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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.

In this episode, four short talks with artists NikNak, Nick Klein, Tintin Patron, and Vomir, presented in sequence, accompanied by sounds captured during their residencies at the Skaņu Mežs festival in Riga, Latvia, in the autumn and early winter of 2024. The first interview is conducted by Viestarts Gailītis, while the remaining three feature conversations led by Dmytro Filatov and Bohdan Kuspys. The music and sounds included are on-site recordings from performances and installations at Skaņu Mežs.

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 features sounds from Core of the Coalman, Kaloja, Natural Information Society, Bernard Parmegiani and more.

Cosmic, transcendent sounds and exploratory electronics with f.ampism.

"Mister Moonlight, succulent, smooth and gorgeous. Isn't it nice? We're number one and so forth. Isn't it sweet being unique?".

Music by Jane & Barton, Whettman Chelmets, Dub Bred, Orchestral Manoeuvres in the Dark, The Velvet Underground, Hypp Fractal, Non Dolet, Annette Hanshaw, Delta 5, Grouper, Mrscientificterms & Bicho Raro, Norah Lorway, Tambay, Azalia Snail and Simon Heartfield.

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

This month: The year is 2020 and Greece is filled with concentration camps... A virus threatens us all.. The US are at the verge of a race war... so I wash items because they need to be clean.

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

This episode is created for the March equinox, a time when northern and southern hemispheres experience equal amounts of dark and light, night and day, before tipping towards or away from the sun. The piece is curated and produced by Stephen Shiell and composed using original and borrowed material from NSOTA scholars.

With contributions from Stephen Shiell, Hannah White, David Lea, Chris de Sel, Sk.ye, Venetia Allen, Rhona Eve Clews, Pascal Sleigh, Naomi ZP, Simon McClelland Morris, Michelle Watson, Tommy Calderbank, Blanc Sceol

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.

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 Anina Hug, Andrej Bako, Lucia H Chung, 4046 Group (Matt Atkins, Regan Bowering, Lucia H Chung, John Macedo, Flynn McHardy, James Shearman, Stephen Shiell, Vicky Sparrow, Paul Watson, Tom White, Angharad Davies).

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 episode, get ready to listen to the weirdest and mind-blowing covers and drifts of I Want to Hold Your Hand by The Beatles. There's no order, no lists, only stilted and exclusive material.

Vampires, peaceful soldiers, trumpeters, huge packs of dogs, plastic bands, people wearing toupees... all are welcome in Shuffle formula radio 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.

This project is an ongoing internet collaboration curated by regina veldon. “Our parents told us to always remember home, the evening star” is a Facebook group. An internet mixtape.

Curator regina veldon writes:
“I discussed tonight the possibility of creating work based around the title ‘our parents told us to always remember home, the evening star’ and the image nasa released of earth as a bright, starlike object in the evening sky of mars.

The proposition, in more detail, is as follows:
The title of the works should be ‘our parents told us to always remember home, the evening star’
Artists are free to interpret the title and photograph any way they like
The works must be published by the artists themselves and each work must provide links back to the other works using the title so that we build up a web of links

The idea is to provide a hope for the future, to imagine the experiences of children born on a future mars colony.
The project is designed to extend past those invited and everyone who takes part is encouraged to ask others they know to produce their own work”

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

‘This pressure, this texture, this smell, this gesture' - Elizabeth Veldon

Amid all our familiar scenes stand memorials of the people who were here before us and as the daylight fades on midsummer night eve we embark on an hallucinatory journey to the weed choked lay-bys, unobserved rites, violence and wild anarchy that haunts Britain's spectral pastoral.

Includes elements of:

Battle of the Bean Field 1985 (Operation Solstice) Gareth Morris, Russel Morris and Neil Goodwin

U.K Free Festivals-The 1980s, BBC Documentary

Winstanley, Kevin Brownlow, 1975

Being and Doing, Ken McMullen and Stuart Brisley, 1984

A Celebration of Midsummer ,East Anglia, 1964

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

The Rant is a traditional Northumbrian dance form. Taking the 4/4-time signature of the rant this is my four-step composition.

Six miles. Wind WNW force 4 gusting 6, 16o Celsius, 20% cloud cover, pressure 30.49 inches of mercury, 60% relative humidity.

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.

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.

In this episode, artist and writer Candle Hirst joins Joe in the studio for readings and an interview, with track selections including Ivor Cutler, Kate Bush & Kate Nash.

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.

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.

This month: Richard Hames interviews Neil Luck, Phonewifey drops a set and we hear an excerpt of music by Elischa Kaminer from a recent x.y concert.

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 John Wright's poem “Migrating alone / Solitary sandpiper / Against a headwind."

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.