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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.

Karukinka is a radio choreography -the result of the relation of a score of fire, bodies, space, time and memory- that explores multiple dimensions of the sense of distance. Things that fire brings together. During the last summer in Argentina, I repeatedly found images of the fire on the front pages of newspapers. Most of the news was referred to forest fires, some others to street protests.

During the last winter, I had invited a group of people to participate in a series of meetings under the title “Warming listening, melting distance”. There, around campfires, we proposed experiences that tended relationships between heat and sound. Heat, like sound, are volumes with diffuse edges that radiate and transform bodies, occupying the space between. They set the scene, an ambient.

Between the covers of newspapers and incendiary television channels, one day, lost on the web, I found NASA's FIRMS (Fire Information for Resource Management System) project: a map that shows thermal anomalies around the planet in hyperreal time.

I saw a red planet.

Time flowing.

A force.

A possibility of approaching the fire far from the notion of catastrophe. It was in this derive that Karukinka appeared. Karukinka is the name that the people who inhabited what currently occupies the Argentine province called Tierra del Fuego gave to their territory.

KAR: extreme, very

HUHIN: land, ground

KA: own, ours

On a tape, Angela Loij recounts the story of Karuk, telling how people came chasing guanacos and an earthquake left them confined to the island. Karuk is the edge, the extreme, the far. In Karukinka, I will be away. I'm going to broadcast live a 22-hour campfire, lit somewhere in Argentina. An installation of FM radios will play field recordings, songs, stories. A live radio choreography, scripted by fire, that cannot be rehearsed without realizing. Maybe some friends will come with the things that fire brings together.

smoke signals

transmit

the fire too

gathers

teaches

tender ways to burn

Florencia Curci lives and works in Argentina as a sound and radio artist, performer, and curator. Postgraduate in Expanded Music at the UNSAM University with the project “The broken tool”, a research on non-human listening. Since 2017, FC is the Director of CASo (Sound Art Center), an institution dependent on the Ministry of Culture of Argentina promoting artistic research on sound, experimental music, and social acoustics.

There, Radio CASo was founded in 2020 as an online paramo for the Argentine sound art scene, a place to congregate during the pandemic. Her work was commissioned by KunstRadio, AMEE, CA2M, MediaLab Prado (Madrid, ES), Centro Cultural Kirchner (AR), and her live performances were presented in Festival Aural (MX), Tsonami Sound Art Festival (CL), Bauhaus-Weimar Radio Art Residency (DE), among others.

Investigaciones del Futuro (IF) is a non-specific institution run by artists and architects in Villa Lynch, Buenos Aires, Argentina. At IF we work from practice to theory, often in cooperation with other institutions, groups, and individuals. IF adapts to varied circumstances, always prioritizing the practice of socially committed artistic research in the fields of education, urban planning, construction, energy, technology, and the environment.

Our programming includes exhibitions, concerts, talks by artists, readings by writers and poets, performance art, and live radio. We also have a carpentry shop, a radio studio, and the workspace for Biblioteca Popular Ambulante, a conceptual poetry project that works with trash and other discarded materials as language.

Radio Art Zone is a 100-day radio art station by Radio ARA and Mobile Radio for the European Capital of Culture, Esch2022. It is broadcast in the south of Luxembourg by Radio ARA on 87.8 FM. It is also live-streamed for a worldwide audience and transmitted by a network of international partners.

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 has been 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.

For this sixth episode of his collected recordings, he presents three works:

'Hatebreaders' (2014)

This is Davide's own version of the Misfits song.

'I Can't Give You Anything But Myself' (2014)

This work is Davide's own version of the Cat Power song, 'The Greatest'. It comes with a dedication:

"To the ones I love. To the ones I hate.
I can't give you anything but myself.
Always be human. Always be you."

'You Are Here With Me (Part 1'

This is the first part of a collection of recordings made by Davide between 2005 and 2018. The recordings include interactions with acoustic spaces, actions performed with microphone(s), musical rehearsals, and reinterpretations of punk songs. The shared aspects of the recordings are human presence, non-professional voices, and musicking.

Davide Tidoni is an artist and researcher interested in the relational dimension of listening, and in the physical experience of sound. He works with live performance, intervention, audio recording, video, and guided listening. He recently published a sound ethnography on the ultras group BRESCIA 1911. 'Collected Recordings' is a series of works selected by Tidoni from his extensive back catalogue. Produced by Milo Thesiger-Meacham.

In this episode, three artists who have been in residency at Q-O2 in Brussels over the past few months: Brussels-based Soumaya Phéline, Elijah Maja from London and Claire Williams, also based in Brussels. They share insights into their artistic practices, and discuss their experiences during their residencies. Several sound excerpts from their work are woven throughout the episode.

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.

And Then finds Ed Baxter and Michael Umney in conversation about Resonance FM. This series was commissioned by the Independent Community Radio Network and was supported by the Nordic Culture Point Nordic-Baltic Mobility Programme for Culture. Produced by Michael Umney and Ed Baxter.

The idea that song, and the performance of song have some kind of efficacy or sympathy beyond the realm of living humans is an idea that lives and thrives in places far flung from this cluster of mild islands, but has gotten lost and buried in 21st century Western empiricalness. We hope this opens some windows for you.

Some liberties have been taken with interpretation; melodies swapped out, lyrics changed, structures altered, sounds invented, stories retold, truths averted.

Tracklisting:

• Phalay

Secret Reformation-era Votive Antiphon from Stoke Minster (anon).

• Lichens

Early Renaissance Invisibility Spell from England & Denmark. Adapted from The Grand Grimoire (misc., anon.)

• Evergreen

Setting of HeartKickUKTM defibrillator manual text, accompanied by vaguely traditional leaf-blowing techniques.

• Oh Great Goat

Animal Husbandry Song, (anon. Yak Herders), circa Ambleside.

• Janey Has A Friend

Folk song from the 1980s about The Enfield Poltergeist, sung to the tune of “The Bow Gallows”. The story concerns a case of a notorious poltergeist haunting in a small residential house in Enfield between 1977-1979.

A family including two young daughters (Janet was one of them) were tormented by flying objects, toppled furniture, levitations, loud banging. The ghost, who introduced himself as “Bill” spoke through Janet’s own vocal cords in a gruff, low register.

Recorded at Akademie Schloss Solitude, Stuttgart, Germany, and live at Cafe Oto, London, UK. Recorded, mixed, edited by Neil Luck. Cafe Oto live recordings made by kyle acab. Cover illustration by Monika Czyzyk.

Five English Folk Songs by Neil Luck & Mimi Doulton is a collection of marginal traditional singing techniques and songs dug out by Neil and Mimi. These five songs all explore magical forms of communication with non-human energies; Flora, Fauna, Deities, The Dead, and the Quasi-Dead.

In this broadcast, a showcase of new works for radio created by Sound Arts BA Year 1 students at London College of Communication in 2026. Six distinctive works for radio, ranging from visceral mash-up to light-hearted drama.

This broadcast comprises:

“Untitled” by Rior Wang and Elison Chen.

“Of Zoning Out” by Berk Atterberry, Billy Bruce, Chris Henderson and Luka Vulinovic-Zlatan.

“Echoes of the River” by Bernardo Freitas, Mia Munoz and Amy Pix.

“The King's Parade” by Kieran Polanco.

“Cults” by Marco Conway, Declan Corr and Simon Gajewski.

“Best Partners” by Danyan Qiu, Rendi Wu and Ken Zhang.

Occasional radiophonic works by students of the BA and MA Sound Arts and Design courses at the London College of Communication, UAL.

Nova Waves presents Passers-by - the first episode of the series 'Strange Morals'. In the middle of a busy public space our main character stands listening to the snippets of passers-by desperately seeking the relevance and meaning of strangers words.'

Three short stories exploring life moments and exchanges between people, brought to you by Nova Waves.

This episode is dedicated to the folk music of the indigenous peoples of Russia. On the territory of the Russian Federation, according to the latest data, there are 193 peoples who speak 277 languages and dialects. In its time, the Soviet major label Melodiya did a huge amount of work trying to record the traditional music of many regions, travelling thousands of kilometres on ethnographic expeditions.

Many records released in the wake of those trips are now rare artefacts. I can say the same about digitised copies - there are not many music files on the web, which somewhat limits the breadth of modern research.

Even so, an hour-long episode cannot contain even a tenth of the folklore music that was released on Melodiya. I worked with broad strokes, showing the music of only 20 indigenous peoples of the country – including the Pooziorets of Vitebsk. We hear traditional tunes from the westernmost region - Karelia. Then, we listen to the cheerful sunny melodies of the peoples of the Volga region, the free music of Kalmykia and the North Caucasus, and delve into the cold shamanic rhythms of the Far North.

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.

A selection of new experimental music and sound work from the international underground network Unexplained Sounds, curated by Raffaele Pezzella (Sonologyst).

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.

Certified Tonk showcases improvised music as a shared act of discovery, where meaning appears without being forced, and ego drops away for creativity to take over. This series is an invitation to listen differently, stay present and let the music lead. Andrew Backhouse is an artist and radio geek based in North Yorkshire who has always loved radio and sees it as a place for exploration, not answers.

An immersive psychosonic space, where sounds converse, collide and converge, featuring works, selections, edits, experiments, new music, non-music, archival objects, abstract artefacts, sound(system) and A/V art, pop, trash, noise, voice, and the associated mediums, processes and techniques that make up the ongoing audial investigations of Agents of the Culture Industry & OVT, all presented for art not profit.

Ambient, folk, ritual, electronic, dub, free jazz and exploratory works selected by BroodingSideOfMadness.