The Radio Graveyard is open from Midnight until 6AM. Come in. Find an open coffin. Make your self comfortable. What you hear, may not be real. Graveyard Radio sound has wormy acoustics. Technically, it’s not even sound. Your host is Dai Coelacanth. An outsider. An alphabet man. A Rat baby. You may have heard him on Radio-On (Berlin) or seen some of his short films when they have played the dungeons of England , Germany and Russia. Perhaps he sent you a postcard. You are welcome to send him one. If you can find him.

Gavin Fort is an award winning sound recordist and engineer/producer. He has been working professionally with musicians, artists and actors both in the recording studio and on location since 2004. After graduating with a 1st class honours degree in Popular Music from Edinburgh Napier University, Gavin worked in a professional recording studio from 2004 until its closure in 2015. During that time he went on to complete an MSc in Sound Design from The University of Edinburgh and became a Certified User of Avid Pro Tools. He has worked on a wide range of audio projects from punk albums to instructional horse riding audio books to interactive multi-media hospitality training platforms.

Unfolding through a series of enigmatic tableaux, told through the artist’s poetry, voice, field recordings and improvised score, The Beast takes the listener on a dreamlike journey through myth, collective memory and fable, to a place where dark undercurrents linking The City of London, the West African coast, muck, gold and Frantz Fanon’s anti-colonial classic, The Wretched of the Earth, coincide.

Esi Eshun’s work encompasses poetry, performance and music making and has been presented across a number of platforms including Norway’s 2018 Radio Space Borealis Festival, Resonance FM and Wave Farm FM, and at live venues including Iklectik, New River Studios and The Intimate Space.

1. Leah Reid – Sk(etch)
2. Sonic Bothy – Duo 1
3. Galo Durán – Tokyo soundscape
4. Lise Olsen – Visitant
5. Expose Your Eyes – Reverse Portal
6. Martin Back – Kitchen Sink Music
7. Subespai – We were not the intended recipients of this message
8. Archivosonoro – Don-Renato-Lata-77

1. Leah Reid -Sk(etch)

An acousmatic work that explores sounds, gestures, textures, and timbres associated with the creative process of sketching, drawing, writing, and composing.
Leah Reid is a composer of acoustic and electroacoustic music. Her primary research interests involve the perception, modeling, and compositional applications of timbre. In her works, timbre acts as a catalyst for exploring new soundscapes, time, space, perception, and color. Her compositions have been presented at festivals and conferences throughout the world, including BEAST FEaST, EviMus, ICMC, IRCAM’s ManiFeste, SEAMUS, Série de Música de Câmara, SMC, and WOCMAT, among many others. Reid received her D.M.A. in music composition from Stanford University. Reid is currently an Assistant Professor at the University of Virginia.

http://www.leahreidmusic.com

2. Sonic Bothy – Duo 1

Sonic Bothy Ensemble’s debut album, Fields, launches in February 2019, featuring pieces recorded after a year of creating new work and performances. Tracks explore improvisation and experimental music and instruments, constantly moving into new territory.

Sonic Bothy is an inclusive new music ensemble, based in Glasgow, that explores, composes and performs experimental and contemporary music. The group is made up of musicians with additional support needs and experienced musicians who practice in Glasgow’s new music scene. Formed in May 2012, the ensemble was the first inclusive new music ensemble to play and be programmed at many of Scotland’s new music festivals, such as; GIOfest, Sound Festival and Counterflows.

http://www.sonicbothy.co.uk

3.) Galo Durán – Tokyo Soundscape

This soundscape was created in 2015 , all sounds were recorded by Galo Durán in Tokyo , Japan.

Galo Durán is an independent musician, based in Mexico city. Since 2002 makes music for films projects.
2010-Artistic residence in Buenos Aires, Argentina.
2011- Soundscape of Jamma el Fna, Marrakech, Moroco.
He has also participated in the International Film Festival in buenosaires Argentina BAFICI 2010 and in the international film festival Rotterdam IFFR 2012 Netherlands.
2013-Nomination to an Ariel prize – original music
2015-performances in Tokyo, KYoto and Wakayama Japan
2017- performances in Bangkok, Thailand, and ho chi minh city, Vietnam
2018 – performances for second time in Tokyo and Kyoto , Japan.

4.) Lise Olsen – Visitant

An unknown visitor explores The Picture Gallery at Hospitalfield House in Arbroath, Scotland. The sound captures the spectral trace of the visitor as they interact with the objects they found. The Gallery’s Hammer-beam roof provided an unusual acoustic space allowing sounds from the past to linger in the present. This sound experiment was developed at the Hospitalfield Graduate Residency in 2018. Lise recorded the sound using the Zoom H3 VR microphone.

Lise Olsen is a responsive artist. By embracing uncertainty, she records sound and collects stories, in-between a sphere of space and the sonic. Her practice uses field-recordings to create fragmented realities and explore immersive sound experiences. She experiments with different forms of awareness and interprets sound as a sonic identifier of place. Lise is a Ph.D. Candidature at the University of Aberdeen. Her research questions the perception of in-between experiences found within immersive soundscapes. She enjoys collaborating with others to co-producing work.

https://liseolsengenerates.com

5. Expose Your Eyes – Reverse Portal

Paul Harrison – been playing around with noises since the mid-1980s since I started making my own experimental films & creating soundtracks – decided that the noises themselves created their own images so focussed more on just the sounds from about 1988/89 onwards.
I started the project EXPOSE YOUR EYES sometime in the early 1990s – mostly solo, but also working with lots of other people from time to time – see Soundcloud for list of people: https://soundcloud.com/xemporium

Loads of E.Y.E releases (tape, CDR, occasionally on CD or vinyl) on loads of different labels – and I also started my own label, Fiend Recordings, in the early/mid-1990s – to release my own sounds (mostly as E.YE., sometimes using my own name or occasionally a different ‘project’ name) & sounds by others that I liked. I was also collaborating with a lot of other people in the 90s – including the noise band Smell & Quim. When I met my partner Candi Nook (see the Susan Lawly compilation ‘Extreme Music From Women’) – she started to help me run Fiend and we were both in Smell & Quim during the mid to late 90s era. See the Bandcamp for some of the people I collaborated with (Nocturnal Emissions, Lasse Marhaug, Thirdorgan, Government Alpha etc.) and some of the other people who appeared on Fiend Recordings releases: https://xemporium.bandcamp.com/

By the mid-2000s I was a bit burnt out & then also needing to focus on family things, so didn’t do anything for almost a decade musicwise – but since I’ve started up again (in about 2013) I have been enjoying putting out LOADS of sounds using lots of different names – others include Warland Drain, Paradox Encounter Group, Chapman – and more recently David Harrison, Obstacle My Arms & Egone.

https://xemporium.bandcamp.com/album/thorn-arch

6. Martin Back – kitchen sink music

A fixed media work that explores a domestic activity as purposeful sonic performance and presented as a type of field recording.

Martin Back is a composer, performer, media artist and educator. Much of his current work is focused in generative and drone music, field recording, and video works exploring extreme states of visual perception. His works have been shown, auditioned and performed in traditional and unorthodox venues internationally. He is currently Senior Lecturer of New Media Art at the College of Visual Arts and Design at the University of North Texas in Denton, TX, USA where he lives and works.

7. Subespai – We were not the intended recipients of this message

Unlike contemporary media, radio receivers and transmissions accommodate for mistakes and imperfection as part of the regular experience. This design flaw led to accidents; often, happy accidents; less frequently, these accidents were not so happy, and we’d stumble upon something that wasn’t for us, something potentially dangerous, hinting an alternate reality we had never considered…

This track aims to recreate the path down to a not so happy radio accident. When broadcasted on the real radio, I hope this collage urges the listener to adjust the dial, grasping their attention, falling prey of the trap laid by these ghostly transmissions.

Subespai is the solo project of Mauri Edo, a Sydney musician born in Barcelona. Walking the line between ambient, noise and drone music, Subespai paints experimental soundscapes by mixing acoustic and electronic audio sources with effect pedals, field recordings and other gadgets. Ranging from peaceful to dark and troubled, but always intense, the resulting pieces work as soundtracks for contemplative movie scenes yet to be written; blending in with the environment, challenging the listener to embark on a journey of introspection and feeling.

https://subespai.net/

8. Archivosonoro – Don-Renato-Lata-77

We are Archivosonoro (Soundarchive) from Chiapas, Mexico. The team are
Gabriela Guadalupe Barrios García and Carlos Emilio Ruiz Llaven. Las latas de Don Renato (Don Renato’s Thin Cans), is about short stories (1 minute long) tell told only with sounds, no talk, no spoken word in any language. Don Renato (fictional character) is an old man who likes to collect sounds and keep in cans… so share with us your collection with many many cans.

http://www.archivosonoro.org

Made for the occasion of Karl Marx’s 200th birthday, ‘work & The Work’ is a radio piece about musical labour. A mobile app was developed which, when activated, captures two seconds of live environmental sound every minute. An ensemble of musicians was tasked with activating this app during a week’s worth of work – i.e. during rehearsals, private music practice, work-related administrative tasks, any physical exercise or activity necessary to maintain musicians’ health, etc. These re-composed ‘soundshots’ counterpoint the musicians’ reflections on the nature of music as labour and as commodity. The soprano abstained from participating, citing privacy concerns.

Celeste Oram is a composer from Aotearoa New Zealand whose works launch performers and audiences into scenarios confronting sonic and social histories, utopias, and quotidia. Her performances encompass instrumental writing, song & speech, electronics, visual media, theatre, radio and improvisation. An ongoing activity revolves around Vera Wyse Munro (1897-1966), a pioneering amateur radio operator and experimental violinist, including the reconstruction of her early-20thC radio equipment and the re-enactment of her telematic musical broadcasts.

Silence is Coming is a long distance collaboration between Marjorie Van Halteren, who lives in Lille, France, and Brian, who lives outside Indianapolis, Indiana. They exchanged recordings over several months, shaping the piece, which Marjorie produced for her That Tuesday audio art podcast.

Marjorie Van Halteren, a long time American resident of France, is a three-time, Peabody Award winning radio producer, including for her 1982 personal poetry docudrama “Breakdown and Back,” and over a dozen original plays commissioned for WNYC’s The Radio Stage. It was her WDR commission “Roadtrip” that was shown at the Whitney in New York that eventually lead her to a life in sound art. She relocated to France and made pieces for BBC Radio 3’s Between the Ears, and directed her own play, “Present Progressive” for BBC Radio 4. She also directed Roy Nathanson’s “You’re Fool” for WNYC Radio, featuring Debbie Harry and The Jazz Passengers. Following was a three-part audio series with Helen Englehardt, on the subject of war and grieving, including her audio essay “Unquiet Graves” about her move to Flanders. In later years she has turned to performance in her adopted city of Lille, composing and performing sound for dance, with residencies at artconnexion Lille and the Ballet du Nord. She makes an electroacoustic poetry series called “Lives of the Poets” with Jeff Gburek in Poland, has performed improvisational music with him in Paris and Belgium, with Muzzix at La Malterie, and in other venues. She teaches “The Nature of Sound” in the Musiques et Technologies program at ISEN (an electrical engineering school). She was awarded the Norman Corwin Award for Audio Excellence at the 2018 Hear Now Festival in Kansas City, and is the producer of “That Tuesday,” an occasional podcast chronicling her collaborations in sound art.

Brian Price is a writer of poetry, fiction and radio plays, which he also directs. He and his Great Northern Audio Theatre partner, Jerry Sterns ran The Mark Time Awards for many years. In 2017. they won an APA Audie for their feature-length drama, IN THE EMBERS, and were awarded the Norman Corwin Award for a Lifetime of Excellence in Audio Theatre. Brian’s play, THE OLD CART WRANGLER’S SAGA, is performed by David Ossman, of The Firesign Theater, was nominated for an Audio this year in the original category, and is available on downpour.com. http://www.greatnorthernaudio.com.

http://www.thattuesday.com/

Lucky is a compilation of descriptions of luck by various people known the artist. It is a work in progress.

Chloë Reid is an artist, writer and curator from Johannesburg. Her research interests include reading practices, narrative methodologies, everyday sociology and the relationship between writing and artistic practice.

chloereid.co.za

Addressing how social isolation is perhaps increasing in a paradoxically networked society whilst climate change highlights a global connection of environmental responsibility to one other, Kin’s sound installation ‘Kettle’s on’ questions our role in models that foster loneliness and disconnect. Sine waves controlled by real-time temperature data (shaped by the amount of people in the physical space surrounding the installation) explore what ‘warmth’ means; in digital, social and environmental landscapes. In the background, a choral shipping forecast lulls with slumbering tones, encoding digital social interactions, trend maps and online sentiment analysis to predict climate conditions.

Kin combines sound, video and installation to explore the social aspect of digital technology (loneliness, community, behaviour), combining sensors, software, tracking devices and drones with metaphors and imagery from the outdoor environment. Her works often incorporate a language around light to dive into issues of online surveillance, highspeed communications and digital mysticism. Recent projects have used eye-tracking and projection mapping to comment on decreasing attention spans, distraction and addiction in digital media design, and the conflation of virtual and offline spaces. Previous artist-in-residence with Cryptic (Cove Park), Can Serrat (El Bruc, Barcelona), The Auxiliary (Stockton).

http://www.cell-less.co.uk

Featuring:

Phaune Radio Tiny Tunes -Metamorphoses: Butterfly (6:00)
Chantal Francoeur – Reverberations of Convergence (0:56)
Kerrith Livengood – Clang Jingle Clang blog 60 (2:23)
David Duncan – A Highway Plan for Glasgow (7:45)
Gregory Kramer – Silent City Blizzard (22:38)
Mark Briggs – Twenty (4:30)

Phaune Radio Tiny Tunes -Metamorphoses: Butterfly

Phaune Radio is an ever-expanding world of homemade sound creations. Around here, we tickle your imagination. Around here, things that cannot be possibly taken seriously can still give food for thought. Around here, that’s up to your ears. Every month, it’s also a podcast that is produced for you and the curious waves of more than a dozen radios.

You have to want to learn to fly so much that you are willing to give up being a caterpillar.
― Trina Paulus

Somewhere at the end of a world, Phaune Radio travels in the folds of the living, where everything can arise, in search of what is not yet – but what is perhaps already there. In the amplified present of metamorphosis, we keep tracking and bending the thread of time to cross over the thresholds of these inner revolutions that give us fresh hair. Since the dawn of time – 201 million years, more precisely – the butterfly has become a master in the art of reincarnation. From the egg to the imago, our lepidoptere renounces successively at least 3 bodies before being able to take flight and get closer to the sky. Because when the voracious caterpillar has its stomach full, the butterfly, essentially, can be made up on the fly.
Tiny story of the immense life of a butterfly, almost without effect.
On this stage, everything is possible.

https://phauneradio.com/

Chantal Francoeur – Reverberations of Convergence

Fever pitch, the working environment of the multi-platform newsroom. Shaken, all journalistic authority.

Chantal Francoeur is a journalist, researcher and sound artist. She conducts ethnographic studies in newsrooms and analyses journalistic discourse to better understand convergence and its impact on the news. She then turns her findings into soundscapes. The four pieces presented here capture the inner turmoil experienced by journalists as they navigate the challenges of a new multi-platform universe, the stresses of ever-accelerating rates of production, the intrusion of a steady stream of « ready-to-wear » PR content that is all-to-easy to incorporate into their copy, and the questions surrounding journalistic freedom that the current media landscape brings sharply into focus.

Kerrith Livengood – Clang Jingle Clang blog 60

applausible: recorded samples of applauding audience, transformed in Audacity and Cubase.

Clang Jingle Clang was a project for which I created a new piece of electroacoustic music every day for a year, and posted it online.

I am a composer and performer who, between September 2010 and September 2011 created, recorded, and posted a new piece of electroacoustic music online, every day, using concert instruments toys, tools, instruments, computers, friends and anything else I could get my hands on.

https://www.clangjingleclang.com/ http://www.kerrithlivengood.com/

David Duncan – A Highway Plan for Glasgow

In the 1960s, the city of Glasgow had a plan to create a transport utopia. 100 miles of new motorways to be the envy of the world. This piece was inspired by one of the negative spaces created by the planners’ utopian dreams, using sound recordings taken under the overpass at Tradeston. A place where the few people on feet rush to get through the space while cars thunder overhead.

David is a composer and pianist, currently working at the London College of Music. He is interested in repetition and memory.

Gregory Kramer – Silent City Blizzard

Silent City Blizzard is an electronic, drone landscape piece which was recorded live. It begins with recordings of snowflakes hitting a window pane during a snow storm in New York City, and the piece evolves from there. The performance was recorded at Signs and Symbols gallery in New York City.

Gregory Kramer is a multidisciplinary artist working with sound and space. Taking inspiration from his archaeological curiosity of abandoned places and his interest in mythology, he searches for ghosts among the ruins and seeks to unearth evidence of forgotten histories through sound. He composes with field recordings, found materials, electronics, musical instruments and radio transmissions, sometimes extending his work into physical installations. He has album releases on Pharmafabrik, Monotype Series, Impulsive Habitat, SONM Archive and International Winners.

https://gregorykramer.bandcamp.com

Mark Briggs – Twenty

Twenty is akin to poking a finger at ones self, an expression of questioning ones own clarity of purpose. Rather it’s something delirious, it’s own meaning is to be naively difficult and absurd, undermining any sense of what control is actually worth when creating or writing character.

Mark Briggs is an artist based in Glasgow.

markcbriggs.tumblr.com/ 
gas-tower.com/

Migration is a necessity, both for wildlife and humans. Ecological processes operate in cycles and are the stimulus for migration. War, famine and destitution mean people must move in order to survive. Despite the necessity for migration there is a contrast in perceptions between the wonder of a “natural” animal migration and that of people. In the UK, immigration is deeply politicised and used to deflect away from the shortcomings of an inept Tory government and to progress a right-wing, white-supremacist agenda. A disassociation between people and the environment and differing perceptions of occurrences which exist in parallel are the focus of this new piece.

Louise Wilson graduated from the University of Glasgow with an MRes in Ecology and Environmental Biology in 2017, and is now working towards a PhD in Marine Science at the University of Auckland’s Leigh Marine Lab. Her research investigates the impacts of anthropogenic noise on coastal marine life, looking at changes in the soundscape across space and time and how these disruptions can mask communication between members of a species, cloud out habitat cues, and disrupt ecosystem processes. She is interested and keen to engage with those similarly interested in the role of sound art and field recording for reconnecting human societies with ecological processes.

http://www.liminal.co.nf.

A. Whyte is an artist from Glasgow who predominantly works in sound and sculptural installations, but is constantly experimenting with new media. Interested in the beauty of the everyday whilst reflecting the anxieties of this noxious epoch, his work considers what influences modern societies, how views are manipulated, the spaces we inhabit and how we interact with our environment.

awhyteartist.wordpress.com

Commissioned by Radiophrenia with the support of Creative Scotland.

1. Vincent Eoppolo – enso
2. Adam Pierce – The Season’s Burial Mound
3. Archivosonoro – Don-Renato-Lata-24
4. Aman Sandhu – Portrait Story
5. Chapman & Warland Drain – Hack Job
6. Clemens Von Reusner – Soundwalk_Basel
7. Galo Durán – Cambodia Love Song

1. Vincent Eoppolo – enso

This work explores the Zen concept of the Beginners Mind. 2 track fixed media acousmatic music composition realized in 2018. Created using various techniques and technologies such as analogue modular, FM and granular synthesis as well as field recordings. Recorded in my studio Eclisse.

My compositions are a synthesis of various sound art traditions such as musique concrete, acousmatic music, electro-acoustic music and radio art. My works have been presented at the New York City Electro-Acoustic Music Festival, the Bushwick Open Studio Festival in Brooklyn and at Utopie Sonore in Torcé-en-Vallée, France. Several compositions have been featured on Bernard Clarke’s radio program Nova on RTE’s Lyric FM in Ireland, on the Radiophrenia program in Glasgow, Scotland. Phaune Radio from Montpellier, France as well as Radio Art International and Passport International on CHOQ Radio in Montreal, Canada. Additionally, my work has been included in Stephane Marin’s Espaces Sonores release “North American PhoNographic Mornings”.

https://soundcloud.com/societys-realization

2. Adam Pierce – The Season’s Burial Mound

Derived from the poem ‘The Season’s Burial Mound’. Composed primarily of voice, guitar, and tape this audio interpretation of the written word seeks to merge both mediums and part with the conventional understanding of recorded sound and print.

Adam Pierce is the founder of Nary Press (small edition tapes, cdr, other media) through which he is constantly pursuing the possibilities of sound in the everyday, pushing the boundaries of recorded audio and conventional “music.” The music concrète he composes is made up entirely from “sounds” he has created, only sampling himself and his environment. Pierce has been recording and releasing experimental music of this nature for over fifteen years, beginning with projects Black Seal and Mother Whale. Adam’s music has been played/performed in various contexts, and has been released in France as well as in the U.S.

https://adampierce.bandcamp.com/
https://soundcloud.com/narypress
https://wohlfeilpierce.bandcamp.com/

3. Archivosonoro – Don-Renato-Lata-24

We are Archivosonoro (Soundarchive) from Chiapas, Mexico. The team are
Gabriela Guadalupe Barrios García and Carlos Emilio Ruiz Llaven. Las latas de Don Renato (Don Renato’s Thin Cans), is about short stories (1 minute long) tell told only with sounds, no talk, no spoken word in any language. Don Renato (fictional character) is an old man who likes to collect sounds and keep in cans… so share with us your collection with many many cans.

http://www.archivosonoro.org

4. Aman Sandhu – Portrait Story

An unrehearsed improvised re-telling. A story about a passport photo, told by the passport holder. A forced smile and an ill-fitted jacket open the radical potential of fooling the biometrics now.

Aman Sandhu is an artist currently based in Glasgow. His practice includes sculpture, drawing and performance and seeks to use improvisational strategies as a catalyst for the unearthing of third-space, collaged histories. Sandhu studied at Glasgow School of Art and Kunstakademie Düsseldorf (Klasse Rita McBride). Sandhu often works in collaboration with artist and curator, Swapnaa Tamhane under the title, August Fröhls. He has exhibited at Celine Gallery, Glasgow; Gardiner Museum, Toronto; Younger than Beyoncé Gallery, Toronto; FOCUS Photography Festival, Mumbai; and presentations of his pedagogical project, ELEFANT at Museum Abteiberg, Mönchengladbach.

http://www.amansandhu.net

5. Chapman & Warland Drain- Hack Job

Paul Harrison – been playing around with noises since the mid-1980s since I started making my own experimental films & creating soundtracks – decided that the noises themselves created their own images so focussed more on just the sounds from about 1988/89 onwards.
I started the project EXPOSE YOUR EYES sometime in the early 1990s – mostly solo, but also working with lots of other people from time to time – see Soundcloud for list of people: https://soundcloud.com/xemporium
Loads of E.Y.E releases (tape, CDR, occasionally on CD or vinyl) on loads of different labels – and I also started my own label, Fiend Recordings, in the early/mid-1990s – to release my own sounds (mostly as E.YE., sometimes using my own name or occasionally a different ‘project’ name) & sounds by others that I liked. I was also collaborating with a lot of other people in the 90s – including the noise band Smell & Quim. When I met my partner Candi Nook (see the Susan Lawly compilation ‘Extreme Music From Women’) – she started to help me run Fiend and we were both in Smell & Quim during the mid to late 90s era. See the Bandcamp for some of the people I collaborated with (Nocturnal Emissions, Lasse Marhaug, Thirdorgan, Government Alpha etc.) and some of the other people who appeared on Fiend Recordings releases: https://xemporium.bandcamp.com/
By the mid-2000s I was a bit burnt out & then also needing to focus on family things, so didn’t do anything for almost a decade musicwise – but since I’ve started up again (in about 2013) I have been enjoying putting out LOADS of sounds using lots of different names – others include Warland Drain, Paradox Encounter Group, Chapman – and more recently David Harrison, Obstacle My Arms & Egone.

6. Clemens Von Reusner – Soundwalk_Basel

An uncut dummyhead recording of a soundwalk in Basel (Switzerland). The path begins in Güterstrasse, a rather quiet area with residential buildings close to the roadside. Children are playing, conversations of passers-by, a tram, music from a car, cobblestones, church bells. Sometimes footsteps, rustle of clothes, bird sounds. A roaring car comes very close . . .
Violin sounds. Shopping carts at the parking lot of a mall – a coaster falls to the floor. Wind. The high singing of the brakes of a tram in the distance. We reach the cemetery Wolfgottesacker in the middle of the city. . .

Clemens von Reusner (b. 1957) is a composer and sound artist based in Germany, whose work is focused on electroacoustic music. He studied musicology and music-education – drums with Abbey Rader and Peter Giger. At the end of the 1980s development of the music software KANDINSKY MUSIC PAINTER. He has been commissioned to compose works for radio and his compositions have received numerous international broadcasts and performances in Americas, Asia, Europe. Invitations to ISCM World New Music Days 2011, Zagreb , Croatia, and ISCM World New Music Days 2017, Vancouver, Canada.

website: http://www.cvr-net.de

7. Galo Durán – Cambodia Love Song

This soundscape was created in 2017 , all sounds were recorded by Galo Durán in siem reap, Cambodia.

Galo Durán is an independent musician, based in Mexico city. Since 2002 makes music for films projects.
2010-Artistic residence in Buenos Aires, Argentina.
2011- Soundscape of Jamma el Fna, Marrakech, Moroco.
He has also participated in the International Film Festival in buenosaires Argentina BAFICI 2010 and in the international film festival Rotterdam IFFR 2012 Netherlands.
2013-Nomination to an Ariel prize – original music
2015-performances in Tokyo, Kioto and Wakayama Japan
2017- performances in Bangkok, Thailand, and ho chi minh city, Vietnam
2018 – performances for second time in Tokyo and kioto , japan.

This work for radio brings together sounds, conversations, words and ideas that emerged from the Sonic Cyberfeminisms residency at Wysing Arts Centre in September 2018. Exploring resonances and tensions in ideas of technology, gender and the sonic, Sonic Cyberfeminisms @ Wysing is a multi-vocal introduction to the evolving Sonic Cyberfeminisms project. It was created by Annie Goh, Marie Thompson, Robin Buckley, Marlo De Lara, Jane Frances Dunlop, Natalie Hyacinth, Miranda Iossifidis, Louise Lawlor, Frances Morgan and Shanti Suki Osman.

Sonic Cyberfeminisms is an ongoing project by a collective of artists, musicians and writers, which draws upon intersectional feminist praxis and the legacies of cyberfeminism. The project aims to foreground agendas of social justice in the domains of sound, gender and technology and, in doing so, develop critical cultural work through listening events, publications, conferences and workshops. The project was initiated by Annie Goh and Marie Thompson.

cargocollective.com/soniccyberfeminisms

Stone Quarry (2018)

Field recordings of Collace Quarry along with contact mic recordings of dormant Neolithic stones in the surrounding landscape. This soundscape explores the displacement of stone in Collace’s landscape through the use of time, space and sound. The quarrying of stone is evident in the landscape with the manufactured and natural migration of stone – from Bandirran Wood’s stone circles to the Dunsinane hill fort. Historically these sites have been represented as silent. This work is a living documentation and representation of the un-heard and un-explored acoustics of the landscapes and their voices.

Dightyburn (2016)

The Dighty is an energetic body of water with a highly diverse green space, hidden amongst Dundee’s housing estates and natural reserves. Along its 15 mile banks we encounter the low rolling hills of the Sidlaws the outskirts of the city, modern industry and the return to nature, ending with the North sea.

This work can be listened to in any location; the home, a gallery space or in nature. Free listening allows all to access the work without limitations of finances or physicality. Listeners are encouraged to create their own score of the Dighty by walking along its banks and engaging in deep listening creating a real time physical score, personal to the individual.

Millar’s practice explores environment and space through the lens of contemporary society, moving beyond traditional representations of landscapes. In a genre that is often male dominated, Millar focuses on female perceptions of both urban and rural landscapes. Her work explores the physical and imaginary body and its relation to space and sound. By working with pre fabricated industrial materials, as well as captured and live sounds, her work moves away from the idea of craft creating intermedia installations that translate exterior landscapes into alternate spaces.

https://kirstenmillar.cargocollective.com
https://soundcloud.com/kirsten-millar

In March 2018, Sound Artist Ed Sanders collaborated with participants from Scottish artist residency Mhor Farr to perform ‘Social Instruments’. A collaborative and evolving work focused on the ideas of social attitudes towards group performance and multiplayer instrument building. The piece put performers in close contact as they explored joint composition and intimate performance techniques. The most recent iteration of ‘Social Instruments’ occurred at Nottingham based arts and music space The Florist, in February 2019. It took it’s form in the shape of a workshop focusing on the sharing of collective knowledge as a vocal tradition through the building of multiplayer clay whistles. The recording you are about to hear is combination of the both ‘Social Instruments’ manifestations.

Ed Sanders is a midlands based Sound Artist working with folk traditions, environmentalism, minimalism and performance. In his recent work he has created an extensive sound map of the River Derwent resulting in radio works, performance, online archives and group workshops. In his current work he explores the ideas behind attitudes towards social performance and composition. Utilising multiplayer instruments he creates intimate performance situations, looking at social psychology through group performance.

Having purple eyes is a true story, captured through interactions in the legal system. Based on scattered memories of human interactions in courts, police stations, waiting rooms, and notes collected by Diana Duta during her time working as an interpreter.
The first half of the show is a live recording of the piece performed at Rollaversion Gallery in London, which is then remixed in the second half by Drunkard.The live performance is entirely improvised and tells a story arranged differently each time.
Music composed live by MatthieuLevet.With the voices of Liberty Baverstock, Paul Haworth and Alice Pamuk.

Diana Duta is an artist living in Brussels. She works with written or spoken text (found, overheard, cut-up, stolen), in a way which makes it speak about underlying emotional and political structures, through performance, sound compositions and writing.

MatthieuLevet works with electronic music, mainly through performative and sonic interventions.He has recently released his LP ‘Let’s go there’ on Cold Moss. Apart from his solo project Carrageenan, he is also active in the groups Carcass Identity, Pizza Noise Mafia and Vermisst Susi.
Drunkard is an experimental muzak duo consisting of artists Henning Lundkvist and Tomas Rydin.

http://dianaduta.com/index.php/interpretinglog/iii-having-purple-eyes/

https://carrageenan.bandcamp.com/
http://hatemodern.net/

This work has been mixed binaurally and is best listened to on headphones.

I was given a collection of Clarice Lispector’s short stories as a birthday present, and Daydream and Drunkenness of a Young Lady immediately stood out to me as having a very sonic feel to it; as though I could hear sounds, not words, as I was reading each page. With this adaptation of Lispector’s work I wanted to create a soundscape that had space and clarity, and that felt natural and not overly processed. Rather than presenting the listener with a complete story, my intention was to construct an aural narrative world in which the story takes place.
As a sound designer working predominantly in experimental and documentary film genres, I help artists and filmmakers deliver experiences that are emotionally impactful and meaningful. I am driven by a desire to create work that is different and unusual, challenging and unconventional, and to find and test the boundary between natural and heightened sound palettes. I also record and write everyday sounds on the Sound Castles audio blog, as well as creating soundscapes and musical compositions.

marietueje.com

Featuring:

Maria Fusco – Legend of the Necessary Dreamer 1: Legend of Bronze Bell (1:32)
Chloë Reid – She was Impaled (2:28)
Acoustic Mirror – I Am Thinking Of Your Voice (2:09)
Kerrith Livengood Clang Jingle Clang blog 5 (1:18)
Chantal Francoeur – Echos of a Journalistic Discourse (3:59)

Maria Fusco – Legend of the Necessary Dreamer 1: Legend of Bronze Bell

“a new classic of female philosophical writing” Chris Kraus

Legend of the Necessary Dreamer is an ambient novella, a multi-sensory essay, an excavation of the historic Palácio Pombal, a work of impatience and death. Maria Fusco reads the whole book, acting as an ear and a mouth, creating embodied entanglements, paying close attention.

Legend of the Necessary Dreamer is published by Vanguard

Maria Fusco is an award-winning Belfast born writer based in Glasgow, working across fiction, criticism and theory, her work is translated into ten languages. Her collection Give Up Art: Collected Critical Writings (LA/Vancouver: New Documents, 2017) has been described by James Elkins “after a book like this, most nonfiction seems curiously unaware of what writing can be.” Her latest work ECZEMA! celebrates the 70th anniversary of the NHS, commissioned by National Theatre Wales, it is published as a vinyl disc by Accidental Records. Master Rock is a repertoire for a mountain, commissioned by Artangel and BBC Radio 4, the experimental radio play has been experienced by more than 2.5 million listeners. She is a Professor at Northumbria University, previously Reader the University of Edinburgh and Director of Art Writing at Goldsmiths, University of London.

mariafusco.net

Chloë Reid – She was Impaled

A description of some of what happened in ‘REVENGE’ (2017), a film by Coralie Fargeat.

Chloë Reid is an artist, writer and curator from Johannesburg. Her research interests include reading practices, narrative methodologies, everyday sociology and the relationship between writing and artistic practice.

http://chloereid.co.za/

Acoustic Mirror – I Am Thinking Of Your Voice

While Karlheinz Brandenburg was working at the Fraunhofer Institute on perfecting the compression algorithm for what was to become the Mp3 standard, he overheard a song playing on the radio down the corridor from his office. The song was Suzanne Vega’s “Tom’s Diner”, a short a cappella song and an unlikely hit single. The song, with wide dynamic range and lots of silences, proved an adequate testing ground for perfecting the compression algorithm, and, thus, became the basis of the psychoacoustic model which informed the most popular audio format of the following two decades.

Kamen Nedev is a sound artist, flâneur, fugueur, and independent cultural producer. Since 1986 he works and tries to live in Madrid, Spain. Since 2005, under the Acoustic Mirror moniker, he has been working on a line of research in phonography, sound art, and radio art, with an emphasis on the soundscape of urban space as well as social sound production, situated listening, and militant sound investigation.

http://acousticmirror.tumblr.com

Kerrith Livengood Clang Jingle Clang blog 5

9/4/10: who loves shaker egg?: small percussion instruments selected and recorded by random process.Clang Jingle Clang was a project for which I created a new piece of electroacoustic music every day for a year, and posted it online.

I am a composer and performer who, between September 2010 and September 2011 created, recorded, and posted a new piece of electroacoustic music online, every day, using concert instruments toys, tools, instruments, computers, friends and anything else I could get my hands on.

https://www.clangjingleclang.com/ http://www.kerrithlivengood.com/

Chantal Francoeur – Echos of a Journalistic Discourse

Journalists at Radio-Canada are living througha Culture Shock. Their distinct identities as radio, TV or web-based reporters have been shattered. They are now multi-platform journalists. They walk to a different beat.

Chantal Francoeur is a journalist, researcher and sound artist. She conducts ethnographic studies in newsrooms and analyses journalistic discourse to better understand convergence and its impact on the news. She then turns her findings into soundscapes. The four pieces presented here capture the inner turmoil experienced by journalists as they navigate the challenges of a new multi-platform universe, the stresses of ever-accelerating rates of production, the intrusion of a steady stream of « ready-to-wear » PR content that is all-to-easy to incorporate into their copy, and the questions surrounding journalistic freedom that the current media landscape brings sharply into focus.

Migration is a necessity, both for wildlife and humans. Ecological processes operate in cycles and are the stimulus for migration. War, famine and destitution mean people must move in order to survive. Despite the necessity for migration there is a contrast in perceptions between the wonder of a “natural” animal migration and that of people. In the UK, immigration is deeply politicised and used to deflect away from the shortcomings of an inept Tory government and to progress a right-wing, white-supremacist agenda. A disassociation between people and the environment and differing perceptions of occurrences which exist in parallel are the focus of this new piece by A. Whyte and Louise Wilson.

Louise Wilson graduated from the University of Glasgow with an MRes in Ecology and Environmental Biology in 2017, and is now working towards a PhD in Marine Science at the University of Auckland’s Leigh Marine Lab. Her research investigates the impacts of anthropogenic noise on coastal marine life, looking at changes in the soundscape across space and time and how these disruptions can mask communication between members of a species, cloud out habitat cues, and disrupt ecosystem processes. She is interested and keen to engage with those similarly interested in the role of sound art and field recording for reconnecting human societies with ecological processes.

http://www.liminal.co.nf.

A. Whyte is an artist from Glasgow who predominantly works in sound and sculptural installations, but is constantly experimenting with new media. Interested in the beauty of the everyday whilst reflecting the anxieties of this noxious epoch, his work considers what influences modern societies, how views are manipulated, the spaces we inhabit and how we interact with our environment.

awhyteartist.wordpress.com

Commissioned by Radiophrenia with the support of Creative Scotland.

Have you ever thought one thing and said something else? What stops us from expressing the thoughts we really want to convey? Between Thought and Expression is a speech and sound collage in which six people from different generations and backgrounds, including a playwright and recovering drug user, a trans woman and former counsellor and therapist, reflect on the thoughts that have been most difficult for them to express; when they have felt most afraid to express their thoughts, the things that have helped them express their thoughts and the thoughts they are most proud of being able to express.

David Butler is Senior Lecturer in Drama and Screen Studies at the University of Manchester. His research includes the role of sound and music in drama, particularly the use of jazz in film and audio-visual style in fantasy and science fiction. He is the curator and one of the principal researchers on the Delia Derbyshire Archive and a founder member and current Chair of the educational charity Delia Derbyshire Day.

https://deliaderbyshireday.com

Phonophobia (fear of one’s own voice). Conversations on the voice, language and identity are recorded. These recordings are played back to the speakers and their reactions recorded. The piece documents a series of conversations that took place in Newcastle-upon-Tyne as part of a residency with Skimstone Arts. The conversations reveal a range of attitudes towards one’s voice, the most common being a dislike or distaste for the sound of one’s voice along with a strong sense of regional and personal identity related to dialect and accent.

James Wyness is a composer, radio artist and collagist based in the Scottish Borders.
His compositional work, based on recorded sound and electronics, is characterised by an articulation ofmusical structure through the evolution of long-form dense textures. His radio work exploresthe conceptual and social dimensions of radio, in particular ideas around sound, silence andpolitical constructions of voice and language, on how such constructions affect identity and howchannels of communication are controlled and directed. His work has been performed, exhibitedand commissioned internationally.

http://www.jameswyness.com

1. Duu Din Ka – the ultimate drier
2. Omphalopticon – Flying Proscenium Butkas
3. Vincent Eoppolo – La Civiltà Cattolica
4. Barry Burns – when my husband dreams
5. Anna Wolfe Pauly – no one

1. Duu Din Ka – the ultimate drier

This is the last track of my upcoming (first) album. It’s a song that started from a harp improvisation and finally sinking into mechanical and implacable noisy (though familiar) world. The album in my mind is mainly about the chock between the inhumane and implacable component inherent to telecommunication at high frequencies (as they are mainly used today), and how it can also become mystical or end up into rubbish yoga classes.

I am a harpist, singer, and have been composing for a few years now, based in Paris. Since the end of my PhD on solar energy, last september, I decided to fully dedicate to music mainly through composition and improvisation with other musicians. My deep inclination for theater pushes me to sound pieces with a relatively strong narrative dimension (or at least as I conceive them).

http://duudinka.com/

2. Omphalopticon – Flying Proscenium Butkas

A sound collage designed for radio as a sort of abstract cooking show for the ears, where ingredients are prepared over the first 10 minutes to be combined in the end. The first ingredients are the pulverised metallic objects which give way to layers of instrumentalists playing backwards through some inchoate gaseous texture. This drifts into an original passage of surrealist prose. The speaker then becomes fragmented in clattering reams of plaster and concrete. Finally all these ingredients collapse into a thick, rhythmic industrial soup. Bon appetit!

Omphalopticon is the lifelong recording project of Andrew Ciccone, an American multimedia artist based in London. Omphalopticon recordings are characterised by their dense layering, their persistent undermining of properties such as pitch, orientation and speed, their analogue textures and their strange humour. Since arriving in London Andrew is also a prolific live improviser, using tape machines to re-render sounds of speech and household objects along with performances on instruments such as bass clarinet and piano, in a technique he calls “recormance”, usually in collaboration with other players.

https://omphalopticon.bandcamp.com

3. Vincent Eoppolo – La Civiltà Cattolica

A sonic meditation on the modern Roman Catholic civilization. 2 track fixed media acousmatic music composition realized in 2018. Created using various techniques and technologies such as analogue modular, FM and granular synthesis as well as field recordings. Recorded in my studio Eclisse.

My compositions are a synthesis of various sound art traditions such as musique concrete, acousmatic music, electro-acoustic music and radio art. My works have been presented at the New York City Electro-Acoustic Music Festival, the Bushwick Open Studio Festival in Brooklyn and at Utopie Sonore in Torcé-en-Vallée, France. Several compositions have been featured on Bernard Clarke’s radio program Nova on RTE’s Lyric FM in Ireland, on the Radiophrenia program in Glasgow, Scotland. Phaune Radio from Montpellier, France as well as Radio Art International and Passport International on CHOQ Radio in Montreal, Canada. Additionally, my work has been included in Stephane Marin’s Espaces Sonores release “North American PhoNographic Mornings”.

https://soundcloud.com/societys-realization

4. Barry Burns – when my husband dreams

Found reel to reel tape.

I am the co-manager of Radiophrenia and one half of Vernon & Burns.

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

5. Anna Wolfe Pauly – no one

Anna Wolfe-Pauly, or ANNA, is a multidisciplinary artist from California. WARM ANNA is both experiences and exercises focused on expanding the listening register. With a super slo-mo sensibility, Anna leads workshops and gatherings internationally that focus on deep listening,
time-based aural practices, and exploratory group sound. The core of the sonic program here is a series of exercises, Warm Ups, that display Anna’s attention to voice, to language, to listening. Unyolked from a discrete musical practice, this humble voice music is not demanding, but it commands time to unfold. Traces of phrases buckle and echo and stretch and yawn into and out of one another. The “Extreme Slow Song(s)” are experiences from a group Anna coordinated that would gather and then sing a song as slowly as possible. Their footsteps flex boards in space, and add to the expansive listening habitat.

anna.wolfe-pauly.com
softeconomy.org

Herewith_02 is an audio play adaptation of a sound/movement performance that was presented in 2018 in Studio Theatre, Central Saint Martins, London, titled Herewith_01.

Exploring childhood traumas, social and behavioral norms, family dynamics, miscommunication and misunderstanding through a sonic space that includes audio autobiography, poetry and field recordings, this piece was initially devised as a physical process towards healing. And it failed massively. Now this failure has transformed into an audio narrative comprised by the initial soundtrack along with newly composed pieces, as a final attempt to approach emotional communication.

Georgia Pazarloglou is a musician, musicologist and sound designer from Thessaloniki, Greece. Holding a MA in Music Studies (2014, AUTH) and a MA in Performance Design and Practice (2018, CSM/UAL), she is currently exploring sound as a medium to address issues of migration, social politics, patriarchy and mental health through composition, poetry, autobiography and oral history. She works within the realms of field recording, music improvisation and experimental music and advocates a socially engaged, democratic art.

georgiapaza.com

Advice about finding yourself in social space “How to control your ears” and “How to control how you seem”, plus a sample conversation and a chat about our difficulties in communicating interspersed with fieldwork recordings, such as city soundscapes and John Cage on top of a pop-up ad, remixed Purcell and stock film sound effects.

Miranda Stuart and Nastja No are a collaborative duo embodied as Agony Press, a multifaceted publishing consultancy. Both holding academic degrees (english literature and social anthropology respectively), they recently completed more fun vocational training at the Glasgow School of Art, now practicing as artists and designers. Their practices include research, text, events and making moving image; exploring themes of the body and the social. Having spoken about starting an Agony podcast, this is the perfect moment to realise our aural fantasies.

softagony.net
https://www.instagram.com/agonypress/

Soup, Soup, Soup!!! consists of improvisations, conversations and uintended noises recorded during and around “Soup, Zuppa”, a monthly event for free improvisation at The Old Hairdresser. The audio collage mixed and edited by Nuno Mendoza was formed of recorded broadcasts done during the night, as well as two short improvisations recorded at The Audio Lounge Maryhill, which were later dubbed by Evgeny Orlov.

Soup, Zuppa is an event for free improvisation happening on the third thursday of each month at The Old Hairdresser Glasgow and was formed by Caroline Hussey, Nuno Mendoza and Simon Weins in 2018. The night is open for musicians and non-musicians alike to come and improvise with acoustic, electronic or self-built instruments. In the past this has included amongst other things: Self-built modular synthezisers, radio transmitters, a bike, real time telephone conversations, kazoos, the human voice, a banjo and a bin.

soupzuppa.org

Acrostics Meet is an experimental microcassette collaboration between artists Michael Ridge
and Hal McGee. An intricately constructed 60 minute lo-fi sound collage, documenting slices
of everyday life and musical endeavours from both artists. Listeners will expect to encounter:
heavy rainfall, Monotron synths, Buddhist chant box, Steim Cracklebox, ticket machine, group
improvised jam, 19th century prison crank, barking dog, wind up music box, conversations,
DVD player, canine squeaky toys and circuit bent children’s toys, cockroach hunting story and more!

Michael Ridge is a UK based sound and visual artist, active since 2006. His work often
investigates creative ways to present and deconstruct audio cassettes and vinyl records.
Other activities include running the DIY record label Quagga Curious Sounds and recordings of
experimental noise music under the name Zebra Mu.

Hal McGee is an American experimental artist and producer, active since 1981. He is widely considered as one of the most important and seminal members of the early homemade cassette musical movement in the United States.

https://michaelridge.wordpress.com/
https://soundcloud.com/mridge
https://quaggacurious.wordpress.com/

http://www.haltapes.com/
https://halmcgee.bandcamp.com/
https://www.electroniccottage.org/hal-mcgee