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As part of this year's XMTR Festival, Ed Baxter hosts a pop-up radio studio broadcasting live from DayGlo Studios in Silchester Road, St Leonards-on-Sea, East Sussex. Featuring a wide range of local and international guests, live music, radio art and free-form broadcast events and what Ed describes as “audible psychological objects.” If in the area - come in and join us! Five minutes from St Leonards Warrior Square station - and the whole extraordinary Festival unfolds within walking distance.

Sonoro is a series showcasing Mexican contemporary sound and radio artists. The pieces featured here are albums, collages and multivoice essays that lean towards analogous logics of sound capturing, slow listening, interspecies dialoguing and sonorous contemplation. Curated by Ana Martínez de Buen, these works present almost two decades of soundscapes and sound productions that offer a small sonic window into Mexican radio and sound art.

This environmental audio stream is broadcasting live from the 'End of the World' glacier in Northern Italy's Stelvio National Park. The solar-powered listening station is continuously transmitting since July 2025 from ca. 2.700 metres above sea level in the Italian Alps. We tune in daily to the glacier's cyclical sonic material life, allowing us to witness meltwater rhythms, sediment flows, avalanches, landslides, animal life and the seasonal impacts of weather and tourism entering the microphones, in real time. Elemental Foley by Lia Mazzari will be on show as a solo exhibition at Microscope Gallery in Dalston, London from 10 - 26 September 2026.

A selection of experimental frequencies, interviews and sessions plus cuts from the First Terrace label by Alex Ives (Specimens) and Joe Summers.

Born from improvisation as both method and ritual, Tresinus presents On the Way to Sauco, a 30-minute live broadcast emerging from an ongoing research practice developed across the rural coastal settings of Cilento, southern Italy, and Felixstowe, Suffolk, UK. Elemental acoustic articulations, rudimentary instruments and found objects are activated in performance, folding two distant geographies into a terrain of symbolic ruin and speculative memory.

This episode is a contribution by Radio Študent

Silence is never actually silent. Even in a recording studio at a radio station, there is a multitude of quiet sounds, constantly present, unintentionally produced, often unnoticed, which nevertheless make up the basic sonic environment we work out of.

By using the studio itself as an instrument, and its various noisy technological inhabitants as collaborators, this piece brings out the ambient voices which underlie all of the shows, jingles and tracks we produce on a daily basis. Condenser and contact microphones collect the hums of equipment, ticking of clocks, clacking of keyboards, etc, which are then passed through routine processes of effect chains in audio production software, as if they were any human voice or musical instrument.

In turning our attention to these tiny sounds around us, we are acknowledging and exploring the inextricable sonic nature of the studio itself from the audio products we craft within it. As Eno said, “Recording is not the same as reproducing – it’s producing something that couldn’t exist any other way” – sounds are brought into the studio and leave there in another form, with its presence imprinted; the studio has its own life, activity and agency, which co-authors the works made in it. Therefore, we can say that its voices are not necessarily annoying contingencies to be removed; rather, we can see them as intrinsic qualities, fundamental to the objects we produce, like a sonic DNA, or a distinguishing leitmotif, to be worked with rather than against.

Oliver Wagner (2002) is a sound, lighting, and stage technician, programmer and electrical engineer, based in Ljubljana, Slovenia. He works at the community radio station Radio Študent as a member of both the audio technical and IT teams; in addition to routine broadcast and production studio work, he manages infrastructural development projects and performs advanced technical tasks. He regularly provides technical support for lighting, sound and stage at concerts, intermedia art performances, cabaret and theater events in alternative venues. In 2024, he co-authored one transmission of the open radio investigative platform RADAR, as well as one for radia.fm (#997). Additionally, he collaborated creatively and technically in the production of the RAD+ART 15 and 16 events in 2024 and 2025, respectively, at Cirkulacija2, Ljubljana.

Robbie Hopper (1991) is a musician, biologist, audio technician, curator and sound artist who lives in Ljubljana but hails from Scotland. As a sound researcher and collaborator in the performing arts, they have completed artistic residencies at PIF Camp (Slovenia, 2023), Kino Šiška (Slovenia, 2024), the National Center for Dance in Bucharest (CNDB, 2024), the Independent Dance Stage in Talinn (STL, 2024) and the University of Applied Arts Vienna (dieAngewandte, 2025). They are an active member of experimental electronic collective Clockwork Voltage as an artist, of the culturo-artistic association Anarhiv as a workshop facilitator, and of Radio Študent as a broadcast/production technician and co-curator of the open radio investigative platform RADAR.

Members of Radia, the international group of independent cultural radio stations, explore new and forgotten ways of making radio.

Glasgow-based Bobby Jewell presents a series of ambient mixes for Resonance Extra with guest features by musicians and artists.

Sound collage, record spinning, havering, ear wonk and general head scratch with Dylan Nyoukis of the Chocolate Monk label.

As part of La Semaine du Son, GMEA offered a creative micro-residency to a group of 12 young international artists, selected by the different tekhnē partners. The group was invited to collectively develop listening devices in the public space of the city of Albi.

At the end of the residency, they presented their work at several places in the city. This podcast features excerpts – sound walks, installations, in-situ experiments – from the micro-residency.

With the artists Merlin Tessier, Emilia Elouardi, Leo Van Damme, Ana Kulakova, Qusay Awad, Hany Tea, Rita Santos, Élif Guilin Soguksu, Agita Reķe, Flurina Mia Häberli, Jacob Eckhardt and Isul Kim.

Bi-monthly insights into the activities of the European project tekhnē, which started in 2023. The series showcases a selection of artists who share and discuss their work and listen to recorded material. By putting the focus on the user rather than the developer, this project aims to explore the emancipatory potential of technology in music and sound art. Technology as an art of craft, appropriating and transforming existing tools, to imagine multiple ways of creative misuse. tekhnē is a collaborative project, co-funded by the European Union.

This episode is created for the Summer Solstice, where “Plans for the day hover bright out all our doors – don’t think of evening” (Rose Styron). The piece is curated and produced by Ambrose Hrebeniak, Simon McClelland Morris and Chris de Selincourt composed using original material from New School of the Anthropocene scholars.

With contributions from Rhona Eve Clews, Alex Robinson, Michael Timmerman, Chris de Sel, Simon McClelland Morris, Michael Bosley, Jonathan Petherbridge, and Charlotte Randomly.

The New School of the Anthropocene is a radical experiment in alternative education, away from marketisation and arcane specialism towards co-sensing systems change through creative practice. This is an ecological transmission of DIY ethics, non-hierarchical structures, radical networks, interconnected sensing through sound, text, voice, spoken word, human and more-than-human collaborative practice, patchwork group thinking, and radio art.

This episode features music made by Naviar's community inspired by Akito Arima's poem “through the keyhole / the sea fog quietly / flows in."

To have your music featured on the show, participate in the Haiku music challenge.

Thirty minutes of experimental music made in response to a weekly haiku poem, curated by Marco Alessi of Naviar Records and Naviar's international community of composers.

Carefull footsteps along the bank, around horizontal branches, embracing the space. This episode features special guest Timothy Wall.

The recording was made over the Easter Bank Holiday nestled between the trees beside the banks of the River Lea.

Littoral Transmissions meander through the sonic landscape of the River Lea from Stonebridge Lock to Leamouth. Recordings from the field converge with layers of sound to create an aural impression of the navigation.

A series hosted by former synthpop attempter Clint, commuting weekly from Reno, Nevada. Visit jamesoldham.net for press, questions and complaints.

A continuous stream of short musical creations, each under two minutes. Miniature masterpieces interwoven and occasionally interpolated, transitioning seamlessly from the briefest to the longest – a perpetual motion of sound.

Now: Walter Marchetti's Music for a too Small Glass.
17 years previously, Knut Aufermann assisted Marchetti in carrying out this piece in London. Now he performs it himself in the courtyard of Silent Green with evocative old wines from the Mosel valley.

Every day on SAVVY Funk at documenta 14 Mobile Radio (Sarah Washington & Knut Aufermann) delved deep into a collection of artefacts and memories, rendering them into radiophonic form. This series called Render live features old audio formats and conceptual works smothered in the hiss of time, plus special guests.

In this episode, Vague Wanderings takes you underground in the Greenwich Park Reservoir. The reservoir closed 150 years ago and it is completely sealed from the public except for 5 vent holes that are big enough for microphones, speakers and certain instruments.

We're broadcasting live with performances from Christos Stylianides, David Sappa, Lorena Shapiro, and Titus Barker above ground and recording with a microphone 2 meters underground.

Vague Wanderings is a bi-monthly collaborative live show from the 24-26 cohort of School of the Damned, exploring imagined spaces, temporary autonomous zones, collecting field recordings and the fertile topsoil of vague terrains.