“The depth of silence” is a fiction with a scenario and characters built like a fresco of eight hours. It’s a one-month trip to India in New Delhi and the Rajasthan desert with traditional musicians. It’s a strange feeling too about the silence felt in the desert which led to the title and also some elements of fiction, including the encounter and the platonic relationship between the narrator and a young woman from the village. Between them everything goes through silence … … Nothing but silence to dream of getting closer … a union without dialogue and without acts. Welcome.
Composer of electroacoustic and instrumental music. Film director. Multimedia artist. performer. France

1st prize contest MEMM Festival 2013 – Moscow
1st prize contest of the SYNC Festival 2010 – Ekaterinburg-Russia
Special jury prize for the most innovative and technological multimedia
work of the SYNC Festival 2010 with the film “III” His research focuses on scenic devices for setting sound space and the role of the listener in musical creations. He creates sound and visual installations, performances, and ” cinema for the ear ”. Since 1995, he has composed numerous acoustic pieces in stereo and octophony, broadcast in several festivals.

https://soundcloud.com/user-392478188
https://vimeo.com/user27549695

1. Marco Dibeltulu – Lo strappo nel cielo di carta
2. Jeff Kolar – Music for Phone Booths – S.O.S. call3. Irina Giri – Islands of Our Bodies
4. Dixie Treichel – Ifrah’s Bridge
5. Paul Dibley – False Memory 2: The Actor
6. Renèe Helèna Browne – Love Song To Drake
7. Alexis Weaver – 3 Miniatures for Non-Ideal Listening Situations No. 2
8. Gary Wilkinson – CANNABIS FARMS//Sinfonietta

1. Marco Dibeltulu – Lo strappo nel cielo di carta

Inspired by Pirandello’s novel Il fu Mattia Pascal. In chapter 12 the author describes the “slash in the paper sky” as the circumstance which suddenly surprises the marionette in a puppet-theatre. The metaphor, when related to mankind, causes a reflection on the meaning of “dimension”. The average man is protected by a reality which is proportioned to his size. The soundscape represented in the piece is to be understood, in this case, as that of an inner place which suddenly changes, revealing new spaces and states of mind.

Marco Dibeltulu studied at the Conservatory of Cagliari Composition and Electronic Music (with Francesco Giomi, Sylviane Sapir and Elio Martusciello). His compositions have been selected in many competitions.

http://www.marcodibeltulu.it

2. Jeff Kolar – Music for Phone Booths – S.O.S. call

Music for Phone Booths is a multi-channel audio installation and recorded album intended to defuse the hectic atmosphere of Chicago’s City Hall and County Building. For this site-responsive work, Kolar composed original music for playback inside five vintage abandoned phone booths located underground in the Chicago Pedway. The compositions feature an 1863 S.D. & H.W. Smith pump organ and electronics. The project investigates the style, function, and format of Background Music – music created to be passively listened to. Music for Phone Booths is intended to induce calm and serve as a comfort station for daily commuters.

Jeff Kolar is an independent sound artist, radio producer, and curator working in Chicago, United States. He is the Founder and Artistic Director of Radius, an experimental radio broadcast platform established in 2009. His work, described as “speaker-shredding” (Half Letter Press), “wonderfully strange” (John Corbett), and “characteristically curious” (Marc Weidenbaum), activates sound in unconventional, temporary, and ephemeral ways using appropriation and remix as a critical practice.

http://jeffkolar.us

3. Irina Giri – Islands of Our Bodies

Islands of Our bodies is an ongoing exploration into women’s stories of their bodies. It culminated into a multimedia exhibition featured at the Photo Kathmandu Festival 2018 in Kathmandu, Nepal. Rooms of a home became elements of the stories we were telling and sound works for each space became an important part of the experience. This sound work is a weaving together of experiences we were working with. Although some spoken parts of this soundscape is in Nepali, we hope the experience will still prove to be interesting, in one way or the other.

Islands of Our Bodies is an ongoing collaboration among Keepa Maskey, a performance artist based in Nepal who also specialises in textile art, Sonam Choekyi Lama, a photographer, filmmaker and a student of Media Studies and Irina Giri, an interdisciplinary artist working with sound, text and video. All of them are based in Kathmandu, Nepal.

http://www.photoktm.com/exhibition/islands-of-our-bodies

4. Dixie Treichel – Ifrah’s Bridge

Ifrah’s Bridge is a radio art piece I created for the Radio Continental Drift project A Radio Bridge Across The Zambezi. I used excerpts from a radio story I created about Ifrah Mansour for KFAI Community Radio along with some voices from the Radio Bridge project and electronic music.

Dixie Treichel is a composer, sound artist, sound designer and radio broadcaster. Her sound works have been heard internationally on radio, in art galleries, sound art festivals, new music concerts, theaters and streaming festivals.

https://soundcloud.com/dixie-treichel

5. Paul Dibley – False Memory 2:The Actor

A piece of radio art that explores human utterance and computer generated voices. The text is all spoken by computer (including the accents). Much of the non-vocal material is generated by real voices.

Paul Dibley is a Welsh composer and sonic artist, and is also Principal Lecturer in Music and Programme Lead for Media Arts at Oxford Brookes University, UK. He is Co-Director of the Sonic Art Research Unit and co-founder of the Audiograft festival. In 2003 Paul completed a PhD in Musical Composition at the University of Birmingham, UK, where he studied with Professor Jonty Harrison. As well as composing electroacoustic compositions (often specializing in using the human voice), he creates compositions for instruments and live electronics. Recent projects include working with Okeanos, Jane Chapman and Jos Zwaanenburg.

http://www.pauldibley.co.uk

6. Renèe Helèna Browne -Love Song to Drake

A vocal soundscape centered on the hip hop artist Drake and his lyrical aesthetic. Using her own edited voice, Browne melodically undulates the personal experience of being both fucked and fucked over by Drakes words, proposing the ear as an erotic site of contact. The looping, overlaying, harmonising and breath, speak not just to the practice of singing, but the journey of sound from a digitally manipulated space to a physical one through the personal experience of listening to the artists music. ‘Let him fuck me over auraly as his words trickle in’, to ‘fuck me’; is to consume one’s creative outpouring, ‘fuck me with your content’ – in Drake’s case his romantic tragedy.

Renèe Helèna Browne is an Irish artist concerned with creating and appropriating narratives about and through the justification of the female voice, with a specific focus on the emotional and physical territory of the victimised body. Sound, writing, video and drawing are central forms of this practice.

reneehelenabrowne.wordpress.com

7. Alexis Weaver – 3 Miniatures for Non-Ideal Listening Situations No. 2

These three short, sharp pieces aim to maximise listener immersion in loud, busy, well-lit, obnoxious places; that is, non-ideal listening situations for this sort of music. Miniature 1, in particular, was composed to demonstrate extremes of stereo panning. The sound objects are often edged with high frequency content, and very immediate in the foreground – both qualities which allow the material to be better heard. With a more meditative feel, Miniature 2 features many instances of emergence and disappearance. Miniature 3 is the only movement to feature traditional musical instruments: piano and voice. Both are distorted, warped, to give this final movement a jumpy and dream-like quality.

Alexis Weaver is an electroacoustic composer based in Sydney, Australia. While her principal interest lies in composing fixed-media acousmatic music, she has also composed soundtracks for animations, short stories, radio, dance and theatre, and exhibited audio-visual installations.

http://www.alexismarieweaver.com

8. Gary Wilkinson – CANNABIS FARMS//Sinfonietta
Composed using cut-ups of public domain classical music. Each new represents a significant challenge to the capabilities of this cut-up classical technique and also classical music norms.

Another typical theme of classical music is nature and Cannabis Farms were chosen to represent this after reading a local newspaper announcement of police raids on a number of them in the region. The music explores the innocence and beauty of the plant fulfilling its nature by simply growing and the manipulation and exploitation of that plant at the hands of people for both criminal and leisure activities.

https://www.facebook.com/garywilkinsonmusic/

In Magneto Mori sounds from Vienna’s past and present are conjoined in a stew of semi-degraded audiotape. Using a portable reel-to-reel tape recorder sounds from around the city were recorded direct to tape over a two-day period. This tape was then cut into fragments and buried in a hole in the ground with a number of magnets that erase the portions of the tape that they come into contact with. After several days steeped in the muddy earth of a Viennese garden the remaining audio fragments were exhumed, washed, dried and spliced back together in random order. The deliberate distressing and erosion of these present-day recordings results in artificially degraded sounds that fast-forward the effects of time, disrupting the perceived chronology of this audio matter. During the tapes interment old cassette, Dictaphone and reel-to-reel tapes were gathered from local flea markets and additional field recordings were made around the city. The introduction of these found elements stretches the timescale from just the short period spent making location recordings to as much as fifty years into the past. All of these elements provided the raw materials for a radiophonic composition that represents a portrait of Vienna in place and time; an archaeological excavation of found sounds, lost fragments, buried memories and magnetic traces. Presented here are the sounds that endured.

This project has been supported through Creative Scotland’s Open Project Funding Programme.

Biography: Mark Vernon is a Glasgow based artist whose work exists on the fringes of sound art, experimental music and broadcasting. At the core of his practice lies a fascination with the disembodied intimacy of the recorded voice, environmental sound, obsolete media and the re-appropriation of found recordings. A keen advocate of radio as an art form, he co-runs Glasgow art radio station, Radiophrenia and has produced programmes for stations internationally.

Commissioned by Kunstradio for Ö1 , Austria.

meagreresource.com

“How is your pain right now? On a scale of 1 to 10, how much is it? ” Behind the white curtain of an operating room, stands an abstract decor, the journey would take its source in the very heart of a wound. Thus, in a semi-conscious state, I receive the visit of the centaur Chiron. It tells me a passage, a tiny space, a synapse, from which comes a very strange song … Starting from a lived experience and meeting the real, Autopoiesis is proposing falls and variations, a descent towards fiction, poetry and mythology.

Réalisation : Anne Lepère
Mixage et mise en onde : Jeanne Debarsy
Regards dramaturgiques : Sebastian Dicenaire & Marion Sage
Langue : Français
Visuel : Aurélie Commerce
Avec les voix de Louise Chardon, praticienne en BodyMindCentering (BMC),
Lisa Mellouki, astrologue, Vincent Degrande & Michael Scoriels, Atelier Lutherie Degrande.
Avec le soutien du FACR (Fédération Wallonie Bruxelles) & l’Atelier de Création Sonore radiophonique (acsr)

(b.1985 Belgium) a Brussels-based artist, explores the relationships between various strains of sound design in her work: field recordings, radio drama, experimental music…
Today she is continuing to work at her own creations, where the use of voice is very often chosen as to start from a more intimate point before opening up to a larger frame. Papesse Italy), Grand Prix Nova(Roumania). She is also working more and more on stage with sounds live performance and start to work with dancers & choreographers, following up a time of research with “Prototypes” program at Fondation Royaumont – (Paris 2016).

http://annelepere.tumblr.com/
https://soundcloud.com/anne-lepere

Drawing on British Library sound archive recordings this piece explores the political dimensions of listening: the ambivalent ways listening is invoked for explicitly political ends such as consciousness raising or surveillance; the centrality of listening practices and relationships to personal politics including learning, witnessing or therapy; and the politics bound up in making and using archived sounds. Who and what is listened to, recorded and heard, how when and by whom can these be used, and to what ends? Making and remaking, the work highlights the potentiality of archived sounds for reimagining, retelling and reconfiguring accounts of people and places.

Freya Johnson Ross is an artist and researcher working primarily with sound and installation. Her interests are focused on sound and listening across disciplines, knowledge production and understanding, and equality, and in her practice she strives to invoke people’s reflection on the intangible and their own perceptions. Her current work addresses the politics of listening and the making and re-purposing of sound archives. London based, though originally from Glasgow, she works at UCL, and has degrees from the University of Cambridge, Wimbledon College of Art, and University of Sussex.

http://www.freyajohnsonross.com

A series of calls and responses between the aphorisms of Georg Christoph Lichtenberg and momentary sonic semblances of the figurations that bear his name.

Renowned polymath and procrastinator Georg Christoph Lichtenberg was a champion of disorder, decay as well as logic and reason. His most known work is a series of self-described disordered scrawlings. These collected scrawlings – Die Sudelbücher (The Waste Books) – are considered landmarks in philosophy, despite never being later ordered and distinguished as intended. Arguably his second most known work are Lichtenberg figures, a family of patterns of electrical discharge that now serve as markers of deterioration in electrical contact. Over the course of a single performance, select aphorisms from Lichtenberg’s �The Waste Books will be the lightning seeds for improvisational sonic discharges.

williwaw is a violent squall, and also the two hands, two feet, four strings, and many forms of amplification under the direction of Wm. McAllister Whitmer. Since an evening deluge in Champaign, Illinois in 1994, williwaw has, as Monica Kendrick wrote, “nimbly piloted his unlikely vehicle into uncharted territory again and again, making pulsating, variegated, beautiful noise” (Chicago Reader, 2006). Twentysome years on, williwaw continues to provide this most particular blend of amplified ‘ukulele mayhem, including a monthly amp’d uke residency at the Old Hairdressers now in its 7th year – possibly the longest of its kind: http://www.donkeyscratch.com .

Featuring:

Maria Fusco – Legend of the Necessary Dreamer 6: Legend of She (1:57)
Phaune Radio – Tiny Tunes – Metamorphoses: Desert Flash Flood (6:00)
Lucy Duncombe – And If I Was A Word (10:00)

Maria Fusco – Legend of the Necessary Dreamer 6: Legend of She

“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

Phaune Radio – Tiny Tunes – Metamorphoses: Desert Flash Flood

You should not see the desert simply as some faraway place of little rain. There are many forms of thirst. -. William Langewiesche

From the top of the dunes, in the grandiose simplicity of shapes, one can contemplate these horizons that seem to await us. But in this plain immensity of the desert, crossed only by few cold-blooded creatures or equipped with a solid shell, can we predict the magnitude and power of the consequences of a storm, several hundred kilometers away? Within a few hours, the most arid landscape can overflow, swallowed by a fiery water that runs down the slopes, gathers every little brook, and swells with all that it finds on its way. Clay, sand, mud, vegetal or mineral debris, everything is swept away by the fury of the moving waters. But even in its most violent excesses, it is the living that prevails. At the same time speed and precipitation, straightforward journey of a flash flood in an open desert. On this stage, everything is possible.
Tiny Tunes From The Wilder World, a series more or less mainstream.

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.

https://phauneradio.com

Lucy Duncombe – “And If I Was A Word… – The Music Playlist As Constitutive of An Interlocutor”, with Kenneth Wilson.

Hermits wear boxes of Kleenex on their feet instead of shoes and keep plastic trolls in the sofa, birds bring them bread, they count their days with potatoes, they live inside their own grave, naked and hairy or wear woven coats of camel hair.

Glass Enclosed is an epic, solitary incantation performed by one voice. Its points of departure are the ‘Ancrene Wisse’ and ‘Speculum Inclusorum’ – instructional texts on how to be alone written for recluses, anchorites and hermits in the 13th/15th centuries. Glass Enclosed combines myth, testimonial and trope into a placeless, cocophanous sililoquy spoken from beyond.

Kari Robertson (b.1988 Edinburgh, Scotland) is a visual artist based in The Netherlands, who works primarily in film, video and sound.

She currently co-runs GHOST, with Madison Bycroft and Natalia Sorzano; a nomadic curatorial project who programme monthly screenings at WORM Filmhaus Rotterdam as well as recent exhibitions in Microscope Gallery, Brooklyn and MIAMI, Bogota.

Alongside her visual artwork Kari plays in experimental band Difficult with fellow artists Eothan Stearn and Tracy Hanna, which is a noisy and public meditation on punk/DIY/improvisational sound-making and total non-expertise.

In her practice Kari takes a ‘sci-fi’ approach to subjectivity, using narrative and characterisation as tools to re/un-think the sovereignty of our bodies, identities and minds, and ultimately as a means to access forms of ‘radical empathy’. Her narratives are often driven by protagonists who are marginal, ambivalent, unstable, or abhorrent. Humour and absurdity are taken seriously and always foundational in her work.

http://karilericherobertson.com/

Commissioned by Radiophrenia with the support of Creative Scotland and Kunstradio Austria.

‘The Boy Who Watched Trains’ is a radio documentary. The broadcast is 24 minutes long: the time it takes to complete one full circle journey on the Glasgow Subway. The artist invites the listener on a journey, both in time and place, to the intimate world of a mother and son, who live in Glasgow. The listener is given a rare insight into the private world of a mother’s journey, with her autistic son, who is engrossed and soothed by the sound and motion of the Glasgow Subway and its trains.

The modern world is full of noise that, for people with autism, it is a frightening and unpredictable place. Everyday situations can be terrifying, overwhelming and extremely daunting for an autistic child. They can spend their whole life trying to self-regulate the chaos of unprocessed stimuli, in their inner and outer worlds. This boy’s daily subway routine with his mother, in Glasgow Subway’s Inner and Outer Circle, builds a bridge between his inner and outer world, and builds one too, between the mother and son: as they learn from one another on their journey together in life.

The boy makes sense of the daunting world around him by seeking out the sounds of the Glasgow Subway and uses them to regulate his inner world. The boy fixates and is dependant on the familiarity of the stations, platforms, and trains. He is soothed by their repetition, speed, predictability and security. Even though these subway spaces are not quiet or calm environments: they are familiar to the boy, who focuses on the repetition and predictability of the louder external sounds, which drown out his inner anxieties. The boy’s embodiment of the subway, trains, and all its layers of sound, is the boy’s very own coping strategy. This is an example of a boy cleverly self-regulating by bringing coherence, in such a noisy, chaotic and confusing world.

The mother’s autism journey begins when she notices he is obsessed with trains, through to diagnosis/ post-diagnosis and how she comes to terms with her son’s ASD diagnosis. Initially, feeling lonely and isolated on her journey: she speaks openly about deeply personal feelings she has never shared out-with family. A frank and fleeting glimpse into her journey, almost like an overheard subway conversation. Her dialogue is interspersed with subway sounds, and her son speaking and mimicking the trains that he loves. She is not a ‘hashtag autism’ mum and is still working out how to cope and help and support her son on their journey. The artist conveys this by recording the subjects spontaneously, unrehearsed, unprepared, unpolished and with authentic pauses as the mother searches for the right words or struggles with memory recall. It is a true emotional journey as we follow the young child and his mother recounting their daily Glasgow Subway rituals and the mother’s vulnerability and realness are captured.

The artist is a friend of both mother and son and wishes to reach out to her to tell her she is doing great and hopes to connect to the listener, and Glasgow as a city, as it moves forward in both subway modernisation and autism support and awareness. Just as the boy stands out and raises awareness on his daily commutes: this broadcast too is autism in action. The story of a mother and son who have coped on their journey with the assistance of what the Glasgow Subway offers to a child fascinated and dependant on its trains: their multi-layered sounds, repetition, motion, predictability and security. The artist therefore hopes too, that other families perhaps isolated and confused by a similar diagnosis, can learn to look to their own future with similar positivity as they embark on their journey.

‘These Trains are Music’

The broadcast ends with a five minute recording of the boy playing electric guitar during a music therapy session with his mother. Another repetitive activity he enjoys and uses to self-regulate. The boy’s guitar playing also emulates the subway and train sounds. He uses modulation and reverb to create the ambient guitar drone which is reminiscent of the subway’s soundscape and the speed and repetition of the subway trains. This gives the listener further insight into the inner world the boy loses himself in, while playing. The pitch, the repetitive abstract sounds, rhythmic patterns and sonic dissonance all attribute to soothing and self-regulating him. These instantaneously composed guitar soundscapes do not emanate from any train recorded, or any trains heard. The come from the boy and his mother, from their shared memories, feelings, emotions and their shared experiences.

The Glasgow Subway is currently undergoing a £288 million modernisation. These subway sounds were originally intended for a posterity broadcast, as the sights and sounds of the Glasgow Subway, as artist and subject see and hear them, will soon cease to be. All concerned are very excited about these new developments!

Marta Adamowicz is a visual and sound artist. Her artwork has been a part of an RGI exhibition (2017), Clydeside Annual exhibition 2017 (considered for best in show), Society of Women Artists Open 2018, RSA open 2018 and SSA 2018. Her sound work has been showcased on many platforms around Scotland, including Glasgow International festival 2018, Transmission gallery, Radiophrenia Glasgow and Radio Borealis festival in Bergen. She has received the An Talla Solais award on the RSA Open exhibition in 2018.

1. Vincent Eoppolo – The New Utopians
2. Zachary Zena Giberson – Funereal in a Good Way – 01 Flex Into Me
3. Archivosonoro – Don-Renato-Lata-136
4. James Andean – Valdrada
5. Rắn Cạp Đuôi Collective – ikkikki
6. Javier Aregger – Radiophonia I & ll
7. Anna Wolfe Pauly – dawn
8. Mark Vernon – A Pale Pink Voice
9. Gary Wilkinson – WIND FARMS//Sinfonietta

1. Vincent Eoppolo – The New Utopians

A work that explores the possibilities of a new Utopian vision. 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. Zachary Zena Giberson – Funereal in a Good Way – 01 Flex Into Me

Funereal in a Good Way is a 30-minute album of sound collages inspired by the brutal heat of a recent Texas summer, made worse by climate change. A dizzying, dense mix of off-kilter, wild instrumentation and alien field recordings, the music of Funereal is unpredictable, constantly melting into bizarre new forms. Think of this album as a brightly colored, sonic ice cream cone that melts the second you put your mouth to it. Zachary Zena Giberson is a prolific 28 year old sound artist living in Austin, Texas. He has created over 26 albums worth of unusual, abstract music that he has taken to calling “coincidental music,” or music made out of unrelated parts. In 2018 alone, he created 3 albums, and took part in two collaborations, one with Filmy Ghost, and one with horridus as Martian Hello.

https://zacharyzenagiberson.bandcamp.com/

3. Archivosonoro – Don-Renato-Lata-136

 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. James Andean – Valdrada

“the traveler, arriving, sees two cities: one erect above the lake, and the other reflected, upside down. Nothing exists or happens in the one Valdrada that the other Valdrada does not repeat, because the city was so constructed that its every point would be reflected in its mirror…”
Italo Calvino, ‘Invisible Cities’ ‘Valdrada’ is about memory – but, then again, perhaps the same is true of all acousmatic works…

James Andean is a musician and sound artist. He is active as both a composer and a performer in a range of fields, including electroacoustic music, improvisation, sound art, and audiovisuals. He is a founding member of several groups and ensembles, including Rank Ensemble, LOS duo, and VCA. He has performed throughout Europe and North America, and his works have been presented around the world. He is Senior Lecturer at Music, Technology and Innovation – Institute for Sonic Creativity at De Montfort University.

jamesandean.com

5. Rắn Cạp Đuôi Collective – ikkikki

This was recorded using only the sounds of an amp turning on and off, and then some synthesized pads. The different properties of water while building an environment of suspense and horror as each wave reaches its climax. The inspiration behind this EP was totally immersive sonic landscapes through the manipulation of organic and electronic sounds as well as the processing of human elements.

Rắn Cạp Đuôi Collective, a Saigon based music and multi media collective.

https://rancapduoi.bandcamp.com/

6. Javier Aregger – Radiophonia I & ll

Radiophonia is a ‘sound poem’ in two parts, originally broadcast on Resonance FM on European Radio Day, 2005. Using a digital audio editor I created a sound collage of speech and sounds recorded from various internet radio stations across Europe. Processed speech in a variety of languages, sounds and music intermingle. Meaning almost begins to emerge – not necessarily from language itself. but from sound, texture, rhythm, repetition…

I’m a curator, sound artist and occasional photographer based in Lockerbie and Glasgow. I’m currently studying for a Masters Degree in Curatorial Practice (Contemporary Art) at the Glasgow School of Art. I recently co-curated “Three Times Removed”, a group exhibition that examined traditionally gendered activities and I’m currently working on two further projects at the Hunterian and Project Ability. I’m also exploring the links between sound / vision and perception in the context of contemporary art, in particular through the concept of synaesthesia, ideasthesia and aesthetic atmospheres.

javieraregger.blogspot.com

7. Anna Wolfe Pauly – dawn

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

8. Mark Vernon – A Pale Pink Voice

meagreresource.com

9. Gary Wilkinson – WIND FARMS//Sinfonietta
Composed using cut-ups of public domain classical music. Each new represents a significant challenge to the capabilities of this cut-up classical technique and also classical music norms.

WIND FARMS//Sinfonietta – takes on a typical classical theme of music about a notable landmark. Wind Farms were chosen because they are so predominant in the composers locality. The piece touches on environmental concerns offset by the effectiveness of wind farms to turn potentially destructive weather conditions into positive energy.

https://www.facebook.com/garywilkinsonmusic/

Two things from our homes. We will tell you: how they feel to touch with fingertips, how they shift in colour, smell and taste when very near. How they move in a hand, if they tickle or numb. These things will connect through magical touching points. They will become amplifiers for their own vibrations. A feedback soundscape unfold. You will hear words, you will hear sounds. We will give you some clues of our things, but what is a thing really, and what sensations run through your body?

Simon Weins is a visual artist and electronic musician, working with installations, objects, film and sound. Recent exhibitions include ‘dock / ancien palais de justice’, Les Brasseurs Liege (2019); ‘Pulses’, Mount Florida Gallery Glasgow (2018); ‘Look at me and see what I could not (yet) see’,Bonnefanntenmuseum Maastricht (2017) and ‘Slow Accident’, Nieuw Dakota Amsterdam (2017). Together with Caroline Hussey & Nuno Mendoza he organizes ‘Soup, Zuppa’, a monthly event for free improvisation at The Old Hairdresser Glasgow and releases experimental Electronica as Garland with Phillip Jondo on Amsterdam-based Label Lullabies for Insomniacs.
http://www.simonweins.com

Feronia Wennborg is an artist and musician based in Glasgow, working with installation, performance, text, video and tape. She often works collaboratively, releasing the album ‘Wet Courage’ with ECCO on GLARC in 2018. Recent exhibitions include ‘Blomma’, The Pipe Factory Glasgow (2018); ‘Exposition Collective’, Visarte.Vaud Lausanne (2018); ‘Beach Show’, Barassie Beach (2018); ‘Which they draw into their mouth’ Crownpoint Glasgow (2018) and ‘Function’, Mount Florida Gallery Glasgow (2017).

This project was created the last October 2018 in collaboration with Radio Corax (Halle, Germany), RaR and the Goethe Institute.

It is a composition that thinks in and for the radio context. You will listening to the Raven voice, an inspired voice, unlike our expired controlled voice that we use every day. Raven voice is without tune, without gendre and age, it allows transformation. I found this voice during the radio show I had proposed last October with 7 different guests, a free playground where we experimented for 30 minutes of live broadcasts to communicate with non-verbal language. Just with feeling, emotion and listening to our bodily presence. Historically, this voice was called the voice of the devil, the voice possessed, but it could be understood as the poetic and political expression of our witch identity.

with the voices of Abir, Helen, Helene, Max, Ralf, Reem and Tina

Claire Serres is a performer and radio director, she experiments the voice and its perceptive limits. Her practice is part of the body, in search of a sound writing of movement, of transformation. Her performances take place in the public space (internet included), on stage and on radio.

Claire Serres collaborate with independant radio (radio Fréquence Paris Plurielle, radio O, Radia.FM, radio Corax, radio Campus Bruxelles, the savvy funk Berlin project for the Documenta#14…) and shows regularly her work in alternative art centers or public museums (Centre Pompidou Cajarc, Mains d’oeuvre Paris, La Marbrerie Paris, E-werk art center Germany, Artium museum Spain, Contemporary and modern art museum of Strasbourg, Le Havre and Toulouse, les Halles de Schaerbeek Bruxelles…)

https://www.ligie.org/

The Cretan Question Remains Unanswered is a collage of field recordings made over a three week period detailing the ambience surrounding the break-up of a relationship as two lovers travelled from Crete to the island of Kythera and eventually Berlin.

For Tectonics festival 2018 Alicia Matthews, Barry Burns, Kim Moore, Mark Vernon and Ohad Fishof gave a series of short collaborative performances.

For Radiophrenia Barry Burns has edited and remixed some of the rehearsal recordings.

https://soundcloud.com/suezuki

http://ohadfishof.org/

http://www.kimikomoore.com/

http://meagreresource.com/

https://vernonandburns.bandcamp.com/

1. Archivosonoro – Don-Renato-Lata-3010
2. Olivia Furey – Doorbell Nonsense
3. Mark Hume & Bruce McClure – Bombolith
4. Aume – Disintegration (Part III)
5. Kyle Vanderburg – The Earth Shall Soon Dissolve Like Snow
6. Sophocles Arvanitis – duister -2016

1. Archivosonoro – Don-Renato-Lata-3010

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

2. Olivia Furey – Doorbell Nonsense

Doorbell Nonsense is an experimental audio track that begins with clean guitar playing and then sounds from instruments Olivia has invented and objects that Olivia finds interesting are added to the piece. Objects/actions used include: and electronic doorbell being rubbed by a contact mic with distortion over it, a rubber band tied around a paper coffee cup being rubbed with a contact mic and the elastic being strummed by fingers, a cardboard box being drummed with piano keys will being attached to a contact mic, an electric toothbrush and a motor on a guitar Olivia built.

Olivia Furey is currently a second year student of the MFA in Contemporary Art Practice at Edinburgh College of Art. Her most recent works have included performances that are heavily interactive with audience members that explore the feeling of safety when being and audience member in comparison to the feeling of safety as a performer. In these performances, Olivia takes on several different personas that touch on a variety of different issues relating to politics, society and contemporary culture. A recent introduction to the performances has been sound work that Olivia incorporates with instruments she has invented and found objects.

3. Mark Hume & Bruce McClure – Bombolith

George Albaster is a concept. He is a 1980s teen avant-garde turned mainstream horror movie star from Fenwick, Ayr. George catapulted into the mainstream after appearing in the 80s/90s hit trilogy “Atheist Cop”, famous for its controversy surrounding holy war. Excessive drug use and failed rehabilitation attempts ensued. Before he knew it he was watching Marlon Brando’s daughter throw herself from the Golden Gate Bridge in San Francisco. Following a 4 year disappearance, he returned to write and direct the acclaimed Netflix TV series “People of the Canyons”, now in its seventh season. The interview that Radiophrenia aired last year contained George’s confession of “The Lost Years” – a self inflicted hiatus spent away from the media limelight, during which George fell within himself, tackling his own demons whilst recording his thoughts. These are some of those recordings, against a backdrop of the droning noise George’s own mind reverberates in an infinite-delay feedback loop.

George Alabaster was imagined by long standing friends Bruce McClure (District Nurse, Seed Records) and Mark Hume (Autocrat, Mark Zoom). The chain of thought prose was recorded in early 2019 near Joshua Tree, California where Bruce spent time with Bill Pulman’s daughter. The remainder of George’s thoughts will be contained in a free cassette, sellotaped to the comic book series of Atheist Cop (created by independent artist Doktor Geraldo (Comixcentral)).

4. Aume – Disintegration (Part III)

CQ CQ refers to the shortwave radio abbreviation for “calling any station”. This theme came about from a disillusionment created by the overwhelming amount of information being transmitted. That any individual voice falls on deaf ears in the midst of a maelstrom. That one is never more isolated than when everyone is talking at the same time. CQ CQ is full of vocal transmissions, most of which are indecipherable. They are failed attempts at communication. They are transmissions that lead to the disintegration of human connection and understanding. Immersive abstract sound and image collaboration between Scot Jenerik (Portland, OR, USA) and Aleph Omega (San Francisco, CA, USA)

Scot Jenerik: Composer and multidisciplinary artist. Performed, lectured and distributed works extensively in the United States, Europe and Japan for over 30 years. Co-owner of Mobilization Records, has an MFA from the San Francisco Art Institute, founded 23five Incorporated and co-hosted the No Other Radio Network on KPFA. Aleph Omega: Composer, multi-instrumentalist and artist. Performed and toured extensively throughout the United States, and Europe as a member of Chrome, Helios Creed, F-Space and pioneering Deathrock band, Altar De Fey. Owner/operator Unicursal Studios.

https://aume.bandcamp.com/

5. Kyle Vanderburg – The Earth Shall Soon Dissolve Like Snow

This work gets its title from the first line of the sixth verse of Amazing Grace. I was surprised by the hymn’s imagery of the end times being compared to snow melting rather than the normal fire and brimstone and doom. It’s not exactly the picture one gets from Revelation. The idea of a subtle Armageddon led me to ideas of a doomsday fueled by entropy, a glitchy cataclysm where time marches crunchily through the winter of eternity that winds down and gives way to a choir of heavenly–or heavily-processed–voices.

Composer Kyle Vanderburg (b. 1986) grew up in Missouri where the Ozarks meet the Mississippi River valley. Raised on southern gospel and American hymnody, his music tries to walk the line between eliciting nostalgia and devising innovative sonic worlds. His electronic works place familiar sounds in new contexts, his acoustic works feature catchy melodies and too many time signatures.

He holds degrees from Drury University and the University of Oklahoma and has studied under Carlyle Sharpe, Marvin Lamb, Konstantinos Karathanasis, and Roland Barrett. He’d be delighted if you checked out KyleVanderburg.com.

6. Sophocles Arvanitis – duister -2016

His work focuses on the composition of electro-acoustic music on fixed medium,the creation of sound installations and on improvised live electronic and mixed music. it involves intermediary positions, in the composition of systems that can produce aesthetic results, the composition of sound, the creation of musical material and in spatialization of the musical material. his work is influenced by characteristics of the various environments of sound that surround us in our every day existence, by the systematic relationships between humans and sonic environments and by ideas about structuring and form.

The programme evokes the politics and poetics of sound in Mzuzu, Malawi. The microphone led by authors registers the true and fictional stories about the role of drums, speakers and other sound devices in the possession cults recently prohibited in Malawi (part one) and general elections planned for 21 May (part two).

Due to the participation of Malawian authors, the narration reflects local attitudes toward poetics of media. The aspect of the participation is inspired by experimental ethno-fictions of Jean Rouch, Safi Faye and Miyarrka Media.

The programme blends forms of radio play, documentary, site-specific sound collage and DJ mix. It is produced in cooperation between ethnomusicologist Piotr Cichocki Dang and journalists, musicians and producers from Mzuzu, Malawi: Peter Kaunda, Albert Manda, Emmanuel Mlonga Ngwira.

Referring to the experimental genre ethno-fiction, the programme evokes the politics and poetics of sound in a modern African city. The sound (including music) bonds there interconnected religious, economic, political and personal activities at streets and private spaces. Approximately 300 thousand Mzuzu is deeply saturated with electronically and mechanically generated sound. But these tones mix also with carnal rhythms and harmonies, that vary from everyday life thick conversations to prayers and beats of acoustic drums.

The microphone led by Malawian authors and the ethnographer registers the true and fictional stories about the role of drums, speakers and other technical devices in the life of the community and individuals. It traces religious rituals, discotheques, political rallies and intimate narrations of human subjects. The theme organising these narrations relates to the possession cults recently prohibited in Malawi (part one), general elections planned for 21 May (part two) and relations between them.

The montage gathers the fragments of interviews conducted by Cichocki, Kaunda and Ngwira with Mzuzu dwellers, recordings from streets, houses and public spaces, sound effects generated on the spot, local sound studios, scarps of political and commercial advertisements along with meta-narrations plotted by authors. The producers of the programme do not hide their actual presence in the mix, thus leaving a clear outline of the form of the document.

Cichocki and local producers perform the montage. The structure of the narration uses a combination of linear plot, collage, the repetitiveness along with other effects used in Malawian radio and TV programmes. Due to the participation of Malawian journalists and producers, the narration reflects the local attitudes toward the poetics of media. The methodology of the project is inspired by experimental ethno-fictions of Jean Rouch, Oumarou Ganda, Damouré Zika and other Nigerien actors, films of Safi Faye and Miyarrka Media (the cooperation between anthropologist Jennifer Deger and Yolngu group elders).

New Roads contains fragments of live performances by Kukaya Group and fragment of song “Katula” by Katawa CCAP Singers from album “Muwadabwe” under permission given by artists.

Song “Vote” recorded and produced by Wave Diamond Heritage, remixed by Piotr Cichocki Dang. Radio play contains recordings from several political rallies and public events.
The dialogues and monologues were improvised by Tonga Boys and their friends at Mzuzu Market.

Peter Kaunda works as a teacher, but also leads a life of a musician and showman in the Northern Region of Malawi. Together with Albert Manda, who struggles to survive as an illegal trader at the Mzuzu market they form a group Tonga Boys. The aim of the band is to play an original, independent mix of local rhythms and hybrid, global music. They use instruments constructed from everything at hand. The band wants also to spread the message to their fellow-countryman from Tonga ethnic group spread around the world.

Piotr Cichocki, PhD is a researcher, lecturer, musician, producer and publisher. He holds a position of adjunct professor in the Institute of Ethnology, University of Warsaw. He studies the relation between technology, religion and music in Malawi and Tanzania. Among his recent and prepared publications are volumes on “Ethnographic Ear” and “Immateriality of Development”, a multimedia exposition “Cargo/(im)materiality”. His goal as a producer and musician is to mediate between geographical (i.e. European and African), technological (digital and analog) and methodological (improvised, composed, sampled and generated) modes of production. To achieve the goal he has established the record label 1000HZ.

Help Children if Necessary dismantles a remedial language lesson based around phonetic skills. The delivery of a seemingly straightforward syllabus (drawn from the teacher’s manual) is disrupted. We experience the lesson as the ‘subject’, the one subjected, most likely diagnosed as sitting somewhere on the autistic spectrum. Despite the best efforts of those who deliver the programme with genuinely well-meaning efforts to assist children in need, it struck me that the poor child might be terrified of such a torrent of instructions and tasks, raising questions around power, domination and control in our use of language.

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 of musical structure through the evolution of long-form dense textures. His radio work explores the conceptual and social dimensions of radio, in particular ideas around sound, silence and political constructions of voice and language, on how such constructions affect identity and how channels of communication are controlled and directed. His work has been performed, exhibited and commissioned internationally.
http://www.jameswyness.com

Featuring:

Maria Fusco – Legend of the Necessary Dreamer 7: Legend of Girth (5:01)
James Wyness – The Rubbish Man (10:08)
Edinburgh Leisure – Mammals And Birds (4:56)

Maria Fusco – Legend of the Necessary Dreamer 7: Legend of Girth

“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

James Wyness – The Rubbish Man

He wakes up in the landfill, half-man, half-armchair, surrounded by the waste of a civilisation whose values he upheld without question. Now he has all eternity to reflect on how he reached this place.

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 of musical structure through the evolution of long-form dense textures. His radio work explores the conceptual and social dimensions of radio, in particular ideas around sound, silence and political constructions of voice and language, on how such constructions affect identity and how channels of communication are controlled and directed. His work has been performed, exhibited and commissioned internationally.

http://www.jameswyness.com

Edinburgh Leisure – Mammals And Birds

A new live performance commissioned by Radiophrenia will premiere on Friday 17th May: http://radiophrenia.scot/live-to-air-performances/

Edinburgh Leisure is the partnership of Farquhar and Fraser.

Keith Farquhar is an established visual artist whose work has been exhibited internationally. He is also the former vocalist of The Male Nurse, sister band to Country Teasers, best known for their two Peel sessions of 1997 & 98.

T Fraser is one half of the duo ******** (newly released on Domino Records’ imprint Weird World), a collaboration also known as [Fraser, Ormston], which featured at Counterflows 2019 and includes artist Ailie Ormston.

Since 2016, Edinburgh Leisure have recorded two albums, Die Gefahr im Jazz (due on May 17th) and Contemporary Art In Digital Culture. Recorded mostly on iPhone 5s, Die Gefahr im Jazz merges the avant-instrumentation of staple guns and ripped masking tape with Apple-hack sounds to create what the duo playfully describe as ‘a harmonious cacophony of mammal and machine processes’. Contemporary Art in Digital Culture sees their sound become more mechanistic as gym and university timetables as well as non-verbal vocal scores by Meredith Monk are fed through text-to-speech software in eccentric data-sonification experiments.

Edinburgh Leisure have performed live in various venues, from an infamous show in an Edinburgh Tenement stairwell to galleries and club spaces including Cabinet Gallery, London, Talbot Rice, Edinburgh and High Art, Paris. A solo exhibition of their visual art was held at Celine Gallery, Glasgow in 2018.

“There is a certain aesthetic ambience that Edinburgh Leisure taps into and adapts to its own ends – A carefully honed brand of realism. The group takes its name from a trust operating sport and fitness facilities in Edinburgh. Adopting the banal in-house graphics of this organisation and others like it, Edinburgh Leisure holds up a mirror to the semiotic landscape of contemporary Scottish life.” Neil Clements

keithfarquhar.co.uk

Hermits wear boxes of Kleenex on their feet instead of shoes and keep plastic trolls in the sofa, birds bring them bread, they count their days with potatoes, they live inside their own grave, naked and hairy or wear woven coats of camel hair.
 
Glass Enclosed is an epic, solitary incantation performed by one voice. Its points of departure are the ‘Ancrene Wisse’ and ‘Speculum Inclusorum’ – instructional texts on how to be alone written for recluses, anchorites and hermits in the 13th/15th centuries. Glass Enclosed combines myth, testimonial and trope into a placeless, cocophanous sililoquy spoken from beyond.

Kari Robertson (b.1988 Edinburgh, Scotland) is a visual artist based in The Netherlands, who works primarily in film, video and sound.

She currently co-runs GHOST, with Madison Bycroft and Natalia Sorzano; a nomadic curatorial project who programme monthly screenings at WORM Filmhaus Rotterdam as well as recent exhibitions in Microscope Gallery, Brooklyn and MIAMI, Bogota.

Alongside her visual artwork Kari plays in experimental band Difficult with fellow artists Eothan Stearn and Tracy Hanna, which is a noisy and public meditation on punk/DIY/improvisational sound-making and total non-expertise.

In her practice Kari takes a ‘sci-fi’ approach to subjectivity, using narrative and characterisation as tools to re/un-think the sovereignty of our bodies, identities and minds, and ultimately as a means to access forms of ‘radical empathy’. Her narratives are often driven by protagonists who are marginal, ambivalent, unstable, or abhorrent. Humour and absurdity are taken seriously and always foundational in her work.

http://karilericherobertson.com/

Commissioned by Radiophrenia with the support of Creative Scotland and Kunstradio Austria.

Namwon Broadcasts was recorded during the Namwon Sound Art Residency that Lyken undertook in November 2017 at the decommissioned KBS (Korean Broadcast System) TV and Radio building in Namwon, South Korea. The soundwork is a live recording of an improvised performance in the old KBS basement machine room, comprising archive material, sounds and field recordings gathered in and around the building during the residency.

Mark Lyken (1973) is an artist and filmmaker based in Thornhill, ruralDumfriesshire, Scotland. He creates film, sound works, performances and installations that explore identity, place and the interplay between nature, technology and culture. His work has been presented in Brazil, Taiwan, South Korea, Mexico, India, Poland, Romania, Sweden, Italy and widely across the UK. He runs audio and visual label Soft Error & digital companion label Bit Rot.

Trainofthoughts is an electroacoustic/ radiophonic piece of music. It combines elements of concrete music with acousmatic music and radiophonic elements in the exploration of form and meaning. These elements are bound together within a formal musical framework.

On the surface there is a seemingly simple narrative: a commuter journeys home from work one ordinary, crowded and claustrophobic evening on the London Underground. Below the surface lie hints of ancient musical systems, long since forgotten. Its dimensions conjoined using the ligament of musical and mathematical logic.

Stace Constantinou is a musician who composes for solo instruments, ensembles and electronic music (live and fixed media), as well as being a radio programme maker.
His electronic piece ‘Desert Storm’ won the 1993 Ricordi Prize for Best Composition. And notable performers including Jane Manning OBE, Christopher Redgate, Rhodri Davies, and Kate Ryder have premiered his solo pieces.

Influenced by music of the Western lineage from ancient through to classical and contemporary times, philosophy and mathematical ideas have also guided his composing, for example numerical, geometrical and statistical models of pattern types.

Leif J. F Calloiscott was an experimental practice-based academic whose theory of the Audible Transitional Object places play and fantasy as crucial cornerstones in child development and that the fantastical, magical or “unreal” sonic elements that we are
exposed to whilst young (disembodied voice, unidentifiable sounds, nonsense language) help
us create a picture of reality as its polar opposite. Calloiscott tested his theories through the creation of playscripts, soundscapes and workshops that encouraged adults and children to explore fantasy. The soundscapes consisted of the layering of sine waves, experimentation in timbre, overtone-phasing and polytonal compositions.

This re-enactment was created by radical researchers Francis Patrick Brady (visual artist and pedagogue) and John McKenna (composer). Our research into Leif’s work is ongoing at the Inter Arts Center in Malmö. We intend to re-examine Calloiscott’s work in modern times as well as form a body of work that is a mixture of practice and research or, as Calloiscott would have it; reality and fantasy.

https://www.iac.lu.se/projects/leif-jf-calloiscott/

https://francis-patrick-brady.co.uk/
https://mckenna.persona.co/

This is a series of audio recordings, all from 2018, on a Tascam DR-05. The samples have then been manipulated, stretched, squeezed and effected in Ableton Live. Samples include live performances at Counterflows 2018, a 6 month and 2 year old using a Waldorf Blofeld synth and Electron Digitakt, notes to self, found sound and samples intended for drum programming. The reflection is largely concentrated on declining leisure time and the destruction of free time due to circumstances, in this case, weans, obliterating what used to be a normal week to week existence and turning it into the new ongoing norm.

Previously aired on Radiophrenia and an a keen supporter of the experimental airwaves, proud to have been a Commissioned Artist for the 2017 programme. Influenced by small town consciousness, dictaphone enthusiasm, pleasure from bleakness, local failures, brutalism, social realism/fakism and the battle of instruments versus software. Listens to urban decay, ambient noise, minimal techno, early post rock, Magnetic Fields, Arab Strap, Spiritualized, Half Man Half Biscuit, things with under 1,000 plays on Spotify and under 100 plays on Soundcloud. Reads Irvine Welsh, JG Ballard, any ropey music biographies. Hobbies include drawing, painting, making short films, football, cycling and drinking. Former excessive gig goer and clubber has played in the Just Joans, Johns Indie Disco and the Ladywell Lout and done some DJing around Edinburgh & Glasgow.

https://soundcloud.com/theladywelllout
twitter.com/ladywelllout
facebook.com/theladywelllout

1. Sarah Holt, Sammy O’Brien and Jess Adams – Men’s Mental Health The Silent Epidemic
2. Lisa Hall – Untitled-twelve
3. Neil Verma – Mass is for the Birds
4. Leonie Roessler – Breath

1. Sarah Holt, Sammy O’Brien and Jess Adams – Men’s Mental Health The Silent Epidemic

The Silent Epidemic focuses on men’s mental health and suicide, intending to showcase transforming attitudes of masculinity through four generations; while demonstrating the dominant gender stereotypes that still remain. Our project was inspired by a recent campaign conducted by Lloyd’s Bank in collaboration with Mental Health UK, entitled Get The Inside Out. Through this research, they discovered that 1 in 4 people in Britain would experience a mental health problem each year. While 67% of people feel society is more comfortable talking about mental health conditions now compared to five years ago, 3 in 4 believe there is still a significant stigma attached to mental health; and 1 and 4 are uncomfortable talking about mental health with a family member of friend (Mental Health UK 2018). After hearing these statistics, the decision was made to conduct interviews with local people about their mental health, to reflect these findings

The Silent Epidemic was created by Sarah Holt, Sammy O’Brien and Jess Adams. All third year drama students at The University of Manchester.

2. Lisa Hall – Untitled-twelve

Made for a radio broadcast in 2013 at Lisbon Architecture Triennial, this work consists of 12 church bell recordings that capture the hourly chimes. The radio producer is instructed to schedule each recording to play at any point during the day, provided that it does not correspond to the time it tells, and that they are not played at regular intervals. Lisa is a London based sound artist exploring urban environments using audio interventions and performative actions. Interrupting behaviour and questioning design, these works aim to make space for something new.

http://www.lisa–hall.co.uk

3. Neil Verma – Mass is for the Birds

A stereo soundscape of cyclists bypassing Sunday mass in Prato, Italy, with starlings and pigeons. July 2018.

4. Leonie Roessler – Breath

Inspired by Ana Bloom’s photography series “Souffles”, this piece is a meditation made up of a two breaths, a recording of a fresh water source which I took in the Swiss mountains, and a piece of text on the cyclic nature of breathing.

Leonie Roessler is a sound artist/composer/performing currently residing in The Hague, Netherlands.

An exploration of the techno-feminist, and the role of the womxn-identifying body in relation to technology. Featuring active Montreal-based womxn producers and promoters, offering opinions on the relationships between gender, electronic music and tech. Made in residence at Studio XX, 2017

Amanda Harvey and Julia E Dyck are members of the XX Files, a long running Montreal-based feminist radio collective. Their work looks to demystify and democratize technology through conversation, composition, workshop, and performance; they engage in exploration, creation and critical reflection through electronic experimentation and production.

https://soundcloud.com/xxfilesradio

This is a selection of seven shows from radioart106 compiled for radiophrenia 2019. Produced and presented by Meira Asher, radioart106 broadcast details:
WGXC 90.7fm – 1st Saturday 11am ET (-5 UTC)
USMARADIO – 1st Tuesday 7pm CEST

Radioart106 is part of the Radia.fm network.

Natacha Orestes aka #ProjetoHisteria is a lesbian mother artist who mixes her communication skills as a copywriter/creative planner/social media analyst and also her self-taught DJ abilities with the purpose of creating global awareness to the resistance of females in Latin America through art and technologies.

Her goals as a Brazilian activist is to withdraw a law (12.318/2010) based on Gardner’s pedophile theories and to abolish child marriage in Brazil.

In Brazil, official data clearly shows that the most dangerous place for a child is their home. More than 50% of reported rapes are against children, 80% of these children are abused in their houses and 50% by fathers/fathers in law. The other 50% are raped by other male family members.

Produced by Meira Asher for Radioart106.

http://www.sominas-e-music.tumblr.com
http://soundcloud.com/sominas
https://aredatora.wixsite.com/mulherartistaresista

Insomnia, depression, drug abuse, radio waves, agoraphobia, housing benefit, ritter sport.

Shit FM.

From a creator of other types of music, based in Edinburgh for a long time.

http://WWW.THISMACHINEISBROKEN.CO.UK