← Today's Schedule →

In this episode: Feedback.

A monthly collection of audio experiments and listening objects with sound artist Matt Burnett from Berlin.

This episode is dedicated to the first Meloman M-110 music machines in the Soviet Union. Cabinets with music weighing 130 kilograms began to appear in the 60s in places where citizens would rest – cafes and restaurants, sanatoriums and cruise ships. Each jukebox held fifty seven-inch records and accordingly allowed listening to two-hundred songs.

In total, Melodiya issued about two-hundred records for Meloman - they were not sold in ordinary shops, but the music recorded on them was popular among listeners. The cost of listening to one song was only five kopecks, while the price of a seven-inch record at retail was seventy kopecks and more.

Meloman's repertoire included mostly city pop music of the 60s and 70s in the languages of commonwealth countries. However, in this episode I tried to include not the biggest hits of those years. You will hear bubblegum pop from Poland and Japan, psychedelic rock from Azerbaijan, pop chorals from Georgia, foxtrots from the GDR, as well as a lot of jazz and swing from Russia and the Lesser Caucasus.

It is believed that it was through the Meloman's speakers that Soviet citizens first heard the The Beatles' music – not the original recordings, but performed on a Hammond organ. In 1967, Keith Buckingham recorded a medley of three songs by the Liverpool 4 and this was included in the repertoire of the Soviet Jukebox and in this episode (track 11).

It can seem that the repertoire of the Meloman music machine sounds rather utopian: "I walk and sing and the street sings. The traffic light winked: ‘Go ahead!’," – Soviet pop diva Edita Piekha squints with pleasure in her schlager. It seems to have been so! Meloman's popularity waned in the late 70s, when clubs with live ensembles began to appear in big cities, personal vinyl players became available to almost every worker, and soon the rough rock of Perestroika became fashionable.

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.

This month: a discussion of Sun Ra's groundbreaking use of synthesisers with writer and critic Francis Gooding.

Monthly investigations of music politics with Paul Rekret.

In this episode, a guest mix in the second hour from Trash Panda QC, whose album ‘Jumps 19’ is out right now on Conditional.

Tracks from across the spectrum of electronic and computer music, with Calum Gunn of Conditional.

In this episode, Low Cloud, High Pressure, Drizzle, a new work for radio by Benedict Drew.

Communiques from Thanet Tape Centre, Hard drive sludge. audio tidal pools. Music sediment. Friends utterances, sea walls of noise, salt marsh drone.

In this episode, Joe is joined in the studio by Dan Knight for an interview amongst track selections including John Coltrane, Rosy Parlane & Philip Glass.

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 episode works with 24 random samples from a 24-hour recording – island woodland, island walks, the island circumference – to build a ‘one-hour-day’. Engage with a hebridean island, listen to chance sonic encounters with Canna, hear one day.

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

Tse Tse Fly Middle East was a nonprofit arts and activist organisation that existed from 2015 until 2023. Throughout that time, it presented a monthly two-hour radio programme showcasing sound art and experimental music from the Middle East, India and North Africa.

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.

In this extract from the day, a live performance of improvised and reimagined music and text from the project Dead Cast Bounce – a collaborative performance work by Gary Zhexi Zhang and Waste Paper Opera, telling tales of time, money and the unmaking of reality in the wake of catastrophe.

The original piece unfolds over five vignettes, blurring the lines between capitalism and ritual, finance and nature, belief and manifestation. The original score merges the Baroque music of Niccolò Jommelli and J.S.Bach with mimetic improvisation, choral rounds, synthpop and the textures of public speaking. Dead Cat Bounce takes the form of an oratorio, a medium of vocal performance used to deliver a sacred narrative.

Music by James Oldham. Text by Gary Zhexi Zhang and Klara Kofen.

Violin – Chihiro Ono; drums – Cameron Graham; additional performer/band leader – James Oldham; banker/reader – Klara Kofen; banker/Namazu – Gary Zhexi Zhang; Mezzo soprano (Jeremiah) – Suzie Purkis; Baritone (Real Estate Agent of Miami) – Themba Mvula; chorus – Jacob Bolton, Keir Cooper, Gabriella Demczuk, Klara Kofen, Livvy Lynch, Themba Mvula, James Oldham, Suzie Purkis, Gary Zhexi Zhang. Thanks to Resonance Extra, Milo Thesiger-Meacham and Travis Yu.

Waste Paper Opera is an experimental music theatre collective currently based in London. Defining “Waste Paper” as any found text with the potential for recontextualisation, we write music, build structures, make costumes, and write stories using Waste Paper.

Archival recordings of a 7-hour radio event broadcast live from the Resonance Extra studios on the 29th January 2023, featuring live performances and new and exclusive audio works.

This time, Athens Inner City Broadcast mutates into Houston Inner City Broadcast for a special episode focusing on the city's rap scene.

Explorations of the inner city sounds of Athens and surrounding areas through lucid soundscapes and site-specific transmissions.

In this edition of Shuffle, get ready to listen to the weirdest, mind-blowing covers and drifts of All the Small Things by Blink 182. There's no order, no lists, just exclusive, overwrought fandom material. Guitarists, violinists, babies, acapella squirrels, octopuses, brainwaves, SoundCloud stars, dogs and 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).

Brooklyn-based Olivia Bradley-Skill presents Lo-fi Goddesses, live sound collage and original radio artworks inspired by female-fronted post-punk bands and experimental dance music.

Beset by all manner of mission creep, this wilderness media study concludes with readings from anonymous diaries, found in a previous episode, and a smattering of unknown lost media against an unwelcome backdrop of unsettling noise from nextdoor neighbours carrying out illegal, unlicensed, unregulated structural alterations.

Asphyxia was originally broadcast as a 22-hour single transmission by Radio Art Zone, and, as can be expected, this final hour is an implosion under the gravity.

Originally commissioned in 2022 as part of Radio Art Zone's tapestry of 22-hour radio productions, this project by Daniel R. Wilson is re-presented here in episodic form. Asphyxia hacks the antagonising systems which thwart and forestall projects (its name also acknowledges the asphyxiating atmosphere of long-form radio when made by a single person). It is a damaged would-be radio documentary exploring the Narnia of restricted access material and gatekept employment.

SXCL is a versatile musician from Reunion Island. Producer and disc jockey since 2017, they have been morphing their style with time to fit their eclectic taste. Going from house to progressive trance, to electro and more recently to old-school techno, their versatility brought them to play in venues like Säule, and recently at the Festival Electropicales alongside artists like Jeff Mills and Danilo Plessow.

Sensitive to the intricate textures of electronic music, SXCL masterfully merges house and techno, blurring the lines that traditionally separate them. SXCL crafts their sets with meticulous care, prioritizing the audience's journey above all else. Expect a touch of melancholy floating around.

Twice-monthly broadcast showcasing electronic music produced by members of the female:pressure international network of female, transgender and non-binary artists practising in the fields of electronic music and digital arts.

Radio Picnic is a mobile radio art project by zonoff which invites multi-disciplinary artists to create works inspired by the radio medium.

This episode focuses on found sounds that connect with us through our minds and bodies, finding moments in music to connect us with the present. Join Kayla for a journey through experimental tracks and immersive soundscapes.

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.

New music with The Wire Magazine.

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

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.