This episode mashes up the soundtrack of Walerian Borowczyk’s 1975 film The Beast with Arte Radio productions about pregnancy and bathing in Japan, economics documentaries by JK Galbraith, and the Fluxus-style choral work of Tomomi Adachi, Paul Lansky, Dominique Petitgand and Nobukazu Takemura.

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)

Ghazi Barakat talks about growing up under the shadow of the Palestinian struggle
and how this experience translates into his musical work.

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 to Verena Kuni and Gabi Schaffner of Radio X in Frankfurt (Main) in Germany.

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/

“Los Galpones” contains four dark and grimacing industrial-tinged drone pieces. Employing the electric guitar, the violin, springs and other found objects, Courtis creates a soundscape that is at times oppressive and dense. A reflection perhaps on the post-industrial urban landscape of his native Buenos Aires. This album should be played loud.

“Los Galpones” is the latest solo full-length release conjured up by the extremely prolific Buenos Aires-based composer Alan Courtis (aka Anla Courtis). Courtis has straddled the international noise underground and the academic-centered modern composition scenes since the early 1990’s. As a solo artist, with the Argentine experimental group Reynols, and in collaborations with Pauline Oliveros, Makoto Kawabata (Acid Mothers Temple), Lasse Marhaug, Aaron Moore (Volcano the Bear), Okkyung Lee, and Daniel Menche among others, Courtis has amassed an impressive discography.

https://fabricarecords.bandcamp.com/album/los-galpones

Various people singing in the shower.

Eo is a feminist queer artist interested in craft, memory, emotions and modalities of speech.

Eo’s art roames between the intimacy of personal relations, the detail of everyday life, music, feminism, class, queerness and art-making, among many others.

http://www.eothenstearn.com/

1. Dorota Blaszczak – Augmented Radio Listening – ARL No.2
2. Chloe Reid – Untitled
3. Adam Paroussos – Cosmophonic Fantasia Mvt. III Fractal Reprise
4. Colin Woods – Steam
5. Hilary Mullaney – Sound Card
6. Federico Dal Pozzo – TreYF
7. B. D. Owens – You Should be so Lucky: a polysemy
8. Costantino Toth aka Onirologia – Waves and Ladders

1. Dorota Blaszczak – Augmented Radio Listening – ARL No.2

An audio representation of a space of coexisting radio broadcasts, crowded with numerous radio waves. It is structured in the form of short variations on the sound of concurrent radio transmissions, as though we could perceive all the waves at the same time, with overlaps, distortions, splits, modulations, vibrations and movement. It is based on real sound streams of several Polish radio stations, broadcast on Jun 29, 2017, collected from the beginning of each hour throughout the day and played back simultaneously as a sequence of variations. The piece should be listened to on headphones as it uses binaural processing.

The module for binaural processing and movement was programmed by Glen Fraser.

Bio: Dorota Blaszczak is an audio engineer in Polish Radio Archives in Warsaw and an assistant at the Sound Engineering Department of the University of Music. She teaches Interactive Sound courses, works with sound restoration and preservation, creates interactive projects. She worked as sound designer for VR projects in Canada.

http://www.dorotablaszczak.pl

2. Chloe Reid – Untitled

Chloë Reid is a South African artist currently considering her practice through a socio-physiological framework. Positioned between sociology, biology and psychology, this term refers to the relationship between a society and the habitual physical functions of individuals within that society. She uses film, writing and audio to pare down, repeat and create rhythmical descriptions of objects and actions in an attempt to locate a kind of politics in regular intuitive performance.

http://www.chloereid.co.za

3. Adam Paroussos – Cosmohonic Fantasia Mvt. III Fractal Reprise

COSMOPHONIC FANTASIA: Mvts I-III (OST)

Cosmophonic Fantasia is predominately a musique concrète film in three movements: I Audio Field, II Bamboo Mustard and III Fractal Reprise. This piece explores the metaphysical and expressive nature of sound and inspired by Sonata form. ‘Audio Field’ uses a collection of montaged film and sound samples and ‘remixes’ them together to turn the everyday experiences of sound into a dream-like sonic experience. Mvt 2,‘Bamboo Mustard’ uses collected fragments of live performances to piece together the journey of this character – Bamboo Mustard. The final movement Fractal Reprise concludes the film, exploring the underlying structures within the natural and sound.

Adam Paroussos is an interdisciplinary sound artist and designer, just graduated from Central Saint Martins, BA Performance Design and Practice. His work is rooted in performative, collaborative and experimental approaches with sound and music. Under his Nova award-nominated alter-ego ‘Bamboo Mustard’, he performs with DIY instruments in a sound costume in the cracks and corners of London. Adam works across theatre, live art and film including composing the soundtrack for Andrea Zimmerman’s ‘Erase and Forget’ documentary and Jotdown’s physical theatre show ‘Haidar’.

soundcloud.com/bamboo-mustard

4. Colin Woods – Steam

Recordings of a toy steam engine mashed with improvised saxophone and heavily processed. This is a stereo reduction of the original 8 channel work. Created at the Electro-acoustic composition studio at Auckland university School of Music.

Colin James Woods is a freelance Sonic Practitioner based in New Zealand. His projects range from sonic art creations, live improvised electronic and acoustic works, through to compositions for conventional instruments and ensembles. He is currently a postgraduate researcher at AUT‘s Colab. Colin was born in Ireland and came to New Zealand in 2002. He was previously guitarist with Irish punk band Music for Deaf, and participant in UK/Ireland based Allotropes experimental collective. His current interests include experimental music (both composed and improvised), video, song writing and performance, and composition for conventional solo instruments and ensembles.

http://www.woods.net.nz

5. Hilary Mullaney – Sound Card

I wrote this ‘sound card’ as a gift for my partner. Sharing these sounds with him was a way for us to connect as we navigated our long distance relationship. It was written only for his ears, until now. What was meant to be a short, quirky Valentine’s Day message (without the schmaltz) turned into a detailed work using recordings made in a variety of locations including my home in Dublin city; Bull Island, a nature reserve in Dublin Bay; Plymouth, UK, and plundered sounds and voices, all of which were manipulated and sculpted into this 12 minute composition. This work explores moments together, friends, common places, memories, domesticity, whispers, flutters, hopes. This sound montage has a number of different scenes depicting our memories, not only in a literal sense, but also poetic sonic interpretations of the intangible aspects of falling in love.

Hilary Mullaney (Ph.D, MA, BA Music) is a composer based in Dublin, Ireland. She writes primarily fixed media compositions, and her practice is particularly concerned with how place is expressed in acousmatic music. Her compositions have been broadcast and performed at numerous festivals and events worldwide.

http://www.hilarymullaney.com

6. Federico Dal Pozzo – TreYF

“TReYF” is a concrete interpolation manifested during an improvisation by a Mac with Max, live didgeridoo, VLF captured in live recording and an old valve radio.

Venice (1976), electroacoustic performer and sound artist, Graduated in ”Audio Recording and Music Production” in Recording Workshop (Chillicothe,Ohio_U.S.A.) and studied in Corfu (GR) at “Summer Academy of Electroacoustic Music and Live Electronics” with Annette Vande Gorne and Theodoros Lotis.
His works are based upon concrete objects and the transfiguration and perception of the sound and audio- spatialization . He works with Max/Msp. He does Compositions for Dance and Theatre Companies , Audio-Installations and Concerts around Europe.

https://soundcloud.com/federicodalpozzo

7. B. D. Owens – You Should be so Lucky: a polysemy

you should be so lucky: a polysemy is an experimental voice composition that examines the assertion that the idiom ‘you should be so lucky’ is a polysemy (a word or phrase with multiple coexisting meanings). This work was first exhibited as part of the Tainted Luck installation in the DJCAD Masters Show, 2017.

B. D. Owens is a multi-disciplinary artist based near Helensburgh. He develops his conceptual ideas while walking and writing. Text, layered interpretation and language play are threads that run through his work. Currently, he is examining and challenging the binary doctrines of: Winners & Losers, Losing & Finding and Sameness & Difference. He is graduating with Distinction from the Art, Society & Publics MFA Programme at Duncan of Jordanstone College of Art and Design 2017.

http://www.bdowens.co.uk

8 Onirologia – Waves and Ladders

“Waves and Ladders” started with an EEG of me during sleep. The data was then translated to sound and manipulated to recreate dreams that different family members had recounted to me while I was in Italy.

“Waves and Ladders” is the 10th track off of “O”, my debut album. “O” was created with audio/visual materials that reference my immigrant experience, whether that be a home video, brainwaves, or my genome report. Contrafact, clipping, and ambience become metaphors for the desire for home.

Onirologia (b. 1995) is an Italian-American music artist from Sarasota, Florida. Their work fuses traditional Italian music, their musical background (Jazz and Rock), and Electronic in order to explore themes of immigration and queerness. They have exhibited works in Florida, Richmond, and India and have appeared in media outlets such as ART Habens and the Huffington Post.
https://onirologia.bandcamp.com/releases
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A series of radio programs By Dani Gal and Achim Lengerer. Originally commissioned by Documenta 14.

This episode: The Heavy Listener

Life between improvised music and Palestinian human rights.
With Eyal Hareuveni. Live improvisation by Michael Thieke and Dani Gal

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 manupulation
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

Syros- a Greek island- music in the squares at night– I sing an old song into a well at the Jesuit monastery- Katarina takes me to a place she finds “very mystic”- Yiannis tells me how music seeped into him as a child from the sounds and rhythms of the island as he rode on his grandfather’s donkey- the home of Rembetika (Greek Blues) legend Marcos- Leyla holds the spirit of the island inside her during dark days and wonders why Syros pulls her back every year- my singing voice improvises my memories of walking with these three.

Singer and soundscape artist Viv Corringham creates music, radio works, installations and soundwalks. Work in the last 12 months includes festivals in New York, Athens and Torino, an artist residency in Venice, and work as artist mentor in Manila and Hong Kong. She received two Composer Fellowships from McKnight Foundation, through American Composers Forum, and many other grants and awards. She has an MA Sonic Art from Middlesex University, London and is certified to teach Deep Listening by composer Pauline Oliveros. Her work has received international recognition and been presented in twenty two countries on five continents.

Starting with an imitation ofHarpo Marx’s bulbhorn, this work is a scoot through how a voice canbecome an object and how an object can become a voice. Written and presented by Maria Fusco. Production and sounddesign by Hana Walker-brown. 

Maria Fusco is a Belfast-born writer based in Glasgow, working across fiction, criticism and theory, her work is translated into ten languages. Her latest book is Legend of the Necessary Dreamer (London: Vanguard Editions, 2017) described by Chris Kraus as “a new classic of female philosophical fiction”. Master Rock, an experimental radio play and a repertoire for a mountain commissioned by Artangel and BBC Radio 4. Her solo-authored books are With A Bao A Qu Reading When Attitudes Become Form, 2013 (Los Angeles/Vancouver: New Documents, 2013), Gonda, 2012 and The Mechanical Copula, 2011 (both published Berlin/New York: Sternberg Press) and she is founder of The Happy Hypocrite, a journal for and about experimental writing. She is currently a Reader in Interdisciplinary Writing at the University of Edinburgh and was Director of Art Writing at Goldsmiths, University of London.

http://mariafusco.net
https://soundcloud.com/artangel-2/master-rock

(1) Pete Stollery – Stolen Voices
(2) The Ladywell Lout – Parade
(3) Pytchblend feat. Tony Morris – Dissolve
(4) Jamie Bolland – Fortune (water)
(5) Lin Li – Virgina Woolf’s A Haunted House

Radio performance based on Carl Sandburg’s Four Preludes to the Playthings of the
Wind, with vocalist Laura Wiens.

Gregory Whitehead is the creator of more than one hundred radio plays, essays
and acoustic adventures for the BBC, Radio France, Deutschland Radio, Australia’s
ABC, NPR and others. Often interweaving documentary and fictive materials into
playfully unresolved narratives, Whitehead’s aesthetic is distinguished by a deep
philosophical commitment to radio as a medium for poetic navigation and free
association. In his voice and text-sound works, he explores the tension between a
continuous breath/pulse and the eruption of chaotic discontinuities, as well as
exploring rhythms of linguistic entropy and decay.

gregorywhitehead.net
desperadophilosophy.net

Laura Wiens is a Pittsburgh-based vocalist and composer, most recently performing
with RML Jazz and the big band The Jazz Conspiracy, and previously at Little E’s Jazz
club heading the Laura Wiens Quartet. Laura has sung on two previous radio dramas
by Gregory Whitehead, “The Day King Hammer Fell from the Sky” and “Bring Me the
Head of Philip K Dick”, both broadcast on BBC Radio 4. She has fronted blues and funk
bands as far away as Belgrade, Serbia, and closer to home in West Virginia and
Washington DC. Her own eclectic music compositions can be found and downloaded
at http://www.purevolume.com/aurallaura

Carl Sandburg was born on January 6, 1878, in Galesburg, Illinois. He fought in the
Spanish-American War. In 1913, he moved to Chicago to work as a journalist. In 1914,
his poetry was published in Poetry magazine. His well-received free verse poetry
focused on American workers. He also collected folksongs into books and wrote a
Pulitzer Prize-winning biography about Abraham Lincoln.

Supported by Creative Scotland and Outset.

Followed by:

RADIO UNBROKEN: Songspiel for Radio Revolten
by Helen Hahmann & Gregory Whitehead

Three radio songs composed from voiced fragments of Radio Revolten
manifestos together with other recordings made in the vicinity of the
festival.

I Lover in Revolt
II The Future of Radio is Dirty
III Radio Unbroken

This particular story covers the time electronic music pioneer Delia Derbyshire spent in Cumbria in the mid-1970s. It’s one of those stories that will always remain rather ambiguous, as very little is known about this period in her life, so I have tried to reflect this in parts of the telling, and added my own theatrical interpretations to the piece. It has a foundation of two female oral history testimonies with an original sonic composition, produced to help reflect and re-tell elements of the story.

Jenn Mattinson is a freelance creative facilitator and sound artist based in Keswick, Cumbria. She has delivered a wide range of community initiatives, including oral history projects, community exhibitions and creative workshops for people living with dementia. She has produced a number of radio and sound art pieces, including a series of commissions from Octopus Collective, a sound art and new music organisation based in Barrow-in-Furness. Jenn is passionate about exploring multidisciplinary approaches to storytelling, and this if often reflected in her range of work.

Part of a series of silenced films, for the silence of nostalghia, all dialogue and non-diegetic sound has been redacted from Andrei Tarkovsky’s 1983 film Nostalghia.
The silence that survives pulls the background into focus, concentrating the attention of the ear on the sonic details of an emerging landscape, wet with the revenants of footfall, entrance and exit. The textures of optical-sound silence, reminiscent of the atmospheric leaks and spillages of radio transmission, amplify the spectral and oneiric qualities of a soundscape where apparitions of place and time seem to appear, disappear, dissolve and fragment.

Sebastiane Hegarty is an artist, writer and lecturer. His practice explores the relationship between time, place and sensation, primarily through field-recording and soundscape composition. His work has been exhibited and broadcast across the UK and Europe: It’s Eating You, (IMT Gallery, London, 2015), and Heliocemtra, (Museum Punta della Dogana, Venice, 2016). In 2015 he curated the multidisciplinary conference, Chalk: time, sense landscape. More recently he contributed to the Sound of Memory symposium at Goldsmiths, London (2017). Published through Impulsive Habitat, Gruenrekorder and Very Quiet Records, works for radio include, It’s Just Where I Put My Words, (BBC Radio 3, 2013).

Website: sebastianehegarty.com
Blog: sebastianehegarty.wordpress.com
Soundcloud: soundcloud.com/sebastiane_hegarty

Inspired by some of the constraints that are associated with older digital technology, the idea of this performance is to work with the maximum number of audio files that can fit into the 32M memory space of my well worn but fully functioning 1999 Akai MPC2000XL sampler. At the time of it’s release nearly two decades ago, this was a quite high spec piece of kit, but now it’s tiny memory is frankly laughable in comparison with the giant digital storage capabilities of contemporary laptops and even mobile phones. 32M is just over 6 minutes of sampling time. But constraints can often be a very useful creative tool, forcing us to make concise decisions and think in an original way to get the most out of the least. For example, many of the early adopters of sampling technology had to find ways to be creative within such limited scope. Beat makers like DJ Premier famously used to speed up the records they wanted to sample to fit the section they wanted to loop into the tiny memory capacity of their samplers and then slow the sample down afterwards to return it to it’s original pitch. This resulted in a unique grainy texture that has defined the sound of early hip hop productions.

I have asked a number of exciting contemporary artists and musicians who work with sound recordings to send me just over a minute of diverse sounds from their sonic archives. I haven’t given them any brief beyond this suggestion. I have worked in the past with samples – and the idea of collaging and re-contextualising sounds. It’s by no means a unique concept, but has endless possibilities. And as a community musician I often work very spontaneously to create improvised music with clients. There is an excitement in creating a framework in community music which is both easy to enter and enabling for the participants, but at the same time full of the possibility of what on earth might happen next. I see these two strands of my work colliding in this idea. Here I can only work with what there is. Anything could come out of the editing, processing and re-arrangement of the sounds, making it more than just the audio sum of it’s multi-track parts.

invited collaborators:
Steve Urquhart – radio producer and documentary maker.
Anneke Kampman – singer/sound artist
Alfredo Bello aka DJ Tudo – DJ, musician, ethno-musicologist
Bigg Taj – beat boxer and rapper.
Martin Wheeler (Vector Lovers) – Musician/Games Designer
Zoe Katsilerou – singer/physical theatre performer.

Here we speak to Jon Panther of Eastside FM in Sydney in Australia.

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/

Inspired by the discovery of an abandoned ghost library, Lines of Reason blends atmospheric original music, traditional song sequences and extracts from thinkers including Plato and Aristotle, to convey dream-like notions of reason and unreason, linear and circular time and traditional ideas of Englishness – hinting also at contemporary crises of identity, memory and truth in culture and politics. Originally designed to be played in fugue form for a multi-channel installation, the radio version uses a simple pitch pipe and, primarily, the artist’s own voice, to build a lightly textured, haunting soundscape.

Esi Eshun has recently completed a year-long course in Experimental Sound Art taught by artist Graham Dunning. This recording, presented as part of an installation at New River Studios, London, follows on from a semi-improvised composition performed live at The Hundred Years Gallery in Hoxton.

1. Vincent Eoppolo – Poeme Albert-Birot
2. Rachel Cattle – On Air
3. Ronnie Blake – Number Station (Lillibullero Redux)
4. Garrett Tiedemann – Last Thursday (in Fragments) – Episode 2 – It was, in some ways, a total disaster
5. Tom Miller (aka Comrade Squelch) – Are You Listening
6. Vincent Eoppolo – Fragments
7. Luke Pell – Simone Kenyon A Sea View
8. Peter Hawkey – The Wotsit King
9. Minna Kallinen – Dear Neil Young

1. Vincent Eoppolo – Poeme Albert-Birot

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

2. Rachel Cattle – On Air

On Air is a sonic collage made from sound tracks taken from a series of short videos. Made in my studio, at home and in areas nearby using mainly static, durational shots of incidental objects or small creative events, the sound was at first incidental, but eventually became the overriding feature – the videos felt like field recordings and some of the outdoor shots incorporated sounds from a transistor radio. The soundscape was first transmitted live, via speakers into a gallery space and has since been made into a transparent vinyl record. Live transmission returns it back to the airwaves.

Rachel Cattle has recently finished a Contemporary Art PhD at Kingston University entitled I Am a Stylus: Play, Replay, Overdub, Broadcast. Recent events and exhibitions include The Yellow Book – 3 half hour radio programmes broadcast live on Resonance fm and Radiophrenia and A Million Lapses and Pauses, a series of events across Five Years, the ICA, London and Dorich House, Kingston – A Million Lapses and Pauses continues a radio(aktiv) broadcast in the form of recorded sound, live readings, publications and posters orbiting the publication Witch Dance – notes for radio.

https://rachelcattle.wordpress.com/

3. Ronnie Blake – Number Station (Lillibullero Redux)

Short wave Number Station signals capture people’s curiosity with their eerie sounds and unknown meaning. Some have gone to great lengths to decode the broadcasts and locate the stations. Radio, like so much media today, is being disrupted and is under stress. The notion of ‘Pirate Radio’ seems like a relic from the past in the present context.
The BBC World Service ident ‘Lillibullero’ contained many layers of meaning beyond the utilitarian. This deconstructed melody, strained text to voice bot, and SOS reflect a current condition. Yet, radio retains the power to spark the imagination and waits to be rediscovered.

My formal music lessons were on violin and at a young age I trained in Radio Broadcasting. While I was in punk, new wave and indie bands I began experimenting more with sound which led to a focus in electronic music. I composed pieces for theatre, short films and the International Mail Art Network.
I had an electronic duo called Sloth Brain that performed at Nuit Blanche Toronto in 2009, 2010, and 2013. I continue to improvise with DRONE:KLUB and Cosmic Homeostasis.
I am a DJ and produce Techno, House and experimental works as REquel and
the _protoplasm_population.

https://soundcloud.com/a_nervous_system

4. Garrett Tiedemann – Last Thursday (in Fragments) – Episode 2 – It was, in some ways, a total disaster

In 2015 Don Chambers hosted “a music and other things entertainment” each month called The Last Thursday. Each month had its own theme and governed not only the types of content, but way of presentation for the evening. These evenings lived and died in the moment with very little social media promotion or archiving.
In series 2 of The White Whale we offer snippets of these evenings; providing first glimpses beyond the nights of what went down and why their existence foregoing online permanence is important. Visit http://www.donchambersmusic.com/ for music and more.

Garrett Tiedemann is a radio producer, journalist, filmmaker and composer. He works for American Public Media covering the breadth and depth of composed music for YourClassical and Classical Minnesota Public Radio while also producing films, music videos, music and the podcast The White Whale via his production company CyNar Pictures. As a freelancer, he has lent production and compositional approaches to the podcasts Vanishing Ink, Here Be Monsters, The Organist, ARRVLS, Life of the Law, and Top Score. Additionally, he manages production and strategy for the oral history/storytelling project SisterStory.

5. Tom Miller (aka Comrade Squelch) – Are You Listening

Do you really know how to listen to the radio? Text-to-speech bots, speech-to-text bots, Internet radio scanning, news programs, shortwave drift, and an instructional tape are here to inform you. Are You Listening?, originally composed for Wave Farm radio, is a follow-up to Spectral Wars, which was selected for Radiophrenia 2016 in the Shorts category. The present mix was first broadcast on WGXC-FM in July 2017.

Tom Miller, a.k.a. Comrade Squelch, is a sonic anthropologist. He was an Artist in Residence at Wave Farm in 2017 and premiered his latest composition at Drum Castle in Aberdeenshire, Scotland. Past residencies include the American Museum of Natural History, Anchorage Museum, Bates College Theater, Ethnographic Terminalia, and Proteus Gowanus. A National Endowment for the Arts award-winning composer, he produced public radio programs for WKCR-FM and KRAB-FM. He has a B.A. in Music from Wesleyan and a Ph.D. in Anthropology from Columbia University, and has taught at NYU’s Clive Davis Institute of Recorded Music, Pratt, and the University of Iceland.

https://wavefarm.org/ta/artists/qq5fkh
https://soundcloud.com/thomas-ross-miller
https://berkeleycollege.academia.edu/ThomasMiller

6. Vincent Eoppolo

7. Luke Pell – Simone Kenyon A Sea View

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

8. Peter Hawkey – The Wotsit King

The Wotsit King is a piece composed using set notes based on Donald Trump’s most commonly tweeted words. The set notes could be played at any octave on any instrument used. The notes that had to be played were B, F, D, F#, F, A#, D#, G#, D, A#, D#, D#, E, G#, B, D#. These gave a very dystopian final piece!

Peter Hawkey is a guitarist and composer who works with many styles of music. He has written a series of one handed piano pieces, and donated them to the charities The Stroke Association and Help for Heroes, in the hope that they would be beneficial to those who do not have full use of both hands. More recently his mu

Collaborating with actor Peter Hugo Daly and Berlin-based musician Tim Eve The Solar Pessimist combines a performed spoken-word monologue with a cyclical, rhythmic soundscape.

Shifting between speculative ‘pub chat’ and philosophical diatribe, our guiding voice becomes distracted, his thoughts distorted through the joint lenses of conspiracy theory, new-agism and that of the self-righteous contemporary consumer.

Within this meandering thought-process are propositions about what best to be doing at the end of the world, how zero-gravity pornography will affect us all and… if the sun is a conscious being… what happens when he starts talking back?

John Lawrence (b.1981, UK) lives and works in Nottingham.

Mining a contemporary archive of images, footage, formats and references – and working across a wide-range of approaches incorporating large-scale video installation, sound, digital print, writing, live performance and publishing – Lawrence actively questions how we communicate ideas through the production and dissemination of cultural objects, and how mediated experiences of the world can impact on what could be described as a ‘collective psyche’.

Lawrence previously studied at the Royal Academy Schools, London, and is currently Lecturer in Fine Art at both Kingston University and the University of Lincoln.

http://www.johnlawrence.tv
http://www.afterhoursdropbox.com
http://www.ormaybe.com

(1) Rachel Cattle – On Air
(2) Vile Plumage – “Daphne and The Barron are Stranded at the Station
(3) Siobhain Ma – project sign, project grudge
(4) The Doll – King Kong Dong

Radio performance based on Carl Sandburg’s Four Preludes to the Playthings of the
Wind, with vocalist Laura Wiens.

Gregory Whitehead is the creator of more than one hundred radio plays, essays
and acoustic adventures for the BBC, Radio France, Deutschland Radio, Australia’s
ABC, NPR and others. Often interweaving documentary and fictive materials into
playfully unresolved narratives, Whitehead’s aesthetic is distinguished by a deep
philosophical commitment to radio as a medium for poetic navigation and free
association. In his voice and text-sound works, he explores the tension between a
continuous breath/pulse and the eruption of chaotic discontinuities, as well as
exploring rhythms of linguistic entropy and decay.

gregorywhitehead.net
desperadophilosophy.net

Laura Wiens is a Pittsburgh-based vocalist and composer, most recently performing
with RML Jazz and the big band The Jazz Conspiracy, and previously at Little E’s Jazz
club heading the Laura Wiens Quartet. Laura has sung on two previous radio dramas
by Gregory Whitehead, “The Day King Hammer Fell from the Sky” and “Bring Me the
Head of Philip K Dick”, both broadcast on BBC Radio 4. She has fronted blues and funk
bands as far away as Belgrade, Serbia, and closer to home in West Virginia and
Washington DC. Her own eclectic music compositions can be found and downloaded
at http://www.purevolume.com/aurallaura

Carl Sandburg was born on January 6, 1878, in Galesburg, Illinois. He fought in the
Spanish-American War. In 1913, he moved to Chicago to work as a journalist. In 1914,
his poetry was published in Poetry magazine. His well-received free verse poetry
focused on American workers. He also collected folksongs into books and wrote a
Pulitzer Prize-winning biography about Abraham Lincoln.

Supported by Creative Scotland and Outset.

Followed by:

RADIO UNBROKEN: Songspiel for Radio Revolten
by Helen Hahmann & Gregory Whitehead

Three radio songs composed from voiced fragments of Radio Revolten
manifestos together with other recordings made in the vicinity of the
festival.

I Lover in Revolt
II The Future of Radio is Dirty
III Radio Unbroken

Read it like it’s the gas bill. Get your partner or a family member to read it. Amauterism is always encouraged.

Dai Coelacanth is a self propelled outsider. A man with a saucy job. Listen to this sound. Gravy rituals. Snake hiss. Landfill electronics. Dirty and ancient. This is just a recording.

With The diluted Hours, we are plunged in the heart/body of the artists’ seismic intentionality: the symbolical and aesthetic mutation of fantastical Sci-Fi becoming the demiurge of the wreckage of our time. A prophetic announcement of the cataclysm – far from being morbid, it radiates a spectrum of imaginary possibilities for our future struggles. But where there is a danger, what can save us also grows. The dissection of our ills becomes the mirror of a new body the audience will have to build like insolent architects.

Since they met in 2001, the Magali Daniaux and Cédric Pigot’s joint work bears the dual hallmark of experimentation and performance. Their pieces bring together various media, associating elements from opposite ranges, with a taste for connections between Sci-Fi and documentary forms, high-tech engineering and fantasy tales, heavyweight materials and fleeting sensations. Starting with installations and objects, their work soon included experimental actions and more immaterial artistic gestures. Videos, sound art, music, poetry, olfactive research, virtual works bordering the digital arts have formed, over the past years, a cycle of works dealing with climate change, economic, political and geo-strategic issues, urban development and food management. They are currently working in Alaska on land art projects dealing with time, archaeology, geology and climate change.

Their work was shown in leading institutions and festivals : Terminal B, in kirkenes – Norway, in 2017, Cosmoscow, in moscow in 2017, festival acce)s(, in Pau, 2016, Musée du Jeu de Paume in Paris in 2014, Venice Biennial of Architecture in Italy in 2014, Barents Spektakel in 2013 in Norway, Ultima Festival, at Oslo Opera in 2011, Palais de Tokyo in Paris in 2011, Qui Vive International Biennial in Moscow in 2010 and Dashanzi Art Festival in Beijing in 2004

Pt 1 – One Eyed Shuffler meets The Wolverhampton Unemployment Factotum Orchestra in a Downtown Foundry

Pt2 – Idle Jack Returns to The Work Bureau (spitting brine and feathers) – from 10:58 onwards

A 30 min audio journey at walking, stumbling and snuffling pace. The Piece is seen through the trials and tribulations of a deceased welfare claimant ghoul. Channelled through the (meth) spirit network… and communicated through a fictional”in house” radio station at the Social/DSS etc… The Derelict site of this welfare place long gone/closed down since the 1980s was built on the site of an ancient burial ground of bumped off skivers/conscious objectors, the inflicted and the ergophobic. It’s told through the eyes of 1920s fella who is tipped off by a blind beggar that it’s better to dole it then work , and there in this poor sucker see the light. He then takes a journey of discovery and is in/out of many jobs for maybe a day at a time. Stuck In the cyst of slime and swimming in ectoplasm. Bouncing back and forth in vapour space-time to and fro the work bureau/DSS. Still confused about which path to bumble/walk/transcend or even copulate…

Cock and Dole: The money is shit but the hours are good…

http://mouthinfoot.net
http://soundcloud.com/mouth_in_foot
http://soundcloud.com/tony+morris
http://twitter.com/mouth_in_foot

radio continental drift celebrates the art of listening and the power of storytelling in local recordings, especially on the African continent. The “dramatic” field-recordings are presented in playlists on the Internet Archive and shared under creative commons license with the invitation to global listeners to explore and use the archived audio.

https://radiocontinentaldrift.wordpress.com

Playlist‪:‬

1. ‪radioart106fm Signature Tone ‬
2. Spigelsound Mix – ‪Women of The Great River – ‬
3. meira asher – Introduction
4. ‪Claudia Wegener‬, Knut Auferman – ‪6 June 2014 Mobile Radio I‬
5. Radio Continental Drift – ZAMBEZI WOMEN CALL OUT
6. Inge van den Kroonenberg – Virginia Phiri – AFRICAN DRUM
7. Eunice Mwinde – Banene Eunice About Bush fruits
8. Dixie Treichel – Mavis Moyo – Media women take over
9. Claudia Wegener, Knut Auferman – ‪6 June 2014 Mobile Radio II‬
10. Gael Segalen – Born Free
11. Chipata DMI women meet Radio Continental Drift
12. Sithandazile Dube – My Time
13. Antye Greie – Ruvimbos Voice, How is Europe worlds apart?
14. Spigelsound Mix – Women Of The Great River
15. ‪Claudia Wegener‬, Knut Auferman – ‪6 June 2014 Mobile Radio III‬
16. Penny Yon – Black N White
17. Under The Siachilaba Baobab
18. Esnart Mweemba – My Mums Baskets 1
19-20. Barbara N Viola – The Uses Of Baskets
21. Abbigal Muleya – Women Team-working 2
22. Penny Yon – Passing On Stories
23. Janet – Intro N Song 2
24. BassOratory – I CAN DO WHAT YOU CAN DO
25. Dinah Bird – Mavis Moyo – Miles&Miles
26. Sarah Washington – Annie Mpalume – Its Funny Truth Truth
27. Felicity V Ford — Esnart Mweemba – They don’t know about the beads
28. Valerie Vivancos – Mavis Moyo – Survival Lullaby
29. Chiwoniso – Colonized Demonized
30. Thandanani Womens Ensemble -Take Me Home

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

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/

If the people united never could be defeated why did the Susquehanna People disappear? This question that keeps me busy for a long time until Jimmy and I did one of our many videochats. He was intriqued also by the role of the Europeans in this phenomenon – the French, the Dutch, the Swedes, and the English.

After an intensive research Jimmy wrote a balanced story about the Susquehanna People while i did an interpreation of an interpretation by Frederic Rzewski who I greatly admire. The music in this project is based on 15 of the 36 variations in different forms and interpretations – with unusual combinations of instruments and music styles – from classical to electronic music – from concert hall to intimate studio. This Symphonic Poem leaves room for the imagination of the listener to create his or her own story about the Susquehanna People.
ferrie = differentieel

Program List

The Chorus
1. A Land Without People – how the river flows between the banks of wilderness

The Tree
2. Passing Through – Moving In – a people pick up and move south into the Susquehanna River valley

Empty Caravan
3. Making A Home – the grandmothers unpack traditions and raise the walls

Pots Pans and Kettles
4. Fur Traders – trouble comes from a foreign land bearing rifles and alcohol

Like Running Water
5. The Beaver Wars – when the beaver ponds empty neighbor attacks neighbor

The Workshop
6. The Silent War – disease conquers what the Iroquois could not

Lamentation
7. The Last Village – the last people left join those that will take them

Birds cannot Sing
Man in the Cave
8. How A People Disappear – empty homes, empty trails

European Deseases
9. The Land Today – the 21st Century in the Susquehanna Valley

Nothing on my Knee
10. Credits
Relax Boy

Creators
story and narrator Jimmy The Peach
music and audio processing ferrie = differentieel
original Chilean song “¡El pueblo unido jamás será vencido!” by Sergio Ortega and Quilapayún
variation on that theme “The People United Will Never Be Defeated!” by Frederic Rzewski (1975)

Jimmy The Peach – http://www.jimmythepeach.com/
ferrie = differentieel – https://ferrie.audio
Frederic Rzewski – https://en.wikipedia.org/wiki/Frederic_Rzewski
Creative Commons BY-NC-SA 4.0 INT – https://creativecommons.org/licenses/by-nc-sa/4.0/

The sound work “Millionth” was constructed simply by using a telephone and audio recording equipment. I systematically recorded individuals saying the word ‘hello’ when they first answered the telephone. I charted my telephonic journey through 227 different countries working on a ratio of 1:1000000 to condense the worlds population to just 6348 people. Each individual “hello” has then been edited into a sequence in which every country appears in descending order of population size one after the other, resulting in a 43 minute audio track.

James Chinneck was born in Hertfordshire, England in 1973. He currently lives and works in West Yorkshire, England. He studied at Leeds Metropolitan University. His most recent work Tueri Terram has been shown at Tate Britain, London (2015), and solo exhibitions include Wish You Were Here?, Leeds City Art Gallery (West Yorkshire, England, 1997); Americanenglish, Joseph Gross Gallery (Tucson, Arizona USA, 1999); Rice Fall, Sculpture Space (Utica, New York, 2000); and Trust Me I’m An Artist, Leeds Metropolitan University Gallery, (West Yorkshire, 2003).

Playing a track from each of my 33 albums over 22 years.

http://www.JanekSchaefer.com

New Album out: “Glitter In My Tears may very well be a dark horse candidate for the most prophetic album of the year” + 7 year soundscape for the new Design Museum, London
+ Half hour interview on BBC Radio 3 : https://www.youtube.com/watch?v=RcCbdAPUsNQ

Visiting Professor, Oxford Brookes – Sonic Art Research Unit
The British Composer of the Year in Sonic Art 2008 & chairman of the Jury 2013&2014
Represented by the Agency gallery, London + Lucky Dip Disco – ‘Brilliant’ [The Guardian] http://www.luckydipdisco.com/

http://www.foundsoundscape.com/
“It’s lovely Janek. I really like listening to it. Well done! I’ll link it to my friends.” [Brian Eno]