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This episode features the albums Juçara Marçal & Cadu Tenório: Anganga (2015; QTV/Sinewave, Brazil), Lucas: Panasonic (2017; Seminal, Brazil), Noturno Deposits Vol. I (compilation) (2017; Meia Vida, Brazil) and G. Paim: Sharpest Knife (2017; Subsubtropics, Brazil).

Investigations of the Brazilian experimental music scene via Rio De Janeiro's Quintavant label in collaboration with Audio Rebel. With live performances and exploratory sounds produced in the context of Brazil's strange political situation, curated by Francisco Mazza, Bernando Oliveira and Pedro Azevedo.

In this episode, Concepción Huerta and Fe Sexta share a wide range of music, recordings, and sounds that influenced them on their journey towards mapping relationships between personal and collective memory across regions of South America, which resulted in the commissioned work MAPS : Electronic Resonances Between Ecuador and Mexico premiered this year at CTM Festival.

MAPS aimed to revive audio archives of pioneering electronic music composers in Mexico and Ecuador, active in the 1970s.

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: tracks from the legendary Pauline Oliveros plus London based artists such as Specimens and Raxil4. Included also a personal remix of Alvin Lucier's manifesto 'Music On A Long Thin Wire'.

Nicola Serra, founder of East London's experimental music festival Dronica, presents new and archival material.

Music by Marilyn Roxie, Sevenism, Fellirium, Red Plane, Natural Life Essence, Jodie Lowther, Lezet, Bisamråtta, Heaven Deconstruction/The Young Gods, Carl Matthews, Queen Adreena, Wet Taxis and Doctor Ellis.

Phantom Circuit is a show of strange and wonderful sound waves - featuring music that is alien, electronic, exotic, essential.

In this episode: does music have to be serious? Does music have to be rational? Does music need to conform to the rules? According to contemporary postmodern artists, no.

Postnew is a modular theory, describing the fluid development of aesthetics. Every movement has a post-movement, every end is a beginning, every post-aesthetic will be followed by a post-post-aesthetic. Join the mailing list here.

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

As a guardian of the Slice, Stephen Shiell is exploring and understanding the site as both a public sculpture and a private environment that sits beyond the boundaries of the usual. These radio shows are recordings of live events, happenings to explore the tensions that exist between the public and private.

Curating the series around his own love for experimental electronics and improvisation is a way for me to bring communities into this setting, a chance to celebrate an underground London culture in a place that hasn’t been commercialised or capitalised, even though it lies in the heart of these very environments.

‘Naus’ refers to the Ancient Greek word for ship, and also recalls the word nausea, a ‘ship- sickness’, that reflects the artist’s feelings towards the neo-liberalist landscape surrounding the ship. The sounds created here are a form of electronic improvised noise resistance.

This episode features Tom Hirst, Elif Yalvac, & Mohammed Rowe. Recorded live by Ian Thompson.

Stephen Shiell is a London-based sound artist, composer and improviser working across experimental music, radiophonic art and site-responsive process. His work explores listening as a social, ecological and political act, engaging sound as a way of understanding place, environment and human presence.

A show of improvised electronics recorded live on board A Slice of Reality – a vertical section of an ocean going sand dredger that stands on the foreshore of the Thames at North Greenwich in London, since its placement there 25 years ago. Originally conceived of as a sound bite of lost industry to mark the turning of a millennium, the realities the ship witnesses are now very different - the high octane leisure industries of the Millennium dome and the docks, and the global finance district at Canary Wharf.

In this edition of Shuffle, get ready to listen to the weirdest and most mind-blowing covers and drifts of Smells Like Teen Spirit by the grunge band Nirvana. There's no order, no lists, just exclusive, overwrought fandom material. Guitarists, violinists, monks, deodorant lovers, octopuses, Soundcloud stars, cats,... all are welcome in Shuffle mode.

Shuffle by Agnès Pe is a formula radio programme taken to the extreme: repetitive, obscure and humorous. Each episode presents obscure covers of a single song. “Anything that spreads by imitation or spreads by bodily reproduction, like genes, or by viral infection is a meme” - (Richard Dawkins, 2013).

William Fields explores the potential of algorithmic music through the process of recreating (and inventing?) genres with his musical operating system.

In this episode, sounds from the depths of Mars, transmissions from the Voyager 1 and 2, and reports from an Unidentified Space Station.

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.

yeah the hider

yongrak activeates that dark breath in my ‘chest wall’
oozing (weezing) out like speaking the leaking spout

the gammar is taken off
gamma takeoff
grammes
the darkness of game

decomposition and clay retrieval

smuggling clairty in rotoscopic lava

“atrocios”

”-itis’ (disease idea)

so heavy you cuold never lift it and then it rushes your blending (flenders II) (HURLY IFLENDS)

did i give you rotten mound permissions

Bask in this knowledge bath
Basking like shark
“bath” (graey water)

talk about ‘beaks’ ‘mouth’ ‘melt’ ‘weak’

head carve
and each slice reveals hendred four new old worlds

Martin relegation hile filve

VORE spacial Em rotery

every word is subject to change, every word is subject to chance, every word is under the scent, every word is under the weight of it and under the bed, under the hill running under us like deep savage sewer
every word is in “quotations” every word is in vocalic choke hold, vocalic colic, vocalised rize and local rice

“nerve gaga”
harry ‘Plotts’
Yerng Woosh

It sounds like waste with an attention to science
It sounds like haste with slowness alliance
It sounds like taste of ceffalize nevermine

garstly expediency
running through lanes hooting
moola lanes

There is a sense of biology a nervous biologeme a biology of language
might sound silly might sound defunct but I’m rolling around
I’m rolling around in the callous victim of cartoon idea
the fallus whip
little metal script
high tide my life scrolls past
tiddle war happy leggo tiddle war
flipping to them

the body of the name and the name of the body
and so much can happyen in twenny secons
fortey naine seconds hellish remainder plain stark fish flinger

tcker tape acknowlegesys the remidner that truth remains in the length
up and down, left and right, through and through
long through my team of loose screw tighten and rubbish them the men the you
I’m led by a string of socking sound that extends beyond my many men like 50 cent
Hundred bags forteen bags the ninestyle rags the hyper ‘sags’
the usage of quotation the talking the station I’m generation I’m generating elocquation
electriquaytion

and is junking through the pile even really necessary
thats i what find mytself asking to myself
hard back dust sack must

all emerging from the darkness
nothing in the light
the dark is the hot light
this is language disbanded from the mouth mouth
language got hunted down lang dspreay

and now i want to tell everyone “shitu p” if they tell me the AI, the after space the last city in the world and The alien is getting me, i tant to tell them ‘lose you’ if you tell tme this is technology at the end, this is the game, this is ‘Japan’ i tell tehm ‘goodbye’ take the piss mate. this is not the thought from that place this is more than you could ever imagine. its within the crux and the plex, hunting from the beginning and never finding. Indle spiralling into the thicket stash. Hilling the running the lung got caught on the brush.

Commissioned new work from contemporary sound practitioners and other audio choices from experimental electronic collective The Spirit of Gravity.

On each of the 42 days of the first Covid-19 lockdown we walked the streets around our home. Recording, tracing, re-tracing, our steps slowly marked the limits of our permitted walking, our contained walking, an act of walking that drew a boundary, an edge that I came to see as the shoreline of an island, an imagined island, an island of containment; I named it Contención Island.

From daily field recordings I use random procedures to pick days and durations to build 60-minute sets of chance encounters across the 42 days, encounters that are shorter or longer, that move forward and back through time, that reflect the sense of strangeness of those days.

You can listen to the complete recordings and read the daily mesostics in full at martinpeccles.com

embodiment -:- walking human movement -:- place more-less natural -:- distance time over across -:- field recording -:- poetry -:- composition -:- martin p eccles

The barely present cult Canadian stand-up comedian Baconface plays lengthy and mainly uninterrupted selections from his late brother's extensive record collection of '60s and '70s psychedelia, progressive rock, free jazz, folk, acid folk, folk rock, acid rock, electronic music, and ethnoforgeries. In association with the Chilliwack Office of Leisure.

In this first episode we travel to the East – to Transcaucasia and Asia in the 70s–90s: we listen to colourful Korean funk, sunny Azerbaijani jazz, desert Uzbek folk and traditional dance music from Laos and Burma. That's all folks!

I want to dedicate this show to the anniversary of the Melodiya label – it turns 60 years old on the 23rd of April 2024. And the best thing is that the label is still releasing music.

Uzbekistan-based DJ and boss of the experimental TOPOT label Eugenie Galochkin presents rare vinyl rips from the Soviet Melodia label. Melodia has released music from all around the world: from obscure Baltic electronica and free jazz from Siberia; to synth-pop from Tajikistan and academic avant-garde from Ukraine. The series will explore how national and cultural characteristics are embedded in musical language.

In this episode, Shoko Yoshida and Ramilda join Joe live in the studio for their second improvised 'sitting', following up on their initial 30-minute improvisation on bass guitar and cello in October at Minor Attractions, where Late Works soft launched a new recurring event titled Sitters.

The radio counterpart to live intermedia event series Late Works, hosted by founder Joseph Bradley Hill. Each week a new guest joins Joe in the studio to discuss and perform their work. Expect in-depth interviews, live performances, conversations and new event experiments.

This month: Souk and Sucata goodies circa 2018-2020. A vintage year for both sister labels. Weird vibes galore.

A loose drift through misaligned pop, outsider electronics, folk shards, radio ghosts and accidental hymns, presented by Gonçalo F Cardoso. Visit www.discrepant.net/radio for more information.

In this episode, part 2 of two recent interviews with Mocrep and Ole Hübner, and a recording of Exvot III by Sara Cubarsi.

Ensemble x.y is a contemporary ensemble that commissions and performs new music in a flexible and ever-changing lineup. Run without traditional roles or hierarchies, Ensemble x.y develops its thematically-charged programmes according to the taste and interest of its core players, as well as the developing working relationships between resident composers and instrumentalists.

This episode features music made by Naviar's community inspired by Yatsuka Ishihara's poem “In the sky, the sound / of a mountain stream — / blossoming cherries”.

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.

60 minutes of vivid aural excitement mixed by Ian Murphy.