During 2013 Momus created a series of radiophonic programmes for Newcastle radio station BasicFM entitled Hearspool. Mesmeric, evocative, and made in the tradition of German neue hoerspiel.

Momus is a Scot who makes songs, books and art. He lives between Europe and Japan.

http://imomus.com/

https://en.wikipedia.org/wiki/Momus_(musician)

The Nixon tapes reenacted live in the studio by Jeff Burrell.

A series of radio programs By Dani Gal and Achim Lengerer. Originally commissioned by Documenta 14.

The radio is an acousmatic instrument. Listeners do not see the origin of the sound,
their experience is shaped both by the their own interpretation, and the manipulation
of the producer in a political system.

Our programs work on the space between documentary and Musique concrète.
Each show focuses on political events that are connected to acoustic events. This
creates an acousmatic documentary where the programs become sound-objects.
The programs response to the ‘image saturated society’ discourse, by asking what is
the function of sound as a document in times of live video feeds that can be broadcast
by anyone.

Dani Gal (born 1975, Jerusalem) lives and works in Berlin. He studied at the Bezalel
Academy for Art and Design in Jerusalem; the Staatliche Hochschule für Bildende
Künste Städelschule in Frankfurt; and the Cooper Union in New York. His flms and
works have been shown widely, including: Documenta 14, 54th Venice Biennale
(2011), The Istanbul Biennale (2011), The New Museum New York (2012),
Kunsthalle St. Gallen Swizerland (2013), The Jewish museum New York (2014),
Berlinale Forum Expanded (2014), Kunsthaus Zurich (2015) Kunsthalle Wien (2015)
And more.

Achim Lengerer works on political questions of speech and language that he
thematizes in performances, radio plays or spatializes within installations and
publications. Lengerer founded different collaborative projects such as freitagsküche
in Frankfurt a. M. and voiceoverhead, with Dani Gal. Since 2009 Lengerer runs the
Berlin based showroom and publishing house Scriptings. Different Artists are invited
– all of which are working with the formats of script and text within their processes of
production. Lengerer is currently working on his Ph.D. at Goldsmiths, University of
London, UK, on the format of the rehearsal as an actual format for socio-political
negotiations.

https://archive.org/details/radia_s28_n370_radiopapesse-dani_gal_achim_lengerer
https://www.fkv.de/en/content/dani-gal-achim-lengerer-voiceoverhead
http://freymondguth.com/?artists=dani-gal-works
http://www.rampub.com/art/978-3-86442-214-0
http://www.newmuseum.org/exhibitions/view/dani-gal-nacht-und-nebel

For the last five years I have taken a sample from every video I watch on my laptop. As a tip of the hat to William Burroughs and Robert Anton Wilson I take the sample from the 23rd minute. Each sample is arranged and layered chronologically, constructing an aleatory narrative, a random DJ mix of dialogue, music and foley, a self portrait of viewing habits and memory. VHS rips merge with Blu Ray restorations, youtube binges mingle with abandoned box sets.

Barry Burns is not the bloke out of Mogwai, its a different, unsuccessful one. He is the co-manager of Radiophrenia and has used his immense power to give himself the highly coveted 5am slot.

https://akashicrecords1.bandcamp.com/album/from-the-cable-to-the-grave

Here we speak toToni Dimitrov and Saso Puckovski of Kanal 103 in Skopje in Macedonia.

Mobile Radio offer an overview of independent and not-for-profit community, ‘free’, campus, and pirate stations who provide a wealth of material and perspectives outside of the mainstream media orthodoxy. This series constitutes a major retrospective of the work of the radio art network Radia, whose collective mission is to make radio that transcends the borders and boundaries of land and language. Mobile Radio visit each station in turn to discern their motives and inspirations, and explore the work of one of their associated artists. Produced with support from Goethe Institut.

http://mobile-radio.net/

1. Optic Nerve – Mirror
2. Vincent Eoppolo – Hello
3. Luke Pell – Lucy Cash Out of Touch
4. Hieroglyphs – Animal visions
5. Maria Papadomanolaki – Messtrument improvisation
6. Vincent Eoppolo – Septa Subway Night
7. Marjorie van Halteren and Jeff Gburek – Strange Ambitions
8. S van der Linden – Monolog GIRL

1. Optic Nerve – Mirror

This song explores how a sense of self can fragment over time, as the relationship of who you are and your physical body wane. It intensifies this sense of dislocation using the subliminal sounds of radios retuning and detuning as a percussive base.

Optic Nerve are a musical and visual arts group based in Edinburgh and London consisting of Cosima Cobley Carr and Grant Campbell. They have released four individual multimedia works and are currently also in the process of finishing a larger project, which they aim to present live in an immersive multimedia performance. Recently they also performed as sound carriers for Japanese musician Damo Suzuki.

http://optic-nerve-band.tumblr.com/

2. Vincent Eoppolo – Hello

I view my works as a synthesis of various sound art traditions including musique concrete, acousmatic music and radio art. In my work I strive to present brief moments of the world we are living in. Society in the continuing process of realizing itself. Our relationship with each other, with technology, our morality, spirituality, sexuality, our anxieties and fears. In many ways my works are like sociological and psychological commentaries. My work has been featured on Bernard Clarke’s program Nova on RTE’s Lyric FM, Phaune Radio from Montpellier, France as well as Radio Art International on CHOQ Radio in Montreal. My works were recently presented at the 2017 New York City Electro-Acoustic Music Festival.

https://soundcloud.com/societys-realization

3. Luke Pell – Lucy Cash Out of Touch

Some Words to Wander With are a series of recordings as part of In the Ink Dark, a dance and a poem made from from memory and conversation. A project from Luke Pell and collaborators. Created as part of the project invited voices – artists who make dances, whose works are both poetic and choreographic – offer a collection of musings that speak to words and to dances, bodies and buildings, science and nature, to thought and to feeling, to memory, materiality, landscape and loss. They are wisdoms for living, some words to wander with where you live, at work, at rest, at home, away.

Fascinated by detail, nuances of time, texture, memory and landscape Luke Pell is a maker and curator who collaborates with other artists and organisations imagining alternative contexts for performance, participation and discourse that might reveal wisdoms for living. Noticing threads that weave between people and place his artistic projects take form as intimate encounters, poetic objects, installations and environments – choreographies – for physical and virtual spaces.

lukepell.org
intheinkdark.com

4. Hieroglyphs – Animal visions

Taken from Zenith EP (2017). Hieroglyphs is Siobhain Ma

https://hieroglyphsmusic.bandcamp.com/
http://www.siobhainma.com

5. Maria Papadomanolaki – Messtrument improvisation

Consisting of a close-circuited array of transmitters, receivers, microphones and other electronics, the messtrument is a feedback-driven platform (rather than instrument) for performing alone or in the context of ensembles. Based on the idea of improvising with the sounds and acoustics of a particular site, the messtrument is more than a noise generator as it uses the ether as it ‘mixing console’

This is a recording of a recent messtrument improvisation/demonstration for the students of the Digital Music and Sound Arts course at the University of Brighton.

6. Vincent Eoppolo – Septa Subway Night

7. Marjorie van Halteren and Jeff Gburek – Strange Ambitions

He’s in Poland, she’s in Northern France. Two Americans abroad, mapping the mysterious triangular territory of sound recording, instrument creation and poetry across the continent.
Working with voice, guitar, percussion, samples, invented instruments and words, their work features sounds of this world, of other worlds, philosophic crosstalk, voice-as- texture, bird tongues, field recording requiems, ancient drumming, voices on the edge of sleep…exploring sound/music/text in equal balance….

http://www.thattuesday.com
https://jeffgburekprojects.bandcamp.com/

8. S van der Linden – Monolog GIRL

Omigosh! I’m away with the fairies! I ruminate, let my dreams marinate, stare into space or to this low energy abstraction who’s always pushing his hair back during dinner. He is sooooo FUNNY! This totally whimsical and lovely someone gazes at me with this dreamy look in his eyes that smoothes all over and soothes deep aches and pains on its pathway into the body, easing tension at a deep level, helping relieve fatigue and greatly reviving low sympathetic levels. I concentrate on the reduced appearance of this warm abstraction from immediate reality. Sissy and soft. Establishing a sense of calm that settles upon everyone present.

http://No1GIRL.net

HOW MINDFUL CAN U B? HOW MINDFUL R U? is an experimental composition exploring agency in mental and spiritual well-being amidst a landscape of uncontrollable chaos.

Platitudes is a collaboration between interdisciplinary artists Julia Dyck and James Goddard. Platitudes uses voice / bent data / musical instruments / samples and field recordings to create audio performances that explore the layering of symbolic ontologies in our contemporary life, digital and otherwise. PLATITUDES wonders how many ways there are to say the things that are said.

http://www.platitudes.space

In 1999 me and my partner decorated a bedroom for our baby son in a Patrick Heron style. 18 years later I was asked to play a show in reaction to Heron’s ‘Red Table’ painting. I joined these two experiences together recording my partner talking about the how and why we painted the room and writing text sound pieces (based on Heron’s paintings) for me and my daughter to recite.

I also recorded two 20 minute domestic field recordings, one for each speaker, and mixed the spoken word and text performances onto this canvas.

My son declined to take part.

Sound mixing and text pieces: Joe Posset

I’ve been working with Dictaphones and old tape recorders making slurred sounds for the last 10 years. Using a mixture of careful composition and reckless improvisation I’ve managed to put out over 30 tapes and CDrs and play solo and in wonderful collaborations up and down the UK. I’m a lucky man. More recently I’ve started using abstract vocal sounds and words to create Dada-esque poems.

Weblink: https://soundcloud.com/posser-1

A trip to a village near Erfurt, where a small Ahmadiyya community wants to build a
mosque. with Suleman Malik and Ricklef Münnich.

A series of radio programs By Dani Gal and Achim Lengerer. Originally commissioned by Documenta 14.

The radio is an acousmatic instrument. Listeners do not see the origin of the sound,
their experience is shaped both by the their own interpretation, and the manipulation
of the producer in a political system.

Our programs work on the space between documentary and Musique concrète.
Each show focuses on political events that are connected to acoustic events. This
creates an acousmatic documentary where the programs become sound-objects.
The programs response to the ‘image saturated society’ discourse, by asking what is
the function of sound as a document in times of live video feeds that can be broadcast
by anyone.

Dani Gal (born 1975, Jerusalem) lives and works in Berlin. He studied at the Bezalel
Academy for Art and Design in Jerusalem; the Staatliche Hochschule für Bildende
Künste Städelschule in Frankfurt; and the Cooper Union in New York. His flms and
works have been shown widely, including: Documenta 14, 54th Venice Biennale
(2011), The Istanbul Biennale (2011), The New Museum New York (2012),
Kunsthalle St. Gallen Swizerland (2013), The Jewish museum New York (2014),
Berlinale Forum Expanded (2014), Kunsthaus Zurich (2015) Kunsthalle Wien (2015)
And more.

Achim Lengerer works on political questions of speech and language that he
thematizes in performances, radio plays or spatializes within installations and
publications. Lengerer founded different collaborative projects such as freitagsküche
in Frankfurt a. M. and voiceoverhead, with Dani Gal. Since 2009 Lengerer runs the
Berlin based showroom and publishing house Scriptings. Different Artists are invited
– all of which are working with the formats of script and text within their processes of
production. Lengerer is currently working on his Ph.D. at Goldsmiths, University of
London, UK, on the format of the rehearsal as an actual format for socio-political
negotiations.

https://archive.org/details/radia_s28_n370_radiopapesse-dani_gal_achim_lengerer
https://www.fkv.de/en/content/dani-gal-achim-lengerer-voiceoverhead
http://freymondguth.com/?artists=dani-gal-works
http://www.rampub.com/art/978-3-86442-214-0
http://www.newmuseum.org/exhibitions/view/dani-gal-nacht-und-nebel

This is an imagined conversation loosely based on the lives of Daisy and Violet Hilton, conjoined twins born in the UK in 1911. The Hiltons were displayed in circuses in Europe and toured the U.S. sideshow, vaudeville and burlesque circuits in the 1920s and 1930s. They’re retired now. They whisper themselves to sleep while conjuring what death will feel like when it comes to them both. There’s a ghosted imprint of mourning of those attached to us, whether by our own sinew or the withered wings of dead seabirds. Their single knotted torso extends beyond immediate and singular relationships.

My audiophilia whispers into the radio’s ear with documentaries and poetic narratives airing globally via artist-curated programming. Listening along the central California coast, I teach production artistry online at The New School for Public Engagement and curate Earlid, a virtual space for adventurous sound artistry, radiophonics and curious listeners where I recently co-moderated the online forum, “Radio’s Art.”

http://www.joanschuman.com
http://www.joanschuman.com/hyperacousia/posts/catalogue-of-mourning/
http://www.earlid.org

Symphony No. 1 is a written symphony that is only hearable for the inner ear, thereby each listening experience will be different from each other, and every listening experience will be totally valid.

How to perform the piece: Symphony No. 1 should be read up loud in the radio by a narrator. The narrator would decide how the speed of words should be.

About “Symphony No. 1 – Music for the inner ear”:

Is it possible to create imaginary music only hearable for the inner ear of the listener? A kind of music in which the listener also becomes the composer? A utopic kind of music in which anything therefore is possible? Can written stories about sound manifest themselves as imaginary pieces of music inside the listeners mind brought to life using the inner ear?
Can the story about a piece of art, become the piece of art? These questions are the subject of composer Niels Lyhne Løkkegaards work.

Niels Lyhne Løkkegaard is interested in how to democratize the act of creating, and is looking into the utopic space of imaginary music as a method of composing and as a catalyst for creating. On a philosophical level Niels Lyhne Løkkegaard is interested in how stories about music can be accepted as being music detached from any psychical manifestation, and how narratives are capable of constituting reality. How can this narrative metasphere be a space for artistic action in what could be described as curatorial times?

Niels Lyhne Løkkegaard is a sound artist and composer who studied at Denmark’s Rhythmic Music Conservatory and the School of Architecture of the Royal Danish Academy of Fine Arts. He has created a wide range of works and sound releases that operate at the intersection of experimental music and sound art, a.o. the soundtrack for MoMA’s René Magritte exhibition The Mystery of the Ordinary in 2013. Niels Lyhne Løkkegaard considers his compositional work to be a basic research in sound. He is interested in exploring the sensuousness of sound, and he wants his music to stimulate new ways of approaching sound. Over the recent years Niels Lyhne Løkkegaard has experimented with creating music that lets the instruments transcend their inherent sonic norms and reappear as new, untouched sound. In the work series SOUND X SOUND he explores this by way of multiplication. He has written and recorded the seven pieces of SOUND X SOUND from 2013 to 2016 – a series of works multiplying one instrument a number of times: One piece is written for 9 pianos, another for 10 hi-hats and so on. Løkkegaards interest in facilitating a more “democratic” approach to creating music, has also lead him into creating imaginary pieces of “music for the inner ear” and creating the curatorial non-event Curatorium.

http://www.nielsloekkegaard.dk
http://www.edition-s.dk/composer/niels-lyhne-loekkegaard

This work comprises field and forgotten recordings, small town/city centre conversations and sounds with audio effects, synths and acoustics. It tries to promote then reign back the constant battle experienced, to lesser or greater degrees, of the wild and tame sides of personality and behaviour. We experience brooding on madness with inner thoughts in and out of context of everyday living, or getting in a state where our outer actions and words lead us away from our ‘actual’ personalities, towards the Steppenwolfesque. Contrastingly we can be content in situations where we should be stressed, angry, sad or irritable – sound and music, whether audible to everyone or playing in our minds often play a part in this.

Worth listening out for are roaring polar bears, wind up chickens, rusty curtain hooks, clicking reindeer heel cartilage, geese, starlings on a Summers night, diaries, bin store gadgies, drunks, art exhibitions, junior football, domestication as an unattainable myth, sobriety, child’s play, shop ambience and last chance yelps.

No longer acceptable as entertainment student party and cheap deal booze nights got sacked for hard clubbing and sonic experimentation – only the good stuff from then on was pursued. The dawn of multitrack recording ensued with late night sessions of improvised intoxicated songs with Ryan Lambie as Johns Indie Disco. The JID years were a productive period, tracks of techno punk quality and some flashes of pure genius, but only 3 live gigs, meant the main means of promotion was handing out home burnt CDs in the street. The Ladywell Lout era then ensued, involving the circle of contributors from JID with semi-documentary based audio on gala days, gadgies, losers and high rises.

https://theladywelllout.bandcamp.com/

Supported by Creative Scotland and Outset

In this spontaneous audio piece Anna Zett explores the interview as a form of monologue and a form of trialogue. It is centered around the artist’s visit at a professional fortune tellers office in Beijing.She has brought her own deck of modernist tarot cards, he is willing to share his approach to situation analysis and fate calculation according to Chinese traditions. Mediated by a third person who is serving as translator, they enter a conversation about chance.

Anna Zett has written and directed two radio plays for the public radio in Germany, both of them dealing with voice-based oracles and the challenge of communication.

http://reboot.fm/

The Sounds of Sirens examines the audio landscape of civil defense, featuring the sounds of mechanical emergency sirens from around the world.

Sam Rowell is an artist, musician, and sonic explorer. Having first begun broadcasting at WHRB’s Record Hospital in 1993, she now operates out of artist-run radio station KCHUNG in Los Angeles. Her show, Special Collections, is a monthly broadcast of live-mixed sound collage. Drawing source material from audio archives, historical records, sound and radio phenomena, field recordings, and the sonification of data, each edition of Special Collections creates an audio portrait of the topic at hand. Subjects examined include HAARP, echolocation, sound activated electromechanics, continuous wave reduced power broadcasting, pluviophonics, and the Peoples Temple audio cassette archive.

http://specialcollections.kchungradio.org/

Here we speak to Carine Demange and Claire Serres of Radio Campus in Brussels in Belgium.

Mobile Radio offer an overview of independent and not-for-profit community, ‘free’, campus, and pirate stations who provide a wealth of material and perspectives outside of the mainstream media orthodoxy. This series constitutes a major retrospective of the work of the radio art network Radia, whose collective mission is to make radio that transcends the borders and boundaries of land and language. Mobile Radio visit each station in turn to discern their motives and inspirations, and explore the work of one of their associated artists. Produced with support from Goethe Institut.

http://mobile-radio.net/

The audio guide YOU ARE BUT YOU ARE NOT is the result of participative research and work practices with the civil society, activists, researchers, NGOs and refugees from the area around Bolzano (Italy). The audio-guide follows a given route in the public space of the city of Bolzano, that moves along the “margins” of the city. The listener is guided by a narrating voice, which interlaces facts with metaphors, reflecting on the shifting of boundaries and the conditions of hosting and becoming refugee in Europe. The work aims to offer a reflective journey into “our” procedures of hospitality in Europe.

YOU ARE BUT YOU ARE NOT is a project by the geographer Kolar Aparna and the artist Beatrice Catanzaro and is curated and produced by Lungomare (http://www.lungomare.org) in the context of their long-term residency 2016-2017. The script of the audio-guide is written by Elena Pugliese.

http://www.lungomare.org/youarebutyouarenot/index-en.html

A loop with one end bigger than the other. Sounds repeat. History repeats.

Peter Basma-Lord, Jens Masimov and Danny Pagarani currently live and work in Glasgow where they study at the Glasgow School of Art. Whilst they each have individual artistic and musical practices they have also collaborated on a number of projects including 25% Extra (2016), Nostalgia for Terrible Times (Open House Festival, 2017) and Hill 52 the GSA student radio station.

http://peterbasmalord.com
http://jensmasimov.com
http://www.dannypagarani.com/

A new composition for radio based on the idea of exploring the sounds of a particular time, place and memory. hearspace will explore, isolate and use specific RTÉ sound archives as a means of grounding listeners to a particular time, place and memory. These voices or sounds of Ireland, which will be combined with Karen’s own sounds recorded throughout the world; from The Arctic to Laos, will bring listeners on real and imagined sonic journeys from their past and into their future. This work will also feature archival materials from other European Radio stations who have been invited to submit their sonic snapshots.

Radio exists without visual cues, allowing listeners to form their own unique relationships with sounds from the privacy of their kitchen, bedroom, cow shed or shower! When radio is being received in a space it simply enters and shares space with everything else around it. (Unlike a piece of concert music, which expects silence and your full attention.) The result is that radio sounds move frequently and freely between the background and foreground of a space.

http://www.cmc.ie
http://www.karenpower.ie

(1) Esi Eshun- Lines of Reason
(2) Kate Donovan – Chorus Duet For Radio
(3) Jamie Livingstone – Orders
(4) Chandeliers – Walk With A Purpose
(5) Chandeliers – Baseball Diamond
(6) Nad Spiro – Sirius Signals

One Hundred Glass Brains Waking Up is a fictional conversation between two people who begin as strangers. Without any prior social bonds they discover they are free to make each other up. This is escapist fiction pared back to two people in a room looking for a way out of social stultification.

Performed by: Brighton Upton Trust

Composed by: Nichola Scrutton

Sarah Tripp is an artist and writer working with fictional characters. Her recent works include a work for radio broadcast commissioned by Camden Arts Centre (London); a collection of her short prose published by Book Works (London) and the programming of a day-long event exploring characters on the stage, page and screen commissioned by LUX Scotland for the Tramway (Glasgow). Her forthcoming novel will be published in 2018 by Book Works.

Nichola Scrutton is a freelance composer, sound artist and experimental vocalist based in Glasgow. Her work spans a range of self-directed projects, interdisciplinary and participatory collaborations.
http://www.nicholascrutton.co.uk

Brighton-Upton -Trust is a composite of artists based in Glasgow working across a variety of mediums – A hypothetical model of production and procrastination.

Supported by Edinburgh Sculpture Workshop, Sian Robinson Davies, Peter Amoore, Simon Buckley, Claire Walsh, Kitty Anderson, Suzanne van der Lingen, Shauna McMullan.

Supported by Creative Scotland and Outset

I’m enamored with the idea of self(ish)-help and prescriptions for deeper purpose – though, after iterations of these across centuries, we’re still fucked up. We can’t focus. We get a notion and don’t follow through because we’re constantly distracted. Life is easier with distractions. It is a mental frenzy. Add to that the 2016 election in my nation, and I’m personally, uncomfortably numb.

That’s what I’m doing with this work: showing you the battle between mental frenzy and ASMR, hypnotism, Gematria, meditation, and a bunch of cult-speak I was mired in, though recently shrugged off after 21 years etc.

Dave Madden’s (aka dj_webern, nonnon, Chomsky at the Bit, Wasabi P) earliest memories are Magical Mystery Tour, “Paint it Black” and the guy who claimed to be the Lizard King. He uses percussion, found objects, laptop, turntables and an obsessive bending of synthesizers into the way they are not supposed to react to perform and / or DJ all over the world, from Montreal to Chico, California, in universities, museums and coffee shops, preferring the types of crowds who enjoy John Cage back to back with Anti-Pop Consortium.

https://thenonnon.bandcamp.com/
https://soundcloud.com/nonnon

On July 7, 2017, myself accompanied by Doctor Kawai, we would walk, through our voices, this part of the world where the scientific legend believe the cosmic yeti is hided. It is a vast country where the adventurers dare to dodge and disappear since its discovery. They do not however can die since their bodies does not have access to this world made of waves and vibrations. Not that the skin, like the body and any other physical form, does not belong to it, but here it is better to travel light and limit the sources of sensation. The voice, the voice yes, being the congenial tool to this crossing, due the fact she can not lose her life. And to say that to lose himself there remains the unique danger and to lose himself for good.

Whit text by David Liver, Gregory Whitehead, Pier Luigi Ighina, Tesla
Language: Italian, French

David Liver and Jonathan Frigeri are a poet and a sound artist which meet in some obscure bar in brussels, since there they moved together in the meanders of mind and waves.

http://zonoff.net

This is a selection of seven shows from ‘radioart106fm’ compiled for radiophrenia 2017. It contains the creations of female Radio and Sound artists.

Composer Anna Stereopouluo defines her style as “SONIC MOVING IMAGES”.
She specialises in composition for films and television and conducts interdisciplinary performances inspired by her research on various subjects. She is currently investigating the human brain while working on several projects in the subject; her last concept album c I r c e :the black cut and the SYN project. In September she will release her album ‘electron’.

https://annastereoscopic.wordpress.com/

[01] Title of Track: The Port

[02] Title of Track: The Opaque Fleece
[spoken by Virginia Phiri. Response to the ZAMBEZI WOMEN Call Out organised by Radio Continental Drift]

[03] Title of Track: Galanthus

[04] Title of Track: Aeaea Nova

[05] Title of Track: Cochlea [unreleased]

[06] Title of Track: rho – ῥῶ

Produced and presented by Meira Asher, The program’s host station KolHaCampus106fm closed down on August 31, 2017. Between the summers of 2014 and 2017, Meira aired 107 programs and several specials, part of which were Radia.fm member stations productions.

In the aftermath of this agonising farewell, ‘radioart106fm’ is reforming and will reappear soon, starting with a monthly show on Radio Campus Bruxelles in 2018.

http://www.radioart106fm.net/

https://www.meiraasher.net/

1. Abraham Chavelas – Babel AM-FM
2. Danger Debbs – World of dreams – Dead mutants
3. Amina Abbas Nazari – A Voice for Radio
4. devilsclub – electrochemical_love_affair
5. Jamie Wilson – Sound Walk
6. Blake Degraw – Diler (from Electronic Duodecet for Humans)

1. Abraham Chavelas – Babel AM-FM

For sound, migration policies are nothing. The propagation of electromagnetic waves freely radiates around the planet (and beyond). This piece for Transmedia Borders Project is inspired in the mythology of the Tower of Babel, the origin of tongues and the dispersion of man throughout the earth.

The radio is not only a means of information or entertainment; it allows men and women to recognize themselves in music and voices. The radio joins them in the process of adaptation in a new city or country, work, in waiting, on the road.

Broadcaster/Sound Artist/Event Producer. He has been coordinator and producer of artistic and cultural events since 1999: Music festivals, exhibitions, performances, etc.
His pieces of sound art have been activated live and exhibited in places like Bargehouse / Oxo Tower in London, The Mexican Cultural Institute of New York, Chilango-Andaluz International Recital in Spain, Casa del Lago, Laboratorio Arte Alameda, University Museum of Contemporary Art (MUAC) Mexico City, among others.
He is the founder of the initiative called Más Música Menos Balas, that proposes to promote art and culture as influencers of social transformation.

https://soundcloud.com/abrahamchavelas

2. Danger Debbs – World of dreams; Dead mutants

3. Amina Abbas Nazari and Jacob McGuinn – A Voice for Radio

An ongoing collaboration between Amina Abbas-Nazari and Jacob McGuinn. By understanding voice as ‘material’, shaped and sculpted, both by the body and by technology: we are exploring how do we measure a ‘voice’ as a ‘sound’, or the point at which a ‘sound’ is recognisably a ‘voice’? We utilize radio as a medium to tell stories and share ideas sonically, aiming to contend with the ocularcentric forms we primarily use to interpret the world around us.

Amina Abbas-Nazari is a Research Fellow at the Royal College of Art and RCA MA Design Interactions graduate. She utilises voice as a medium and investigates where speech meets sound to blur these boundaries and exploit vocal potential to tell stories of alternate realities.

http://www.aminanazari.com

Jacob McGuinn wrote his PhD thesis at Queen Mary on aesthetics and poetry, focusing on the reappraisal of Kant in late-twentieth century politics, literary theory and philosophy. He’s currently working on the links between poetic, political, and philosophical accounts of ‘voice’ in poetry. He teaches at the University of London.
jacob.mcguinn@gmail.com

4. devilsclub – electrochemical love affair

An improvised, arrhythmic, electronic piece made with equipment that harnesses chaos for the purpose of modulation. This piece is a selection from a series of works entitled “crackling pots and liberty bells” This piece was live patched with no overdubs straight to 2 track. “electrochemical love affair” attempts to make an audio depiction of a battle between unpredictable, intentional events that make tiny depressions in our realities. A dance between the chemicals in the mind / body, electricity blasting through the flesh and the physics that we swim in for a living for a short while.

“devilsclub” is my vehicle for transmitting expressions of deeply felt emotions that defy words, and or the intensely absurd. Usually these transmissions are made live to 2 track with no overdubs. I am yet another humble participant in the renaissance of free speech and content that the Internet has made possible. As we rapidly approach the “end of employment” due to the maturing of the “Universal Machine” I have chosen to celebrate this odd time with a few odd sounds. The odder, the better.

https://archive.org/details/@devilsclub

5. Jamie Wilson – Sound Walk

I was lucky enough to be invited on a week long field recording workshop run by Jana Winderen and Mike Harding. We were taken up north to Kyle of Lochalsh for a few days to do some recording and, at the end, to produce a two hour long radio show featuring our own field recording pieces. I sat alone drinking whisky in the comfort of the lodge. It was 3am, the day before we were due to leave. I grabbed the portable recorder and wandered out into the darkness…

6. Blake Degraw – Diler (from Electronic Duodecet for Humans)

Electronic Duodecet for Humans is a four-movement recording experiment conceptualized, executed, and recorded by Blake DeGraw. It explores reaction as a generative device. Each movement contains twelve overdubbed layers of the performer listening and reacting to aural stimuli that only he can hear (through headphones). The nature of the performer’s interactions with these stimuli changes with each four movements, ranging from harmonization to gestural imitation to direct mimicry.

Blake DeGraw is a composer, performer, bandleader, and sound-installation artist currently residing in Seattle, WA. He studied euphonium performance at the Las Vegas Academy of Performing Arts, and currently studies modern composition at Cornish College of the Arts. He is the director and conductor of FHTAGN, an experimental chamber ensemble that focuses on extremes in spatial dispersion, as well as indeterminacy operations, free improvisation, and alternative forms of conduction within those extremes. DeGraw is also the co-founder of Plancklength, a sound-art collective that explores interactive sound production through installation work and instrument creation.

Blakedegraw.bandcamp.com
Soundcloud.com/blake-degraw

‘one-and-the-same’ by Ben Skea is an experimental sound and voice response to the notion of extended cognition – an atmospheric transmission that places the listener within a fictitious post-human setting where there are no boundaries between the organism and the artefact. Inspired by the behavioural and evolutionary science paper ‘Extended spider cognition’ (Japyassú & Laland 2017), spoken word and environmental recordings have been significantly re-shaped by means of editing then expanded further with improvised music segues performed using digital synths. This eerie solo piece attempts to question the very nature of cognition and at the same time explores the uncanny properties of technology itself.

Edit / Foley / Poem / Synth: Ben Skea
Voice: David Mccallion & Zoë Christina
Thanks to: Colin Maclean & Graeme Smyth

Ben Skea is an artist living and working in Glasgow. His moving image, sound and sculpture often reflects on contemporary anxieties of the body in flux, the fragmented self and the fluidity of realities. Recent projects have focused on the intersection between the human condition and the digital.

benskea.com

From a house in the suburbs, Yamachan continue to dismantle their audio histories in a game of sound consequences. Field recordings, audio experiments and musical demos, made separately by the pair, are broken apart and merged together to create a collaborative soundscape symbolic of their relationship.

Yamachan are an artist duo from London.
Yamachan is also a heart shaped cake made from yams found on the street.

https://soundcloud.com/yamachantapes
https://yamachan.bandcamp.com/