova and Max Brück worked on a growing archive of personal, historical and mythical stories about the bog shared by locals: The performance interview ‘Sfag’ + ‘nuhm ' made for ‘How to navigate a bog?’ by visual artist and psychotherapist Deirdre Johanna Humphrys, outtakes from a pub poetry and music event dedicated to bogs and secrets with locals from Schull and a soundscape by Yulia Carolin Kothe.

This work is an invitation to navigate the bog through a collection of stories that the landscape preserves. It is an invitation to listen and a welcome to getting lost.

Mastering: Antonia Alessia Virginia Beeskow

Artist bio:
Yulia Carolin Kothe is a visual artist based between Glasgow and Frankfurt am Main. Her practice moves between sculpture, sound, writing and performance, often drawing on collaborative forms of working.

Katerina Sidorova is a visual artist and reseacher based in The Hague. Working with installation, performance, and text, she looks at multiple facets of mortality and necropolitics in her practice.

Max Brück is a visual artist focused on sculpture and memory. His work explores personal and collective memory through objects and spaces, challenging territorial boundaries.

Website/social links
https://www.instagram.com/yulia.ko_/
https://www.instagram.com/katerina_sidorova_news/
https://www.instagram.com/maxbrueck/

The body of culture we were born into lost all its limbs, and since then we are repeatedly reminded that such a body never really existed. The places where we spent our childhood were contaminated with borders and harsh memories of war. Our original cultural identity is undesired, we are encouraged to redefine ourselves and identify with the necropolitics of new nationalisms. The country crumbled into bits, many lost their loved ones and their homes, the land was intoxicated and the death count never ceased. The Yugoslavian culture was proclaimed extinct. Strangely, we can still feel it deep inside us, it consists of many textures of belonging. “Rituals in Transfigured Time” is made of field recordings from across Yugoslavia, from pristine nature to intoxicated lands and waters, from memorial sites to abandoned factories; analog instruments, radio appropriations; found sounds, voices long gone and forgotten.
 
Finalist of Palma Ars Acustica 2024.

Artist bio:
Manja Ristić & Marko Paunović have been creating together since 2014. They strive to build unique immersive experiences with their work, using a synthesis of field recording, instrumental improvisation, tape loops & various analogue instruments, found sounds, and ambient music. In their performances they often surprise with a bio-political element, reflecting on the conceptual heritage of 20th-century installation and performance art.

Website/social links
https://manjaristic.blogspot.com/
https://markopaunovic.bandcamp.com/

Discovered a decade ago in the Oxfordshire woods, an abandoned car, lacking any discernible documentation, became a conduit for personal experiences related to stories, loss, and memories—real or imagined; an Overwhelming fear and anxiety of losing one's memories. This sound-piece is a mileometer of recollections, interwoven narratives, featuring artist Loreal Prystaj voicing the artist's writings, filling in the gaps and redactions with her own experiences. Exploring a 'hyper-memory', decay, and the fear of losing one's identity, it inverts time, as dementia creates new spaces and erases old ones. (Self-)redacted fictions recall fantasised, half-forgotten, distinct yet inconsequential memories. The human limitations of encoding, storage, and retrieval disrupt spatio-temporal recollections. Briefly halted, the Datsun 'uncar' returns to a state of decay. Nowhere to elsewhere and back again. Loreal's work delves into themes of alchemy, exploring the cycles of life, death, and rebirth within the realms of consciousness Artist bio: Martyn Riley is an artist whose collaborative spirit defines his solo practice, and rather than focusing on theory or practice, he embraces playfulness and the depth of others. Based in London, Martyn explores themes of memory, decay, and found objects; often incorporating sound. His practice is a dynamic interplay and internal battle of mixed-specialisms: tapes, samples, found sounds, sculpture, words, and photography.  A unifying element is the power of storytelling, evoking memories and experiences—both real and imagined. Loreal Prystaj’s work delves into themes of alchemy, exploring the cycles of life, death, and rebirth within the realms of consciousness. Website/social links https://martynriley.co.uk/ https://www.instagram.com/martyn_riley_sound/

Does the underground still exist? A report from the fringe of the angry smile. Featuring interviews and musical collaborations with Suzan Peeters, Nico Bogaerts, Guillaume Maupin, Èlg, Dennis Tyfus, Uj Bala, LEM and the crew of NHGE Bxl.

This edit is a taster of a longer radio feature that will be released in the future. All recordings were made during a residency at Q-O2 Brussles in July 2024.


Artist bio:
Felix Kubin likes to crawl under spirals and jump over cylinders.

Website/social links
http://www.felixkubin.com

Immersion in the far north, where the wind blows, the snow cracks and the ice rolls and scraps. Where one does not enter by chance, but by leaving the comfort of daily certainties. Where we lose our footing and our bearings, where we sink into these wide valleys dominated by icy mountains, until we let ourselves be crossed by the raven, which flies away.
How do we deal with the retreat of the North as we know it?
Garanas Lokte is composed exclusively with fieldrecording in Swedish Lapland. I never felt really welcomed by this landscape, until the day I started listening to it, with my microphones. From that moment on, I was able to begin to enter into a relationship with it. This power of listening allows us to find permeability, connection and wonder with our surroundings, to get rid of the ignorance that paralyzes us.

Artist bio:
Anne Versailles, lives and works in Brussels. Geopoet and walker, her work explores displacement, crossing and slowness. As a sound artist, she collects sounds while crossing territories and composes acousmatic works born from the energy of the crossed landscape that she then often diffuses in the form of in situ sound installations. She also composes for radio creation, theater or sound walks. She also writes and this literary work is not different from her sound work, the two are often mixed.

Website/social links
http://www.anneversailles.be

1 Soheil Shirangi - The Vital Sounds(For Fixed Media And Accordion) (6:31)
2 Timothy Roy - Bromtpon & Braeswood (11:10)
3 Adam McNeil - Sand and Wind (6:27)
4 daniel blinkhorn - unequal forms 1 – 3 (16:20)
 
 
1) Soheil Shirangi - The Vital Sounds(For Fixed Media And Accordion)

The vital sounds (For Fixed Media And Accordion)
The purpose of this work Visualization is an environment. An environment that converts to audio, incidentally,
The vital sounds are each of us, A collection of regular and irregular rhythms And beat that Trying to Always be there.
Year Of Creation: March 2017
Composer and Accordion Player: Soheil Shirangi
Premiered: May 2020 World performance for the Corona Time by Lake Radio.

Soheil Shirangi Now is a student of San Francisco State University at Master of Composition. Graduate of Tehran Conservatory. Second Person Tehran International Electronic Music Festival Award(2017).Candidate best composers Thirty-third Fajr festival(2018). Earning a diploma of the III International Contest of Choral Composing named after AD Kastalsky(2018). Scholarship holder at the Hamburg Media Festival(2019).Earning a diploma of the third person of the Orginsky International Composing Competition(for orchestra) in Belarus(2020),- 2022 The winner of the second place of the composition of the CBU University scholarship for writing the work of Samat(Duet For Violin and Cello).
http://soheilshirangi.com/


2) Timothy Roy - Bromtpon & Braeswood

"Brompton & Braeswood" is an acousmatic piece inspired by my personal experience living through Hurricane Harvey. The title derives from the street intersection where my wife and I were living at the time, along Brays Bayou in Houston. Central to my piece is a library of field recordings I captured at that intersection and along the bayou in the days immediately prior to Harvey making landfall. Some of these recordings were made with a Soundfield SPS-200 microphone; others were made with a matched pair of DPA miniature omni microphones clipped to the brim of a baseball cap, which allowed me to capture a quasi-binaural stereo image. In composing "Brompton & Braeswood," I sought to present a series of vignettes of contrasting mood and representation. The storm is initially heard directly, then — after a door slams shut — from the perspective of someone taking shelter. The remainder of the piece

Timothy Roy composes music steeped in imagery and allusion, which seeks to elicit a sense of time, place, and feeling. His music has received performances at such venues and events as the National Theater of Taipei, Music Biennale Zagreb, BEAST, Ars Electronica, Toronto Electroacoustic Symposium, and the International Electroacoustic Music Festival of Chile, “Ai-maako.” Recent honors include the Salvatore Martirano Memorial Composition Award (1st Prize, 2022), ASCAP/SEAMUS Student Commission Award (1st Prize, 2023), Prix CIME (Distinction, 2023) and Giga-Hertz Prize from ZKM Karlsruhe (Honorable Mention, 2022). Tim resides in Saint Paul, Minnesota, with his wife and cattle dog Ziggy.
http://www.timothyroymusic.com

 
3) Adam McNeil - Sand and Wind

A short story.

I am a sound artist based in Glasgow.


4) daniel blinkhorn - unequal forms 1 – 3

‘unequal forms 1 – 3’ – link unequal forms 1 - 3 ‘unequal forms 1 – 3’ symbolise 3 distinct collections of biomes found within the Royal Botanic Gardens, Victoria, Australia. Each collection exhibits its own unique morphological archetype, from the ‘Rare and Threatened’ collection of Victorian native plants, to the cacti and succulents of the ‘Arid Garden’ and lastly, an entire microclimate of ferns that comprise ‘Fern Gully’. In each instance, field recordings of biomes have been meticulously recorded and placed alongside studio recordings from the violin (performed by Anna McMichael) and percussion (performed by Louise Devenish) family of instruments. The final composition taking shape through a series of gestures and phrases designed to mimic the way sound propagates across the 3 habitats

Daniel is an Australian composer, sound and new media artist currently residing in Sydney. He has worked in a variety of creative, academic, research and teaching contexts, and is currently lecturer in composition and music technology at the Conservatorium of Music, University of Sydney. He is an ardent location field recordist, where he has embarked upon a growing number of recording expeditions throughout Africa, Alaska, Amazon, Australia, Cuba, West Indies, Mexico, Madagascar, Middle East, Northern Europe, and the high Arctic/ North Pole region of Svalbard. His creative works have received a number of awards at important international composition competitions.
http://www.danielblinkhorn.com

4 daniel blinkhorn - unequal forms 1 – 3 (16:20)
5 Laboratório Experimental do Som - Gryllus bimaculatus (14:22)
6 Louary - Shared Echoes (Glasgow City Sound Walk) 3 – 2 – 1 (4:13)
 
 
4) daniel blinkhorn - unequal forms 1 – 3

‘unequal forms 1 – 3’ – link unequal forms 1 - 3 ‘unequal forms 1 – 3’ symbolise 3 distinct collections of biomes found within the Royal Botanic Gardens, Victoria, Australia. Each collection exhibits its own unique morphological archetype, from the ‘Rare and Threatened’ collection of Victorian native plants, to the cacti and succulents of the ‘Arid Garden’ and lastly, an entire microclimate of ferns that comprise ‘Fern Gully’. In each instance, field recordings of biomes have been meticulously recorded and placed alongside studio recordings from the violin (performed by Anna McMichael) and percussion (performed by Louise Devenish) family of instruments. The final composition taking shape through a series of gestures and phrases designed to mimic the way sound propagates across the 3 habitats

Daniel is an Australian composer, sound and new media artist currently residing in Sydney. He has worked in a variety of creative, academic, research and teaching contexts, and is currently lecturer in composition and music technology at the Conservatorium of Music, University of Sydney. He is an ardent location field recordist, where he has embarked upon a growing number of recording expeditions throughout Africa, Alaska, Amazon, Australia, Cuba, West Indies, Mexico, Madagascar, Middle East, Northern Europe, and the high Arctic/ North Pole region of Svalbard. His creative works have received a number of awards at important international composition competitions.
http://www.danielblinkhorn.com

 
5) Laboratório Experimental do Som - Gryllus bimaculatus

Gryllus bimaculatus, is a collectively constructed piece, provoked by the project Premissa Híbrida, in Flores Island, at Azores archipielago, as a geocatching art project, in search of the sounds of the place. https://www.instagram.com/premissa_acores/ Crickets were the subject of attention, as they were the most constant sound that manifested itself in the ecosystem I inhabited during the project, even more than the sound of the ocean. This piece has been generated through Sonic Bloom, and constructed as an experience to be felt in an auditorium, with eyes closed.
In case that this piece is selected, we suggest a panning of the stereo channels, quite strong. Leaving silences on the right and even on the left side. Recorded with a Zoom H3-VR 360º, smashed into stereo and edited with Audacity.

The Laboratório Experimental de Som is a nomadic project that uses soundscapes as a resource for the construction of inter-species dialogues and sensorial awareness of natural reality, where the body is integrated as a sensor. It works with sound creation processes and the production of workshops for the transmission of listening methodologies, field recording practices and the study of acoustic dynamics to approach the practice of the art of storytelling and sensory regeneration.

"In nature we trust, through soundscapes we dream"

https://www.instagram.com/laboratorioexperimentaldosom/
https://soundcloud.com/laboratoriodoexperimental
https://laboratorioexperimentaldosom.com/

 
6) Louary - Shared Echoes (Glasgow City Sound Walk) 3 – 2 – 1

Shared Echoes is a collection of four soundscape compositions created using field recordings of a circular walk around Glasgow City (Central station - George Square - Glasgow Green - River Clyde - Central Station). Drawing inspiration from the city’s sonic environment - mechanical familiarity, conversation choirs, the flutter of pigeon wings, distant bagpipes - Louary responds to and mimics its character through raw synthesised sequences, bright electric guitars and her own voice. Conceptualised during the Covid 19 pandemic, Louary explores the use of field recordings in her composition process to capture a sense of Glasgow in that moment of time. Without separating herself from her surroundings, Louary openly places the sound of her footsteps and translated emotional state into this work, spurred by a deep need for connection during this time.

Canadian-Scottish musician and producer Louary draws on her sensitivity to sound in everyday life and passion for ambient music. Fascinated by the complexities of sound, Louary’s music often incorporates field recordings and malleable instruments, such as analog synthesiser, to evoke emotion out of sound objects and sonic environments. As an avid music listener she hosts a monthly radio show, 'Field Trip', on Radio Buena Vida exploring the wide use of field recording within music composition. In her most recent work, Louary takes inspiration from electro-acoustic and soundscape composers such as Fennesz, Hildegard Westerkamp, CLAIR and Flora Yin Wong.

Bandcamp: https://louary.bandcamp.com/
Instagram: @louary_

Bloodline of Flower is drawn from poems by Forough Farrokhzad, Iranian poet and filmmaker (1934-1967). She was published and was widely read by many Iranians during her lifetime, and has now become somewhat of a cult figure. Her poetry is one of protest and rebellion, yet it captures everyday experience without any intention of guiding, educating or directing. Her poetry is the portrait of a generation undergoing radical change. In this piece, her verse lines draw songs from wavetables or modulate the breathy tones of a Ney. Only sound remains..

Voice: Carly Wijs
Ney: Arif Erkovan
Text: Forough Farrokhzad

 
Biography

I may say that I devote most of my time to matters related to sound and music. Every now and then I leave the studio and walk the streets and, if luck is on my side I wander along beaches or up mountains. I produce works that help me to understand the world and that voice my questions, discoveries or feelings which are ment to be shared with a potential audience. My way of both learning and becoming a better human being is to make music and sound narratives that describe people and their environments, where sound communicates what words fail to do.

Charo Calvo is a Spanish electroacoustic composer, sound designer and teacher, living in Brussels. After having performed as a dancer with the influential Belgian dance company Ultima Vez, she started her studies on Electroacoustic Composition in 1992 with Annette Vande Gorne at Brussels Conservatory (now ARTS2 Mons). Graduated in 1999.

From 1992 her work as composer is being developed through different media, widely diffused on international venues and festivals, dance performances, theatre, film and radio. She has received several important awards such as Palma Ars Acustica 2014 EBU, Phonurgia Nova Awards Paris 2017/2023, Prix Marulic 2018 Croatia, Grand Prix Nova Bucharest 2019/2022 and was shortlisted for Prix Europa Berlin, Hearsay Prize Ireland.

Charo Calvo has been a guest the residential program for international artists in Berlin DAAD Berliner Künstlerprogramm during the year 2017/2018.

Last concerts at GRM-INA Paris, KONTAKTE FESTIVAL 17 Berlin, Akademie der Künste, Berlin; MIKROMUSIK, Daad Galery, AUSLAND Berlin, VILLA ELIZABETH Berlin in duo with Natasha Barrett, ELECTROBELGE, Brussels, HEROINES OF SOUND 2019, EPICENTROOM, St Petersburg, CITYSONIC CINEMA, Belgium, BELGIAN MUSIC DAYS, PLEAYADES, Madrid, CCCB Barcelona

https://soundcloud.com/user-562545561

The work emerges as a collage of spectral remnants, weaving fragmented memories and sonic decay into a textured exploration of fragility and persistence. It navigates the temporal erosion of sound and memory, uncovering layers of meaning through glitch, plunderphonics, and drones.

Using obsolete media (minidisc's / CD), loops, and layered field recordings, Home Truths incorporates re-recorded WhatsApp voice messages—modern-day answer machine fragments degraded through repeated transfers onto minidisc. In some instances, these recordings underwent extensive processing, including guitar pedals and vocoders,  to craft the central sonic textures and motifs. Traditional musical elements—electric piano, guitars - were layered around this degraded archive of sound, creating harmonic interplay with the spectral echoes of friends, family and found radio recordings from the early 2000’s on minidisc. Special thanks to artist and friend Bel Gilbert Scott.
JW: acoustic & electric guitars, mini-disc players, CD players, electronics, field recordings, contact mics and objects.

Artist bio:

Jennifer Wicks is an interdisciplinary artist whose practice spans durational installations, audiovisual performances, sound art releases, and creative-critical writing. Her work interrogates memory, language, and states of being through experimental methods, emphasising light, time, and sound. Employing obsolete media, 16mm film, reappropriated materials, and custom light-to-sound instruments, she explores the materiality of sound and image. Using Media Archaeology and contemporary technologies, she treats them both as subjects of inquiry and as tools to critique the dominance of digital culture in shaping memory, perception, and our relationship with time.
Her solo live performances explore temporal dynamics, chance, and the mechanics of sound. Working at the intersection of industrial noise, sample culture, cut-up techniques, and expanded cinema, she addresses the limitations and possibilities of analogue film and sound systems. Using modified 16mm projectors, contact microphones, and multiple guitar effects pedals, she crafts immersive, textured, and dissonant audiovisual installations.

She has training in conventional music and holds an MLitt in Fine Art Practice (Glasgow School of Art) and an MSc in Sound Design and Audio-Visual Practice (University of Glasgow). She has received a Leverhulme-funded artist residency at Glasgow University (2011-2012) and was Artist in Residence at the University of Stirling (2022), working with the Norman McLaren archive. Her recent projects span international exhibitions and festivals. She makes music with WOMEN’S HOUR (Wicks and Contort Yourself head honcho Murray CY). LP released on L.I.E.S. Records, December 2023.

https://jenniferwicks.co.uk/

1) Carlo Patrão -改 善 Kaizen (5:21)
2) Rhiannon Clucas – Marmalade (5:28)
3) David Sappa - things we bring (18:00)
 
 
1) Carlo Patrão -改 善 Kaizen

改 善 Kaizen is a radiophonic sound collage of North American "tech speak" and "corporate jargon" that overuses the Japanese term Kaizen, meaning continuous improvement, as a form of control and shield against listening, responsibility, and reparation.

Carlo Patrão is a Portuguese radio artist and researcher based in NY.


2) Rhiannon Clucas – Marmalade

This work is an ode to ritual and morning, places where my memory of radio lives within.

I am a devoted enjoyer and sometimes maker of sounds.

instagram.com/rhiannonsianclucas


3) David Sappa - things we bring

From a game exploring involuntary memory retrieval and it's link to the environment - this sort of interplay between internal thoughts and projections, and external factors or triggers tugging those out of us - this materialised into an installation. I'v had these dictaphone memories sat with me for several years now - sharing a ligurian heritage with the voice you hear - it's felt somehow relatable and vivid to me and wanted to play with this dynamic further

I am a sound artist and experimental musician  working through D.I.Y kinetic and interactive sound objects, improvisation, field recording, oral histories and quantum listening.

I am interested in sound for its tactile, textural and somatic qualities, and as modes for interrelatedness and interplay that can explore dynamics between our social, psychological and material entanglements within different environments.

https://davidlorenzosappa.cargo.site/
https://www.instagram.com/bloopdyblooop/

4) Noel Zavala - African Lullaby Drone (5:00)
5) Maria Howard- Striations part 2 (3:04)
6) Roberto D'Ugo Junior - FORGOTTEN LOOPS' SKETCHBOOK (2023-2024) (17:09)
7) andre birken - 31 monstrous demonstrations -DAS MEDIA CONTROL ORAKEL (2:58)

 
4) Noel Zavala - African Lullaby Drone

I sampled a few seconds of the song African Lullaby, by Bruce Haack and Esther Nelson from their Electronic Music for Children album, to create this remake as a drone version. The vocals were isolated using AI before being sampled, then the main notes of the bass line (transcribed from the Bruce Haack songbook) were used to generate a midi using MuseScore, then turned into different instrumental layers using a free online sequencer. Then all was edited an mixed intending a drone effect.

Noel Zavala (Monterrey, México, 1981) is a creator of concrete music and electronic music with his project sarabandPersona. He was part of the free improvisation groups Silent Twin, Talleres Cosmic and Hibridaciones Salvajes, with which they participated in local festivals and in the recording of several ambient, noise and psychedelia pieces. In 2024 he joined the sound experimentation and free improvisation collective, Tsunami Wave. In duo with Gerardo Colin he is working on a series of harsh noise albums for Otcrah Records.

https://linktr.ee/noelzavalaa?utm_source=linktree_profile_share&ltsid=721230e0-6c48-4af2-98bf-a07d2e357729

 
5) Maria Howard- Striations part 2

From an ongoing series entitled ‘striations’ – repetitive and discordant sounds of fluting, fissures, strings, inspired by the loops of social reproduction and Glasgow's organic and architectural columns.

Featuring:
Fiddle versions of ‘Bella Ciao’ and ‘Fischia il Vento’ by Ruaridh Newman
Tones by an unknown organist at Glasgow Cathedral
Stridulations by anonymous collectives of cicadas in Italy and Scotland (with occasional frog vocals)

Maria Howard is a British-Italian artist and writer based in Glasgow. Working primarily with text and sculpture, her research-led practice is concerned with the poetic and political connections between memory and imagination, site and material, colonialism and climate, architecture and social reproduction. She is also a co-editor of Nothing Personal magazine.

mariahoward.org
@tenderasmemory (instagram)

 
6) Roberto D'Ugo Junior - FORGOTTEN LOOPS' SKETCHBOOK (2023-2024)

Life is a beautiful glitch. A rhythmic essay on our flaws and imperfections. An infinite list of small mistakes and forgetfulness that swirl and thicken in the mind of the poet, a sound artist. Beckettian anti-resolutions that emerge like a litany during a brief meditation on everyday life. The author's poem, presented by means of a superimposition of vocal lines made up of loops with different psychological framings of the text. Simultaneities. The irregularity of the loops used in the piece, the result of sudden gestures of improvisation on the recorded material, results in an approximation to the technical precariousness of sillon fermé, the closed groove inscribed on old acetate discs. Cuts and overlaps animate the resulting patterns. The piece is made up of three parts: parts 1 and 3, fast and essentially rhythmic. Part 2, broader, slower and cumulative; semi-discursive, punctuated by hesitations and squeaks. Voice: Anna Carl Lucchese.

Roberto D'Ugo Junior is an artist-researcher dedicated to radio art. His work explores interfaces between magic, technique and art. Based on a poetic-documentary listening to everyday life, he develops an aesthetic investigation that dialogues with surrealism and musical minimalism. The ritualistic repetition of speech residues and fragments of field recordings is a characteristic of his work. He holds a PhD in Visual Arts from the Institute of Arts at São Paulo State University. He was programme and production coordinator at Rádio Cultura FM in São Paulo. He teaches radio and sound media at Faculdade Cásper Líbero.
https://www.instagram.com/d_ugo_minimal_radio
https://soundcloud.com/user-48062083-271779683
https://www.facebook.com/roberto.dugo

 
7) andre birken - 31 monstrous demonstrations -DAS MEDIA CONTROL ORAKEL

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

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

"humana|machina" is an electroacoustic music composition that invites you into a sonic realm where the boundaries of human and machine dissolve. It takes as its starting point the more or less voluntary extension of – or intrusion into – human senses and capabilities by means of technology. The work is composed of sounds that are both organic and mechanical – sounds of machinery and electromagnetic fields generated by various kinds of electronic equipment ("machina") juxtaposed with the sounds of the human voice ("humana") in more and less manipulated forms. It is structured around a narrative generated by AI-based language models, performed by four voices, two male and two female created using AI voice synthesis, that each has a separate role in the narrative.
The work is originally composed for multichannel concert performance, and is presented here as a stereo version.

Artist bio:
Frank Ekeberg is a transdisciplinary artist, music composer and researcher working in the intersection of the natural and the constructed. His work explores issues of ecology, time, spatiality, and radical change, with a particular focus on nature spaces, technopolitics, and the interplay between human and non-human worlds. Primarily working with sound using obsolete as well as emerging technologies, Ekeberg’s artistic output includes generative installation art, electroacoustic music, photography, and interactive audio-visual creations. Site-specificity and integration of spatial elements in the compositional structure are at the core of most of his projects. Frank Ekeberg is based in Trondheim, Norway.

Website/social links
https://www.frankekeberg.no
https://www.instagram.com/fekeberg
https://frankekeberg.bandcamp.com

Diamonds and Rust follows it's protagonist, Jane, as she finds and secures an undefined and precarious office job, where the manager wears designer socks and the hot desks remind the team of their vulnerability to replacement. In an attempt to define her own value, Jane oscillates between states of usefulness and dysfunction, production and refusal, eventually organising increasingly long cigarette breaks with colleagues: meetings where everyone contributes, and no one actually smokes.

This work is an audio version of a film of the same name, produced for the solo exhibition False Note, at Site Gallery, Sheffield, 2024, co-commissioned by Site Gallery, Artes Mundi and Wales Venice 10. The soundtrack features vocals by, and music composed in collaboration with, Emma Daman Thomas. The first sonic iteration of Diamonds and Rust was commissioned by Goldsmiths CCA, London, as a performance in July 2022.

Artist Bio:
Freya Dooley is an artist based in Cardiff, UK. Her practice spans sound, writing, moving image and performance. Often rooted in close-range observations, layered narratives and soundscapes navigate the harmonies and tensions between personal and collective experiences, with a particular interest in structures of work and domestic living. Freya was the Creative Wales-BSR Fellow at The British School at Rome in 2021 and was awarded a PRS Women Make Music Award in 2023. Solo exhibitions include False Note, Site Gallery, Sheffield (2024), the Artes Mundi Wales Venice 10 Commission (2022-3) and Temporary Commons, Jerwood Solo Presentations, Jerwood Arts, London (2021).

Link to website and/or social:
http://www.freyadooley.com
@freya_dooley (instagram)

Rekindling (for Crae) is a collage of listening and trawling for recollections of emotions within archival interviews and the emotional arc of activism. It is a meditation on hope after defeat. The piece travels through the waves, rips, currents, ebbs and flows of turning tides, and is carried by voices spanning lifetimes of commitment to building something better. Accompanying them the music is inspired by and composed from a recording of a young child’s first exploration of a piano.   The spoken excerpts are all from the Women in Communism interview series recorded by Neil Rafeek  held at the National Library Scotland’s sound archive. (the voices you hear are  Jessie Clark, Marion Henery, Jean Mackay, Frieda Park, Isa Porte, Jenny Richardson and Christine Sloan).Protest Sounds recordings by Bex, Bobby Jewell and Steven Myles.  Insta: @bexsik

A hotel in a city with a local brewery, with its ventilator below the hotel window. It was “breathing” with a regular rhythm, adding its drone to many city sound solos from car drifting competition to morning birds recorded from the afternoon to the following morning. Depending on mode of listening it forms a collage of various known sounds objects or a complex, noise and harmonic sound composition. This is an audio timelapse, maintaining sequence and rhythm of events, created based on 18 hours of my  recordings (Lublin, 20.04.2024, 3 pm - 21.04.2024, 9 am) closed into 15 minutes. Artist bio: Dorota Blaszczak works in radio archives and at University of Music in Warsaw. She teaches interactive sound, works with sound preservation, creates audio works and interactive projects, some based on long-term ecoacoustic observations. She has designed sound for VR and early computer games. Website/social links dorotablaszczak.pl

1) Jo Kennedy - How To Save A Nutty Noise Maker (8:00)
2) Felice Sciorilli - Soundscapes of Mare Tuscum (3:52)
3) Catalina Barroso-Luque – Cackles (3:00)
4) Nicola Monopoli - Cinque poesie di Maria Luigia Troiano (7:30)
5) Tom Williams - Piano Trace (9:12)
 
 
1) Jo Kennedy - How To Save A Nutty Noise Maker

The piece is composed from field recordings, interviews and narrative and takes people on a journey up to Scotland and across the sea to the Isle of Tiree. This Inner Hebrides island is one of the UK's last remaining UK strongholds for an elusive, but noisy brown bird called the Corncrake. We hear from someone (my mother) who remembers hearing the bird at the bottom of her garden when she was little, and from the RSPB’s Tiree officer (John Bowler) who works with farmers on the island to secure the bird’s future. Tiree resident Jamie Macdonald also introduces us to old Gaelic names for the bird. It's a story of a once common sound (and bird), now lost to the countryside, and how we could bring it back.

Jo Kennedy is a Todmorden – based sound artist who uses field recordings, found sounds, spoken word and music to create immersive audio experiences, whether these be fixed pieces, soundwalks or installations. Recent commissions include sound design work for Breaking Barriers, the Artichoke Trust, BBC Radio 3 and the RSPB. Her own creative practice often engages explicitly with ecological issues, responding to questions about our relationship with the landscape and living world. She co-produces Nature Tripping podcast which is all about going out to connect with nature and listen in to what's around us.
http://www.jokennedysound.com
X: @chasingsticks
Instagram: jokennedysound

 
2) Felice Sciorilli - Soundscapes of Mare Tuscum


 
The recording was made on a cold January morning
at the natural reef of the Etruscan coast (Castiglioncello, Tuscany, Italy) in the Tyrrhenian Sea
using a hydrophone lying on the seabed.
 In the recording you can hear, in the foreground, the sounds produced by the buzzing of sea snails 
as they scrape rocky surfaces in search of food, and ticking alternating with hissing sounds; probably produced by the presence of crustaceans.
 Closing the scene, in the background, the waves of the sea can be heard gently breaking on the cliff.

 
 
Felice Sciorilli is a musician, field recordist and music teacher.
 He has a degree in classical guitar. After studying electronic music
he started to deal with soundscapes, attracted by the symbolic and evocative aspect of sound.
His research develops through the sound exploration of 
urban and natural contexts. He currently lives in Tuscany, Italy.

 
3) Catalina Barroso-Luque – Cackles

Experiments with cackling, wailing, croaking, screeching and scratching the strings of a piano. The piece plays with ideas about invoking spirits or being possessed by demons. Inspired by ghost stories, haunted houses, keening practices from Ireland and the north of Spain, and La Santa Muerte deity from Mexico. *This is the first sound piece I've made/recorded that wasn't born from my writing practice.

Catalina Barroso-Luque constructs stories inhabited by voices, texts, images, bodies and objects. She also writes in English and Spanish, using processes of performativity, self mythologization and translation. She has participated in projects at Wysing Arts Centre (UK), Deptford Project Spacce (UK), Glasgow International (UK), Intermedia Gallery (UK), Glasgow Sculpture Studios (UK), Radiophrenia Festival (UK), Swedish Museum of Performing Arts (SE), Centro de Cultura Digital (MX), Centro Cultural España (MX), Centro Cultural González Gallo (MX), cheLA (AR), amongst others. Her writing is published by Bricks from the Kiln, Gutter Magazine, Montez Press, Hoax!, post[s] (Universidad de San Francisco de Quito), MaMSIE. 
http://catalinabarroso-luque.com/portfolio.html
insta: @blcata

 
4) Nicola Monopoli - Cinque poesie di Maria Luigia Troiano

This work, composed by Nicola Monopoli, features spoken words and electronics, inspired by poems written by the Southern Italian author Maria Luigia Troiano, specifically provided for this project. The performance stars Francesca Romana Garroni, an established actress known for her work with RAI, the Italian state television.
The piece explores various aspects of everyday life, ranging from the painful metaphor of an iceberg to the chaotic hegemony in family life, as well as reflections on the relationship with nature from a balcony perspective..

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

 
5) Tom Williams - Piano Trace

'Piano Trace' is an acousmatic composition that explores the sonic potential of a single instrument: the piano. This work is rooted in a series of recordings captured from the piano's soundboard, keys, pedals, and strings. These intimate sounds form the foundation upon which the composition is built.
Through digital manipulation and transformation, the original recordings are reimagined, yet their inherent timbre and character remain evident. This underlying trace, or sonic DNA, provides a sense of continuity and integrity throughout the piece.
Two distinct musical threads intertwine, forming the framework for the composition. These threads, like cords or ropes, suspend the shifting gestures and interruptions that unfold within the piece. The interplay between these threads creates a dynamic and engaging listening experience. Piano Trace was premiered at the Jauna Muzika festival, Lithuania, and was awarded Special Prize at the 4th Ise-Shima International Composition Competition.

Tom Williams is a composer whose work spans both acoustic and electroacoustic music. His compositions have been performed internationally, broadcast on the BBC, and recognized with awards including the Italian music medal "Città di Udine" and been nominated for an Ivor Novello Sonic Art Category award.  He has collaborated with renowned musicians such as New York cellist Madeleine Shapiro, soprano Juliana Janes Yaffé, clarinettist Sarah Watts, percussionist Thierry Miroglio, and Orchestra of the Swan.
He has a doctorate in music composition from Boston University and currently leads the masters’ courses in music at Coventry University.
https://tw-hear.com/

6) Hector MacInnes - Noise!Impact!Assessment! (Windfarm Exoacoustics) (15:00)
7) Eleanor Lee  (Hyo-Eun Lee) - Ariadne's thread (3:19)
8) STUMPED - Slumber, Young Summer (6:10)
 
 
6) Hector MacInnes - Noise!Impact!Assessment! (Windfarm Exoacoustics)

Noise!Impact!Assessment! is a wider project interrogating the way we listen when in spatial or temporal proximity to a real or imagined wind turbine. What are its exoacoustic properties? Not the way sound reverberates around its interior, but the way listening changes around its exterior. This piece is a windblown binbag of thoughts littered across the soundscape of an unbuilt development of turbines. It uses unshielded field recordings of wind, made at the locations of a proposed windfarm on the Isle of Skye, to fragment and scatter the aeolian reflections of Muirhall Energy Ltd, Hayes MacKenzie Acoustic Consultants, Yoko Ono, Tim Ingold, The Scorpions, Seumas Heaney, Samuel Taylor Coleridge, Eachann Macfadyen, Richy Carey, Salome Voegelin, The committee for the abolition of outer space, TS Eliot, Gertrude Stein, Alvin Lucier, Holger Schulze, and Ursula le Guin.

Hector MacInnes is a socially engaged sound artist and researcher from the Isle of Skye in the Highlands of Scotland. He creates through spoken word, sonic fiction, installation, text, tech, music, radio and organising things, often in collaboration with other artists and a diverse range of communities. He is co-convenor of the We Have Questions artists' working group with Cat Meighan, and is currently undertaking a PhD exploring sonic rural futurism and the New Weird at Creative Research Into Sound Arts Practice.
http://www.hectormacinnes.com
instagram.com/hectormacinnes

 
7) Eleanor Lee - Ariadne's thread

This sampler instrument captures the interplay between various physical objects (i): piano,
singing bowls, and wine glasses, and the physical forces or events (ii): keys being
pressed, bowls resonating, and glasses filled with water and made to resonate by
fingers. I documented and analysed each event’s significance and playback by
examining the interactions between i and ii and the resulting evidence of an
unseen new world.

This composition draws inspiration from Reza Negarestani's speculative novel
"Cyclonopedia." "Cyclonopedia" is structured as a theoretical novel, integrating
various heterogeneous elements to present a unique worldview and
philosophical inquiry. The main theme revolves around viewing the Earth as a
living organism, where subterranean materials and energies interact with surface
events, influencing political and historical occurrences. I explored how these
seemingly irregular and unrelated dispersed activities (ii) form a cohesive whole,
akin to how the Earth, or in this case, the composition, is created.

Eleanor Lee is a London-based Korean composer, producer, sound artist, and interdisciplinary artist. She has created music for institutions such as The National Gallery, the Barbican Centre, ERCOL, and Vidal Sassoon Academy, as well as for numerous short films. Her work embodies an interdisciplinary approach influenced by contemporary art, seamlessly navigating between genres. Eleanor believes that music is more than just an auditory experience- it can transform into a multifaceted art form that encompasses social, political, and economic critique. She aspires to create research-based music and develop methods of sonic fiction.
https://eleanorlee.com
https://www.instagram.com/eleanorleemusic/

 
8) STUMPED - Slumber, Young Summer

"Slumber, Young Summer" is cumulative dial/wave surfing fondness from two folks raised in the eastern United States far from shore. It's difficult to explain why the idea of barreling down California State Route 1 while fiddling the dial to find just the right score to the drive resonates with either of the duo. It's also clear that the attempt to replicate this never-lived experience misses the mark, but instead hits another: daydreams of some faraway warm coast, fuzzing in and out of focus; of unattainable or missing environs which are never captured the same way in present as they are in the mind's eye. How water feels the present moment you break the surface versus the way one imagines the same cool, cool waters swallowing oneself from the sunlight when the ocean couldn't be further from sight.

Consisting of Berlin-based Page Swanson and Adam Buffington in Iceland, STUMPED strain field recordings and borrowed sounds through various analogue and electronic processes, resulting in a sonic puree that's never stodgy.
https://www.corephonesound.com/

Fossilised Frequencies is an experimental radio show combining hertz and voices found throughout different regions of the world - creating listening experiences that connect us to the vast ever present sonic landscapes of our world.

During the project in 2018 for Protection and Research of Language Resources of China, Peilin and the team recorded mountain songs, nursery rhymes, and folklores from local voices back in Peilin's mountainous hometown, Lianping, China, to preserve the rich oral culture of Hakka.

Fossilised Frequencies is a monthly radio project hosted by Riah from Listen Gallery at their residency at Radio Buena Vida. In the summer of 2024, Riah and Peilin produced this one hour broadcast layering archival material with live recorded singing in Hakka, bringing these raw recordings to ancient Hakka sounds to life.

Artist bio:
Peilin Shi, a (re)emerging wanderer based in Glasgow, practices on humanising historical contexts, by investigating archives to rethink the past in the context of the present and future. Her work involves anthropological inquiry on female migrant experience, into collective behaviours, shared human emotions and destinies under urbanisation and globalisation.

Riah Naief is a sound artist and worker behind Glasgow’s Listen Gallery. They are interested in sharing and curating listening experiences for all people, as an accessible practice rooted in care and love. Their Iraqi heritage inspires a passion for hospitality and informs how they make spaces to nurture creative exchanges.


Website/social links
https://www.listengallery.co.uk/home
linker.ee/PeilinShi
instagram:@listengallery @puoilim_shak
 
 
plus short work:
 
Studio Descrittivo di Base - Suoni Del Devoto Ballo

Ispirata alla poesia *Suoni* di Guido Ballo, un affresco sinestetico in cui sonorità naturali e immagini sviluppano corrispondenze, materializzando un paesaggio selvatico e avvolgente. La composizione musicale interpreta l'essenza del testo in chiave elettroacustica ed analogica, con registrazioni d'ambiente, suoni ancestrali di launeddas e voce.

Artist bio:
SDDB nasce a Bologna nel 2014 dall'incontro tra due artisti italiani, Antonio Nuvoli e Antonio Orlando.
Studio Descrittivo di Base. Concettuale, aleatorio, elettronico ed acustico, analogico e concreto, é ricerca senza soluzione di continuità, fluida e irripetibile come la vita.
digiugnoalessandro.wixsite.com/studio-descrittivo-d
soundcloud.com/studiodescrittivodibase
http://www.youtube.com/studiodescrittivodibase

google translation:

Inspired by the poem *Suoni* by Guido Ballo, a synesthetic fresco in which natural sounds and images develop correspondences, materializing a wild and enveloping landscape. The musical composition interprets the essence of the text in an electroacoustic and analogue key, with ambient recordings, ancestral sounds of launeddas and voice.

Artist bio:
SDDB was born in Bologna in 2014 from the meeting between two Italian artists, Antonio Nuvoli and Antonio Orlando.
Basic Descriptive Study. Conceptual, random, electronic and acoustic, analogue and concrete, it is research without a solution of continuity, fluid and unrepeatable like life.
 

Ute Wassermann interweaves her voice with field recordings of birds, insects, frogs - of creatures that move across the boundaries between air, water and earth and finds new and different resonance places far away from their original environment. Fragile, seemingly natural sounds, such as the buzzing of bees under water, can be transformed into technoid drones. Snippets of soundscapes ghost through objects.  Does the singer retain her identity or does she become the ‘other’? The boundary between self and environment becomes fluid, so that the latter itself becomes an illusion in favour of a more complex reality. The binaries of animal and human, object and human, nature and technology are turned upside down in favour of interwoven relationships based on reciprocity.   Ute Wassermann: voice, bird whistles Felix Blume: field recordings   'Imaginary Habitats' is a co-commission between Radiophrenia and Goethe Institut Glasgow. Bio Ute Wassermann is one of the outstanding contemporary vocal artists of our time. She combines composition, improvisation and performance art to create her own form of Gesamtkunst, in which environmentally relevant themes play an essential role. At the centre of her research is the continuous and uncompromising exploration of her voice. Ute Wassermann's singing goes far beyond the human voice and manifests itself in multidimensional sculptural sounds that oscillate between electronic, animal, inorganic and human qualities. She takes this to the extreme by creating a visceral sound space through the use of different types of microphones. In addition, she expands and alienates her voice through the use of bird whistles, lo-fi electronics, resonators, field recordings and objects. She has been touring the world as an improviser and performer of contemporary music for many years. In the last ten years, she has increasingly realised audiovisual performances, installations and compositions for soloists and ensembles. https://utewassermann.com

"Raw & Baked" is a 30-minute electroacoustic composition with a focus on the disembodied radio voice. Inspired by daily actions in reverse order, the piece uses field recordings from Delft in spring 2024, blending raw and processed sound with found samples. Sharp cuts and softly processed sounds create a dynamic texture, with a tribute to Italian actress Monica Vitti. Premiering on Czech Radio's ARS ACUSTICA on May 29, 2024, this radio artwork showcases the composer's approach to radio art and soundscape composition.

Artist bio:
Margherita Brillada is a sound artist and radio maker based in The Hague. Currently a research associate at the Institute of Sonology, she is working on a PhD research project titled “Re-thinking Radio Art: Community Radio and WebRadio.” Founder of On Air – On Site, a sound investigation of 48 hours non-stop streaming, in partnership with West Den Haag and the Institute of Sonology. Margherita’s practice focuses on creating radio artworks that blend soundscape compositions with field recordings, voices, and found samples. She explores the urban soundscape and the role of the disembodied voice in the radiophonic context.

Website/social links
https://margheritabrillada.com
https://onaironsite.com/artists/margherita-brillada-2
https://bugradio.org
https://www.instagram.com/onair.onsite/
https://www.instagram.com/rita.marghe92/?hl=en

A child shares her vision of the world. From her tale emerge songs and places where past, present and future intertwine. A polyphonic choir punctuates this epic, recounting the adventures of an infanta as she travels through multiple landscapes. From a salt quarry to the ruins of a palace, from a nocturnal forest to the depths of a storm, Onda & Storia is both a documentary account of childhood, which does not evade violence, and a musical fiction: a modest opera. Onda & Storia is an adaptation and extension of the radio performance "Un opéra modeste" created in 2021, on a child's scale.

Artist bio:
Myriam Pruvot is an artist and musician. While her work borrows from a wide range of media - installation, performance, text, radio, film - composition - it is always nourished by the question of song, language and place. She is particularly interested in the political, poetic and philosophical dimensions of these objects. As a writer and performer, she has collaborated on numerous radio, musical and choreographic projects in Europe and beyond. Her radio works have been awarded the Grand Prix Nova (2024), the Brussels Podcasts Festival (2022) and the SCAM-SACD (2021).

Website/social links
http://www.myriampruvot.com/en
https://www.instagram.com/mrmprvt/

'DOG FM is the debut release by the London-based duo of field recordist Oliver Chapman and poet Phoebe Eccles. Combining Chapman’s seemingly banal snapshots of a family car journey with Eccles’ fantastic, reflective spoken verse, DOG FM deftly transports the listener through a series of uncanny and oft-times bizarre audio travelogs where tension and expanse alternate to disorientating effect. By exploring the dynamics of a typical close-quarters family exchange, and with repeated use of ‘canine’ annotation, Chapman reimagines the car as both a confine and a means of escape, with Eccles’ verse acting as thematic glue, bonding memory, dream and textural reference to the road map. DOG FM brings a multifaceted lens over a commonplace event, exploding our expectations, and allowing us to surrender the wheel —and our fate— to kismet outcomes.

Put an end to an unbearable silence, to decompartmentalize the story of a family fractured by illness. Told by the sister of a young man, whose schizophrenia declared itself 12 years ago. A decade of suffering and adaptation to psychiatric vertigo. Years, during which the attention paid to the suffering brother, made invisible the impact of an altered daily life on the other child: me.

“Schizophonies” vacillates between an atypical psychic world and the pragmatic reality of a
society where so-called “madness” is still worth being locked away.

Artist bio:
Born in northern France in 2001, Rislane Hakym is a qualified audiovisual technician. Social issues are at the heart of both her multidisciplinary practice. She has worked on a number of audiovisual projects with disabled people, around autism, sexual assistance, but also with young people in a medical-educational institute, or with a mutual aid group. Her interest in real-life cinema led her to enroll in the Master's program in documentary writing and creation (CREADOC, Angoulême), to produce her first sound documentary, “Schizophonies”. An autobiographical project focusing on her brother's schizophrenia, its repercussions for her and her family.

Website/social links
https://www.rislanehakym.fr/

A meteorite, a spoil tip, a mountain or an island. A fatberg. A co-authored story entangling fact, fiction and anecdotal prose. Three voices become one narrator, Celtic myth, folktales, traditions and superstitions are merged, layered and retold.  A hole or a bog, subterranean preservation - like a time capsule in a biscuit tin with a dodgy lid, buried 40 years ago but the water got in. What happens when fact becomes anecdote?

‘There had been heavy rain, a week of torrential downpours, incessant waterfall, fields of crops washed away overnight. Usually after heavy rain they clear the drains of organic waste, leaves, trees, silt and mud. But this time, this time they found a coffin.’

Preserving Hole is a conversational collaboration emerging from research sharing and exploration of practice intersections; fused in tangential storytelling, narrative building and myth making. Unearthing spurious information and hearsay to present a loose-narrative audiobook.

Artist bio:
Aled Simons (Wales), Bláithín Mac Donnell's (Ireland) and Tom Cardew's (Wales) practices overlap at a point of storytelling, narrative building and myth making. They are interested in unearthing spurious information and hearsay, sharing research crossovers and thematic touchpoints to form an experimental and conversational approach to writing. Collectively assembled, almost like an exquisite corpse, to present loose-narrative writing and audio. Drawing on Celtic nation backgrounds, their gathered output encompasses superstition, anecdote and also; the past, present and future all at once. Recently Preserving Hole was shown at Division of Labour, Manchester, UK. A collaborative exhibition of audio, sculpture and textiles.


Website/social links
Instagram:  @aled.simons   @blaithinmacdonnell    @cardewgram

https://www.aledsimons.com/home

http://www.blaithinmacdonnell.com

http://www.tomcardew.co.uk

1) Gregory Whitehead - How Still My Brainwaves (6:46)
2) Elisabetta Senesi, Ilaria Palloni - Flowing Pringipittu (PILL_01 Extended) (8:00)
3) Emma Diamond & Loris S Sarid – hair.wav (15:12)
 
 
1) Gregory Whitehead - How Still My Brainwaves

“His head was a mess, so his brain was a mess.”

A disintegrative composition for solo voice and cosmic crackle inspired by the structure and rhythm of a Langston Hughes poem, featuring a DIY ventilator that fails to sustain the patient.
https://gregorywhitehead.net

 
2) Elisabetta Senesi, Ilaria Palloni - Flowing Pringipittu (PILL_01 Extended)

The project was born from a desire to reflect upon universal and personal value of one’s native dialect, as well as the root from which it comes, made of physical and symbolic ties. The piece is a deconstructed sonic reinterpretation and an open oral score of well-known "The Little Prince" story book focused on territorial sounds/noises coming from the region of Marche, Central East of Italy, combining multiple layers of sonic transliteral flows with concrete and abstract spheres of voices, places and identities.This short initial piece of the entire project in which different sonic layers dialogue and conflict, is therefore open to multiple linguistic and auditory interpretations within a strong metanarrative and transdisciplinary contexts. Flute: Soprano, Side-Blow, Haynes Classic, Handmade, Silver, 2005 Microphones: XY, MS, Piezo Electric, H2N, IQ7 DAW: Mac Book Pro, NI Audio Komplete 2CH, Ableton, Reaper, Audition. Ideation, Creation, Voices, Electro Acoustics: E.Senesi, I. Palloni

Elisabetta Senesi
Artist and academic, she explores the relationship between sound and image, the everyday sonic spaces and aesthetical critical listening. Her work includes mixed media installations, public arts interventions, audio interactive works and experimental sonic compositions. She is lecturer/teacher in Sound Design at the Academy of Fine Arts.
http://elisabettasenesi.me/me.html
 
Ilaria Palloni
Flutist and musicologist, she collaborates with research groups in Italy and abroad, carries out her instrumental activity in various formations of chamber music, she teaches flute at some cultural associations with which she organises musical courses for children.
https://www.progettomusicaletiziatozzi.com/ilaria-palloni


3) Emma Diamond & Loris S Sarid – hair.wav

'hair.wav' is an immersive soundscape made with recordings of hair being cut, washed, razored & touched.
The piece was realised collecting recordings of Emma working with hair, emphasising the proximity and intimacy of the experience. Similarly to Emma's approach to cutting hair, the track wants to maintain the natural texture and organicity of the sounds collected, for this reason no effects were used apart re-pitching and stretching the sound sources. Melodic and unexpected sounds are the result of the extremely stretched recordings, to which occasional eq-ing was applied.
Best enjoyed in headphones!

Emma Diamond is a Glasgow based multi-disciplinary artist working mainly across hair, sound & found objects. Inspired by traditional folk-art & story telling, her work focuses on our connection to each other and the world around us, exploring mysticism in the every day.
Loris S Sarid is a Roman musician & sound artist, based in Glasgow since 2015. His work throughout the years has included songwriting, soundtracks and installation, blending elements of classic composition with improvisation and coding.
http://www.instagram.com/emmadiamondhair
http://www.instagram.com/loris_s_sarid

4) Diane Barbé - Recôncavo ao Redor (9:37)
5) Joan Schuman - Ghost Wolf (12:32)
6) Amirhossein Zeinali - Times Three (5:30)
 
 
4) Diane Barbé - Recôncavo ao Redor

Recôncavo ao redor is a sweaty listen to the banks of the Bahía de Todos os Santos, in Bahía, Northeast Brazil, at the start of the rainy season. The piece develops around different centres of attention, which trace out a possible, inaccurate and partial cartography of these tropical coasts, from the songs of crickets and the little weeping frogs, Razinha Choradeira, to the electromagnetic responses of scooters and generators on the streets. Also, a constant drone that floats over the salty lagoon –heavy, low, persistent. At night, as the mangrove silts snap and sparkle, the breeze brings back this wall of low-pitched hum. The warm waters gently lap on the enormous steel hulls of the container ships anchored in the bay. And slowly, they all seem to lean towards the largest petrochemical processing plant of South America, just a few kilometers up at the mouth of the Aratu estuary...

Diane Barbé explores the intersections of ecology and experimental music, working with field recording as much as with additive synthesis and wind instruments. Her work delves into the manifold practices of musicking: crafting flutes, globular whistles and percussion instruments from salvaged materials, developing practices of collective music ensembles with her project 'The Alien Kin', and kneading the relationship of sound and time through live looping, stretching and alterations. Her next album, Musiques Tourbes, comes out on forms of minutiae (Berlin) in the autumn 2024, unravelling a mixture of field recordings and additive analog synthesis –portrait of bogs and swamps.
https://www.dianebarbe.com/
https://www.instagram.com/diane.isadora/

 
5) Joan Schuman - Ghost Wolf

Ghost Wolf" imagines the sovereignty of disappearing beings. Through the listening frame of hollow spaces (the mouth and pelvis, a fist and the heart), there is a structure built of anger and wildness, weeping and wailing. From the long-standing hunting of hidden wolves to the contemporary battles of body sovereignty, questions arise: What is the country of 'otherness'? Which story do we choose to stand in?

My audiophilia whispers into the radio's ear via artist-curated programming. In 2015, I launched Earlid, a virtual space where I organize adventurous sound artistry and gather curious listeners. I listen and live along the rocky northern California coast.

Ghost Wolf (detail) https://www.joanschuman.com/hyperacousia/posts/ghost-wolf/
Joan Schuman (website) https://www.joanschuman.com/hyperacousia/

 
6) Amirhossein Zeinali - Times Three

In the composition titled “Times Three,” the numeral “3” assumes a pivotal significance. A majority of the sonic motifs, interruptions, and even surprises are linked to this numerical value, coalescing into a ternary structure. A substantial portion of the auditory elements emanates from the thematic exploration of “manuscripting” and the seamless integration of technology, thereby transitioning into the realm of mechanics imbued with the essence of computerized systems.

I am Amirhossein Zeinali (b. 2000), a composer and pianist from Iran. I hold a bachelor’s degree in music composition from the Art University of Isfahan and am currently pursuing a master’s degree in music composition at the University of Utah. Alongside my academic pursuits, I actively contributes to the field as a graduate teaching assistant, through instructing the Music Technology course at the University.
http://www.amirhosseinzeinali.com

i recently got access to an old factory space as part of a residency i was doing with Hull Artists Research Initiative https://www.hullartistresearchinitiative.com and i started to think about health and safety aspects of these places, both from my perspective and the buildings. health and safety is often confusingly driven by what capitalism can get away with as opposed to actual safety for the employees. also the building might have its own agenda, it might want to hurt people, perhaps with a view to getting a bit of peace, or it might view injury as desirable somehow, i don't know for sure, i'm not a factory building. i've worked in a few though, and i think they might get sick of people...this piece is an attempt to explore this relationship.

Artist bio:
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.



Website/social links
https://yolnoise.bandcamp.com
https://www.youtube.com/user/yol1971
https://mobile.twitter.com/brighthouse5
https://www.instagram.com/haribo_voodoo_ritual/

The piece is a collage of found sound, field recordings, and electro-acoustic compositions created by me using a turntable, portable turntable that plays deconstructed and destroyed vinyl discs and an old model cellphone. I also use text, excerpts, and conversations to give the piece a sense of home in a way that is intelligible to itself through sound. I used Bela Tarr's "The Turin Horse" to reference his visual themes of vastness and distance to create a similar sonic landscape using objects, methods, and processes from within the contexts of my environment.

Artist bio:
Naledi Chai is an interdisciplinary artist and experimentalist. Her disciplines span collage, video art, sound design, film, sound and event-based sonic experiments explored through DJing. Her practice is deeply rooted in exploring the intersection of sonic expression, technology, and human experience.
She is intrigued by the politics and potential of sound to evoke emotions, challenge perceptions, and create immersive environments that transcend traditional spatial boundaries. Her sound-based sculptural works have been shown at Brixton Light Festival and Stevenson Gallery in Johannesburg. Chai lives and works in Johannesburg.

Website/social links
https://linktr.ee/lovingparents?fbclid=IwY2xjawFzieNleHRuA2FlbQIxMAABHVWrvEN3XRKUulPkf4CH8kqQoghQOukUe11llo1IiAr935XZIYlJT7Dnqw_aem_FhWqOevW5-T0kFIdHj3yOQ

https://www.instagram.com/cu_xtremes/

The piece is a collage of found sound, field recordings, and electro-acoustic compositions created by me using a turntable, portable turntable that plays deconstructed and destroyed vinyl discs and an old model cellphone. I also use text, excerpts, and conversations to give the piece a sense of home in a way that is intelligible to itself through sound. I used Bela Tarr's "The Turin Horse" to reference his visual themes of vastness and distance to create a similar sonic landscape using objects, methods, and processes from within the contexts of my environment.

Artist bio:
Naledi Chai is an interdisciplinary artist and experimentalist. Her disciplines span collage, video art, sound design, film, sound and event-based sonic experiments explored through DJing. Her practice is deeply rooted in exploring the intersection of sonic expression, technology, and human experience.
She is intrigued by the politics and potential of sound to evoke emotions, challenge perceptions, and create immersive environments that transcend traditional spatial boundaries. Her sound-based sculptural works have been shown at Brixton Light Festival and Stevenson Gallery in Johannesburg. Chai lives and works in Johannesburg.

Website/social links
https://linktr.ee/lovingparents?fbclid=IwY2xjawFzieNleHRuA2FlbQIxMAABHVWrvEN3XRKUulPkf4CH8kqQoghQOukUe11llo1IiAr935XZIYlJT7Dnqw_aem_FhWqOevW5-T0kFIdHj3yOQ

https://www.instagram.com/cu_xtremes/