← Today's Schedule →

In this episode, we use the online video site Astronaut.io and multiple browsers to create compositions built from the textures and landscapes that are conjured up when time and geography are flattened.

These videos come from YouTube. They were uploaded in the last week and have titles like DSC 1234 and IMG 4321. They have almost zero previous views. They are unnamed, unedited, and unheard (by anyone but you).

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.

• Chapter 1: For the Love of Captain Nemo

• Chapter 2: Airs A-float

• Chapter 3: Wet Lands

• Chapter 4: A Bird A Ghost

• Chapter 5: Tubular Delights

• Chapter 6: Cicada-Machines

• Chapter 7: Three Islands

• Chapter 8: The Slow Marriage of the Kraken

• Chapter 9: Whatever They Said (The Air Took It)

• Chapter 10 Bell Walks

• Chapter 11: Ghost Hour

• Chapter 12: La Chute + Elegy for Engines

• Chapter 13: Sleepwalk On A Timeline

• Chapter 14: Shoreline Ditches/Errant Crowds

• Chapter 15: Out Of The Dirt Into The Pocket

• Chapter 16: Songs For The Sheepless

• Chapter 17: Winter Tales

• Chapter 18: Wheels and Wings

• Chapter 19: InstruMentalities

• Chapter 20: A Garden Patch

• Chapter 21: Becoming with Beasts

• Chapter 22: Pancakes & Moose

{A Wave Novel}

Thinking of waves, thinking maybe of radio, I imagined a wave… sloshing/rolling on for 22 hours. As in an ocean, a wave does not exist by itself. It moves with others in intricate patterns and feeds on the energies of the wind. Small ones at first, all miracles of physics, they become a 4-dimensional being, rolling over, licking, and spitting. Here, these waves are all field recordings. Roughly edited, crinkled, rubbed over, and folded over, many untold, scraped out from undated folders. In short, all I could find on my hard drives.

You will hear airwaves, dog waves, train waves, ocean waves, mountain waves, frequencies, giggles, long and shortwaves, smooth ice cream waves, waffle waves, starry waves, market hawkers, singalongs, waves of the same feather, rains, drains, amethyst waves, air ventilation systems, froth, and spit, light and dim waves, shining radio rubies, dissonances, tapestries of noise and rubbish, lonely cricket waves, garden chit chat and bells ringing under the sea.

Each wave field is constituted by sets of mindful-magnetic attachment and randomized choices among recordings of a kind. A balance of order and disorder expressed in paired or mirrored timelines in one piece. There are loops down below the surfaces… some very recognizable, others mimic invisible relations. Some pieces just bob up and down next to interspersed debris and waste. Parallel narratives touch the shoreline at different points.

There are waves and there are in-between-waves, gushing with amoebae, plankton, and micro-plastics. Planning a wave is near impossible, it is an infidel to the laws of mechanics, and it has its own spell(ing). This was my plan: A wave builds up, slowly. Maybe unnoticed at first. Maybe it decides not to become a big wave but to disappear among other audio dimensions. At some point in time, it becomes a BIG wave. With a foamy crest fashioned from shortwave fragments.

Air tears at the water. The molecules will rub against each other, will jump up in the air, will be taken up by stormy winds to encounter seeds and scents. A shoreline comes into sight. Bells ring out. All waves finally become awash against a rocky beach. There are pools in between the stones, blinking hide-aways where marine animals shine their claws and algae dance. The pools are closer to the human world: a singing pool, several ones haunted by ghosts and other stories, puddles of doubt and debris, a garden patch, a basin filled with sounds fallen out of pockets, a culinary night market…

Waves offer no paths. Our mind, in a nutshell, floats on them. I got lost, often – while recording and while listening. Just like it happens with most radio waves.

The seas are open.

Gabi Schaffner works as a trans-disciplinary artist within the realms of radio art, musique concrète, and performance. Her artistic practice is determined by the methods of poetic ethnography in connection with fluxus-like mise-en-scènes, radio-making, and composition. Much of her work originates from journeys. Next to her radiophonic productions, Schaffner creates speculative musical genres and inserts them into music history in order to raise awareness of cultural, gender-related, and/or geographical conditions.

Schaffner has been realising award-winning productions with Deutschlandfunk Kultur, radia.fm, Hessian Cultural Radio, and ABC Australia. Since 2012, she maintains “Datscha Radio”, a nomadic transmission project that links the medium of radio to current ecological issues. As a writer and translator, she has published numerous texts; most recently: "RevoltenDiaries", in: Radio Revolten, 2019. She holds a MA in literature and ethnography and a diploma in visual communication. Gabi Schaffner lives in Berlin.

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.

This soundscape composition is a response to the World Listening Day, taking place annually on the 18th of July. This year's theme is Future Listening. What kind of future does the constantly transforming soundscapes of our cities, towns and country sides foretell? Which sounds, both those favourite and cursed will we say goodbye to and what new kinds of sonic phenomena will populate our future environments? The best way to experience this feature is by taking a walk and listening to it on headphones, wherever you happen to be.

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.

The final throws of sunlight nestled by the filter beds.

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 six part radio series in English and Welsh, realised close to the sources of the rivers Severn and Wye, in Powys, Wales, summer 2026. Made by Ed Baxter (concept, texts, montage), Steffan Cennydd (voice), Richard James (music, field recordings) and Michael Umney (interviews, field recordings, production). With contributions from Dan Craig, Sandy Craig, Neil Haymer, Dewi Roberts and members of Tai Haf Heb Drigolyn. With help from all at The Hanging Garden, Amanda Thesiger, Tim Meacham, Ffion Emyr and Mike Wooley. Supported by The Colwinston Foundation, Hinrichsen Foundation, The Leche Trust and Unity Theatre Trust. To all of whom, profound thanks. A Resonance Production.

In this episode, live recordings by Alex Cruz Sesper and Hagai Izenberg, playing a quadro-vinyl setup, transforming raw recordings into obscure ever-shifting landscapes,

Their sound sources consist solely of vinyl records—BBC archives, sound effect collections, and unexpected audio fragments such as a Chinese learning vinyl, recordings of laughter, football crowds, foggy harbors, chirping birds, and the distant echoes of artillery.

Alex Cruz Sesper, born in 1973, is a self-taught artist whose artistic journey began in the late 1980s, deeply immersed in subcultures of hardcore punk, underground music, tape trading, and independent publications (fanzines). He was a member of several well-known bands and music projects in Brazil for decades.

Radio Concrete by Hagai Izenberg is a monthly experimental radio show focusing on live mixing and processing of field recordings together with contemporary music and soundscapes.

This episode focuses on the rare experimental and deviant music that can conceptually be called the "dancefloor destroyer". Its narrative unfolds from early electronic, synthesizer and computer music and we discover that the only Soviet major label without any censorship boldly released music in the genres of EBM and no-wave, sympho-prog, acid-opera and even “post-pop”.

This episode is less about the music of all the countries of the Soviet Union – only focusing on Estonia, Latvia and Russia – but is rather my personal poetic statement, representing the diversity of Soviet experimental music in the late 80s and early 90s. This music sounds extremely modern right now. I chose the neo-romantic twist of Nochnoy Prospeckt's Antidisco Song as the main motif of the release, which opens and closes the show.

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.

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 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.

"I salt my breakfast eggs. All day long I feel created" – Anne Dillard, Holy the Firm (1977)

A Table of Contents was produced, mixed and mastered by Dominic Jaeckle and Simon Tonka, © 2021; the readings were recorded at home by Polly Barton, © 2021; accompanying soundtrack, Matthew Shaw & Mason Lindahl, © 2021; artwork, Hoagy Houghton, © 2016.

Dominic Jaeckle is a writer, editor and broadcaster. Jaeckle curates and collates the irregular magazine Hotel and its adjacent projects, and runs a minor publisher Tenement Press.

Polly Barton is a Japanese translator and writer, living in Bristol. Her book Fifty Sounds is published by Fitzcarraldo Editions. Translations include Where the Wild Ladies Are by Aoko Matsuda (Tilted Axis Press) and There’s No Such Thing as an Easy Job by Kikuko Tsumura (Bloomsbury International).

Matthew Shaw is a composer, author and artist; Shaw is currently working with Shirley Collins & Brian Catling on Crowlink; a sound installation and recording project featuring Collins’ recitation of English folk songs collected over seventy years, poetry from Catling and Shaw, and fragments of letters, diaries and prose from Virginia Woolf, Vanessa Bell and the Bloomsbury Group. Shaw’s Atmosphere of Mona, a book of poetry and photography, was published by Annwyn House in 2020.

Mason Lindahl is a guitarist and composer based in New York City. His finger-picking style is largely influenced by minimalism and classical music. He grew up listening to folk and country music in Northern California, where he was first taught to play the guitar by his father. Lindahl’s recent record Kissing Rosy in the Rain was released by Tompkins Square, 2021.

A work by Dominic J. Jaeckle, Polly Barton, Mason Lindahl & Matthew Shaw. Grounded in a book that collects a roll-of-film’s worth of co-dependent photographs and prose-poems by artist Hoagy Houghton and writer Dominic Jaeckle (36 Exposures, forthcoming from Dostoyevsky Wannabe), A Table of Contents is a quilt of first- and second-hand reticulated reflections and ratiocinations; a ‘disembodied voice-over’ for a set of absent images, memories and other assorted totem poles.

This episode focuses on Ambient Owl Core; the genre tag Kayla created to describe ambient music she creates with field recordings of Owls and other night time creatures.This is a slow listening show, with detail, quiet and sound textures from field recordings of recent walks, sampling, and original Ambient Owl Core tracks.

Featuring additional samples from: Buddha Box 1, Buddha Box 4, Wildlife World - The Basics of British Owls with Owl Conservationist Ian McGuire, Field recordings from walks in St. Werburghs, Bristol, Fairy Cave Quarry with Neil.

Ears to the Ground: Adventures in Field Recording and Electronic Music by Ben Murphy.

A monthly show exploring our innate connection to sound, and how we express that through music, showcasing work that connects to our body and minds through rich compositional choices, through intricate processes in the studio, or music that is inspired by the way we interact with the outside world. Connections to Sound journeys through downtempo, electronic, ambient and beat driven music, featuring tracks from artists all around the world. Presented by Kayla Painter.

This episode is a contribution by Duuu Radio.

Duuu Radio presents a compilation of tracks from the album “mILLième” (2025). With mILLième, the artist duo Cécile Tonizzo and Nicolas Couturier set out to explore, over a stretch of 217 meters – one-thousandth of the length of the Ill River (Alsace, France) – a fragment of landscape, blending performance, sound design, and graphic art.

In July 2025, a temporary collective was formed for five days with Cyril Magnier, Manuel Zenner, Curtis Coco, and Aquila Lescene. The group built a floating platform, created sound-recording instruments, and printed a series of t-shirts using elements from the Ill. They recorded a collection of sounds, discussions, and musical improvisations for this stretch of the river, with the aim of producing this sound edition.

Produced by the CEAAC, in collaboration with the CSC du Marais in Schiltigheim. The project is part of the “l’Ill – Une collaboration avec la rivière ” initiative between the CRAC Alsace in Altkirch, La Kunsthalle Mulhouse, and the CEAAC in Strasbourg, a collaborative project made possible through the “Mieux produire, mieux diffuser” program established by the Ministry of Culture – Drac Grand Est and supported by the Grand Est Region.

Special thanks to Zoé Colombani and Charlotte Raimbault.

Compilation tracklist : Merle Jam – Est-ce que la rivière a changée ? – Milles rivières – Mise à l’eau – Sillure.

Radia editing : Mathias Dupaquier / Duuu Radio

You can listen to the entire project on Duuu here.

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

In this special episode, Vague Wanderings comes live from ICA for two hours of School of the Damned’s PULSE event. We’ll be bringing you performances and sound works exploring ‘conjuncture’: moments when social, political and material contradictions intensify and overlap.

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.