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This month's episode moves between different worlds and alternate bedroom views. A skewed broadcast stitched from shadow jazz, ritual electronics, dubby residue and low-slung, off-kilter rhythms — assembled sideways, mixed by feel. Look out your window…

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.

Sound collage, record spinning, havering, ear wonk and general head scratch with Dylan Nyoukis of the Chocolate Monk label.

Three thoughts in relation to an upcoming performance.

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

This week: Clint is joined by interdisciplinary artist, opera singer and clown Ellie Westbrook, who has a complex past with Clint. And of course, Clint's executive producer Jack Synott is in the studio too.

A series hosted by former synthpop attempter Clint, commuting weekly from Reno, Nevada. Visit jamesoldham.net for press, questions and complaints.

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

This episode features music from Nina Hoppas, Simon McCorry, Bad Girl, Halfcastle, Grundik Kasiansky and The Seer.

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

This episode features an experimental mix by sound artist, composer, and producer Michel Banabila (1961).

Banabila has released music since 1983 and has produced musical scores for numerous films, documentaries, theatre plays and choreographies.

His music varies from minimal loop-based electronica, fourth world, and neoclassical pieces, to drones, experimental ambient, and punk-as-fuck tape music. His work has been released internationally by labels like Bureau B (DE), Eilean Rec (FR), Knekelhuis (NL), and Séance Centre (CA).

Mitamine Lab is a culture laboratory based in Mexico City which blends sound archives with contemporary music and literature.

This radiophonic piece is improvised from live broadcast, dubbed and mixed across four channels in real time, with effects layered in the moment. It explores the fleeting quality of sound — how something can be summoned into being just by pressing Play.

It’s about listening as a kind of magic, where the act of playback becomes the act of creation, unfolding outward like a ripple
from the centre. A quiet celebration of the ephemeral, the accidental, and the everyday wonder of tuning in.

Andrew Backhouse is one of the founders of Harrogate Community Radio and an artist in his own right. Born in East Anglia and somewhat superstitious, Andrew has lived across the UK but now happily calls Harrogate home.

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

This week on x.y FM: we present excerpts of three live recordings from our Berio - The Complete Sequenze concert at the Maydayrooms in London last month. We hear Gwyn Owen's performance of Berio's Sequenza X for Trumpet, Catherine Derrick performance of the Sequenza II for Harp and the Sequenza VIII for Violin performed by Mayah Kadish.

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.

Injazero Records founder Siné Buyuka plays a selection of electronic, experimental, ambient and contemporary classical tracks.

Lepke B's blissful disregard for the sacred in life has placed him as one of the testcard knights with a totally unique approach to sound plunderphonics and visual art.

Featuring music by Tom Ellard, Dave Sarkys, David Bowie, Sieben, You're Alive but You Are Dead, †ḧΞ ШЇⱬ▲Яᶑ, The Young Gods, Jim & Tammy and their Friends, Suburban Lawns, Saloon, MacroNoise, Carl Matthews, Plinth, TimeControlledOrganism and .mp3Neptune.

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

This month: final episode of the current season focusing on Breathing Space's 12 hour performance at St. Augustine's Hackney in April 2017.

Come On, Come Down! explores adventurous night music for the sleepless. The series covers a broad spectrum of genres, from ambient and noise through to jazz, post-rock and contemporary classical. Each episode is thematically linked and aims to highlight a specific mood, artist or movement. Listen out for the occasional live session.

We continue to listen to rare records released on the Soviet major label Melodia. This time – and not for the last time – the episode is dedicated to jazz in all its manifestations.

We'll start with the first jazz composition in the history of the USSR (the Uzbek band under Pavel Chaplevsky made this recording in 1935), listen to balearic improvisations from Ukraine, electro-boogie from Kazakhstan, jazz-mughams from Azerbaijan and then dive headfirst into free jazz from the Baltic States and faraway places in Russia. Let jazz be free!

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).

Featuring original music and field recordings, and spoken contributions by writer and translator Cristina Viti and filmmaker Ahmed Yassin Aldaradji, Audible Heat ranges across continents, embracing Greek tongue twisters, the poetry of Ibn Quzmān and Harry Crosby, African-American mathematician Benjamin Banneker’s lost wooden clock, Plato’s Phaedrus, cicadas on the film sets of Sergio Leone’s ‘Spaghetti Westerns,’ the body language of Clint Eastwood, the apocalyptic premonitions of the Wampanoag, Geronimo’s hatred of telegraphy, and botanist Donald C. Peattie’s terror of the inescapable buzz of mortality.

Equal parts academic argument, travelogue, and critical collage, this synthesis of ideas pulls upon a wide-ranging bibliography of materials to examine the omnipresent sound of the cicada throughout human history and culture. Herein, this climatic sound acts as a conduit between ecology, identity and mortality, and the cicada’s sonic inference emerges as a codification of the unknown and unfamiliar—as a spiritual weathervane in desert settings—and as a means of teasing out the sensorial limits of human understanding.

Audible Heat was written, read, recorded, produced & scored by Milo Thesiger-Meacham. It was first commissioned and broadcast as a work for radio by Radiophrenia, September 2023.

As a manuscript Audible Heat was shortlisted for the inaugural edition of the Prototype Prize, 2024, and was published as a book by Tenement Press, February 2025. Its radiophonic counterpart will be released on CD by World Service, March 2025.

“A wonderful bringing together of natural and cultural histories.”

– Tom McCarthy, author The Remainder & Man Booker Prize nominee

“A work of great refinement and intelligence, entailing some beautifully crafted surprises.”

– Elizabeth Price, artist & 2012 Turner Prize winner

"Almost Borgesian in the levity by which it seems effortlessly to embody encylopaedic multitudes ... we understand – and appreciate the – the intricate assembly of fragments, quotations and images that factor in distance, as much as intimacy, as an engine to the work ... Audible Heat balances both the warmth of genuine passion for its material with a controlled and 'cool' gaze that makes for a singular outcome."

– Gareth Evans, writer, editor, film & event producer

"... nibbling at the edges of philosophy, entomology, anthropology, poetry, music, film and diverse technologies ... like a latter-day Langland, the author “wente wide in this world wondres to here” only to find in a sound at once familiar and uncanny, eternal and pregnant with anticipation and dread, a hall of mirrors for the restless human soul. Like the sun, the cicada looms like likeness itself and we are led down garden paths that form a maze of amazing information, suggestion and nuance ... It also speaks of the limits of species entrainment, of our faltering efforts at empathic behaviour, and tells us a lot about how we act in relation to other creatures, how culture sits with nature. Perhaps more important is how it subtly suggests how we should or might act."

– Ed Baxter, writer, sound-artist, co-founder Resonance, co-editor Works of Thomas De Quincey

“Beautifully written.”

– Bhanu Kapil, poet & Windham-Campbell Literature Prize winner

Many thanks to Max Syedtollan and Dominic Jaeckle. Thanks also to Cristina Viti, Ahmed Yassin Aldaradji, Dr Gene Kritsky, Dr Douglas Yanega & Matthias Loibner for their kind contributions. Thanks to Tom McCarthy, Bhanu Kapil and Elizabeth Price for shortlisting the text, and to Mark Vernon, Jess Chandler, Rory Cook and Gareth Evans. And for their help and encouragement, a heartfelt thanks to my dear friends Ed Baxter and Valentina Bacci. 

Milo Thesiger-Meacham is an artist, composer, performer and creative director of the community arts radio stations Resonance FM and Resonance Extra.

Milo Thesiger-Meacham’s Audible Heat is an extended documentary, a fitful academic essay, a mass-media probe, an idiosyncratic piece of travel writing, a densely illustrated sound-art montage, and a deep dive into man’s complex relations with the seemingly eternal sound of the cicada as ‘audible heat’ in human consciousness.

Lament for the Old Clock by Harvey Young tells the story of an 18th-century agricultural worker plunged into the vicious new frontier of industrial capitalism who must leave his simple agrarian existence behind and submit to the callous and dehumanising demands of the factory floor.

The piece documents the change in temporality from the feudal notion of cyclical, reverential time to the concept of future-oriented progress that defined the beginning of the industrial revolution. Through extended vocal techniques, found instruments and granulation, Lament for the Old Clock explores this transient yet profound period of temporal and spiritual upheaval.

Harvey Young is a composer, sound artist and writer whose practice centres on temporality, psychogeography and transient structures of political economy. He uses extended vocal techniques, field recordings and found instruments to create acousmatic and electroacoustic works.

Follow Harvey on Instagram for more.

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

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.