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Miia Magia is a Helsinki-based DJ and label owner known for groovy, hypnotic sets that blend raw, driving techno with deep, underground sensibility. Coming up through the LGBTQ+ scene, she became a key figure in Helsinki nightlife as a DJ, promoter, and cultural force, later expanding into Stockholm’s respected techno circuit.

Her path has taken her across Europe—from warehouse raves to major clubs and festivals—playing with and holding residencies alongside institutions like HE.SHE.THEY. (resident) and appearing at spaces such as Berghain, RSO, Culture Box, HALL, and Department.

Since 2020, she’s run Motto Sono Records, a label focused on Scandinavian deep techno with an emphasis on uncompromised releases from both emerging artists and established pioneers. A major milestone in her early career was launching “Club FF” at Semifinal in 2004, the venue’s first club night run entirely by female DJs, followed by residencies at Helsinki staples like DTM and the creation of her “Sound of Magic” concept at mbar. Miia’s influence also extends beyond music: she works in makeup artistry and jewelry design, collaborating with artists, museums, record labels, and Helsinki Pride, with highlights including work connected to Cannes in 2023.

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.

The first hour of this episode features tracks from a new compilation, Abstrakce Sample II and two new albums from artists who were present at the very dawn of the spirit of gravity project: Multiplex & Rashamon. The second hour comprises the final broadcast from the Omnistitional Cultures Research Unit (OCRU) which blends and reworks material taken from 36 hours of audio recorded over the course of the 6 month Gravity Waves... residency. As a culmination of the OCRU project, the piece combines and transforms various performances, research activities and experiments by the OCRU as they attempt to build a sonic portal toward an unbounded future.

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

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 is 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.

How the Soviet Union spent more money of on blocking radio stations from the West than on radio broadcasting itself and the creative methods they used to make unbearable noise.

With Rimantas Pleikys.

For this episode, experimental hip-hop artist Rael joins Joe in the studio for a live set and interview, amongst track selections including Erykah Badu, Moor Mother, billy woods & Tricky.

Rael makes text-and-speech based music; warped beats and existential poetry, the pits and peaks of love and imagination, late nights and: long walks through the city. The sound world beats a dark slow rhythm, drawing on post-dub, guitar music and trip-hop. Rael is formally of the disaster pop group Nukuluk.

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 month: Mark Vernon – Past Shapes and Future Shapelessness. An evolving sonic collage that brings together a variety of different projects and collaborations past, present and future. Mark Vernon is a Glasgow based sound artist and radio producer who works with found tapes, field recordings and acousmatic presence.

His work explores themes of magnetic memory, decay, audio archaeology, voyeurism and nostalgia. His music projects have been published through numerous labels including the 2023 Discrepant LP 'Call Back Carousel'. He is the founder member of Glasgow based art radio collective, Radiophrenia.

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.

Featuring installations, performance, spatial audio, talks, workshops and sound walks across Manchester’s Oxford Road Corridor.

Developed by Modus Arts, Auris Festival brings the dynamism of the sonic arts to Manchester in a festival format for the very first time, making the city a new destination for the art form.

Resonance Extra broadcasts live a selection of performances and installation from the festival.

This afternoon: live performances by Rubbish Music and Lee Patterson.

Rubbish Music uses sound to investigate the journeys, transformations and impacts of our discarded objects.Using worn-out treasures, empty vessels and broken devices as an orchestra of vivid musique concrète materials, we examine the worlds we make and destroy via our rubbish.From the great rubbish patches in our oceans, to buried land-fill dumps and sophisticated recycling plants, the objects we let go of continue in many guises without us.

Through Decay, repurposing and recycling, our everyday objects persist or transform in ways which extend beyond our relationships with them.The journeys discarded items embark upon create new worlds, new niches for species. From the changing habits of animals making the most of our swathes of waste, to the rise of plastic-devouring bacteria, the consequences of throwing away objects can be profound. With our toolkit of rusty bells, dirty oven grills, onion skins, toilet plungers, wine bottles, nasal spray and a squeaky chicken toy, we seek to imagine some of them.

Lee Patterson uses sound-making and recording to devise performances with a selection of amplified objects, devices and processes, from rock, chalk to springs, from burning nuts to vibrating metal. Based in Prestwich, Manchester, UK., he works internationally and has featured on UK TV, BBC Radios 3, 4 and 6, Resonance FM and on radio stations worldwide.

A live broadcast from Auris, Manchester’s first festival dedicated to sound art in all its forms, bringing together some of the most distinctive voices in contemporary sound art through a range of practices that explore immersive listening, the environment, architecture and space, technology, and the body.

Featuring installations, performance, spatial audio, talks, workshops and sound walks across Manchester’s Oxford Road Corridor.

Developed by Modus Arts, Auris Festival brings the dynamism of the sonic arts to Manchester in a festival format for the very first time, making the city a new destination for the art form.

Resonance Extra broadcasts live a selection of performances and installation from the festival.

A live broadcast from Auris, Manchester’s first festival dedicated to sound art in all its forms, bringing together some of the most distinctive voices in contemporary sound art through a range of practices that explore immersive listening, the environment, architecture and space, technology, and the body.

Featuring installations, performance, spatial audio, talks, workshops and sound walks across Manchester’s Oxford Road Corridor.

Developed by Modus Arts, Auris Festival brings the dynamism of the sonic arts to Manchester in a festival format for the very first time, making the city a new destination for the art form.

Resonance Extra broadcasts live a selection of performances and installation from the festival:

This evening, Absolute Sonic Creatures by Francisco López.

“Draw[ing] the ear from one fascination to the next [...] everything in his sonic frame gleams with pristinely arranged dramatic purpose” (The New York Times).Internationally acclaimed for the intensity, richness and astonishing audio detail of his live immersive performances in the dark, composer / audio-artist Francisco López has been enthralling audiences worldwide for decades with his sonic experiences with multi-channel surround systems and blindfolds provided for the public (that he calls “proudly monomedia”).

Created from a myriad of original sound environments, both natural and artificial, collected all over the world, they however do not present soundscapes but rather non-representational virtual worlds of sound (“not virtual reality but real virtuality”) where the listener develops his/her own experience in an environment where the rules and the parameters are defined by the sounds themselves, felt as space and as a physical dynamic force. Renowned for the complexity and intricacy of these worlds of sonic virtuality, López works with sound as a ‘medium’ for a transcendental experience open to individual exploration: this is a one-of-a-kind experience not to be missed!

A live broadcast from Auris, Manchester’s first festival dedicated to sound art in all its forms, bringing together some of the most distinctive voices in contemporary sound art through a range of practices that explore immersive listening, the environment, architecture and space, technology, and the body.

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Why is our life dominated by discontent, by anguish, by the fear of war, by war? In order to answer this question I have written La rabbia, not following a chronological or perhaps even a logical thread, but only my political reasons and my poetic sense. — Pier Paolo Pasolini

Written in response to producer Gastone Ferranti’s request for his comments on a set of newsreel items, the poet would respond with a montage of his own. Via the unfolding of a chrysalis of images, in La rabbia / Anger (1963), Pasolini’s lens pans over Soviet repression in Hungary; the Cuban revolution; (the utopian object of) space exploration; political imprisonment in Algeria; the liberation of the former European colonies; the election of Pope John XXIII; the prospect of revolution in Africa and the Middle East; in Europe and in Latin America... Here, we’ve a panoply of photorealist intimations of Pasolini’s ‘poetic sense.’ The death of Marilyn Monroe crests as an idea in this tidal pooling of reflections, as the poet’s line lights out for conceptual rhymes and counterpoints.  

In Viti’s translation, the weave of prose and poetry that forms La rabbia portrays the vitality of Pasolini’s work in its capacity to speak to both the specifics of his contexts, the character of our own present tense, and the ironic fact of a life lived against the gulf of discontent in its myriad forms. Here, we’ve a startling confrontation of a revolutionary struggle in stasis set in lines that crystallise a rallying call against blindness. ‘I’ll not have peace, not ever,’ he writes. A lucid acceptance of the poet’s restlessness, and a marker for Pasolini’s commitment to a solidarity with the oppressed that we find reaffirmed on every page, in La rabbia the poet charts how ‘the powerful world of capital takes an abstract painting as its brash banner’ in this unravelling of ‘crisis in the world.’

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Pasolini’s poems thrive with passion and outrage. A 20th century Dante, he grieves at inequity, feels disgusted by corruption, and wails against the evil that people do. Pasolini doesn’t render a coming paradise, but contests hate with love, meanness with generosity, and through the reality of his beautiful poems, suggests the possibility of creating a better world. – Lynne Tillman

Pasolini saw what was coming and saw the poet’s mission as an excoriation of this world to come, that has now arrived. His tremendous energy was not negative. It came from an abounding love of the world. Picturing himself like a hero from ancient days, he struggled mightily, in and against the powers arrayed against life. What he called neocapitalism already came with its own brands of neofascism. Good comrade that he was, he knew the mark of our enemies, and where to direct his rage. Here we find him in a moment when he thought the good fight might still be won. A book to give us courage. – McKenzie Wark

La rabbia remains one of Pasolini’s most singular achievements, an all-consuming expression of the restless and relentless fury that defined his work and his thinking. In an age of increasingly one-dimensional political art, this most welcome volume is an urgent reminder of its dizzying possibilities. – Dennis Lim

‘Today,’ we read in La rabbia, Pasolini’s remarkable set of poems composed in 1962 to accompany his film by that title, ‘only four thousand subscribers have televised moving images in their homes; in a year they will be in the tens of thousands.’ And then the poet corrects the line: ‘No—in their millions. Millions of candidates for the death of the soul.’ Sixty years later, in the age of TikTok and Instagram, those ‘candidates’ may well be in the billions. Indeed, what gives La rabbia its uncanny accuracy is that its vision, however exaggerated and extreme, might well characterise our own moment in history. Not only ‘in my country, my country that’s called Italy’ (Pasolini’s refrain), but all over the world, the ‘noble’ solutions of the late 1940s and ‘50s, with their UN charter, their Marshall Plan, and their call for No More Wars, now seem to have been little more than Band-Aids that left things pretty much as they were. Whether he is dealing with the failed Hungarian Revolution or the Algerian War, or with the ‘new problem [that] breaks out in the world. It is called colour,’ Pasolini sees the real enemy as normality—the normality or qualunquismo that accepts things as they are. In Cristina Viti’s excellent translation, Pasolini’s anger would be devastating, were it not for the proviso that poetry can change consciousness. It is poetry, La rabbia insists, that provides the counterweight to the darkness that surrounds us. – Marjorie Perloff

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Pier Paolo Pasolini (1922–1975) was an Italian poet, novelist, journalist, filmmaker, theorist, and dramaturg. First and foremost a poet, he is a major figure in European literature and cinematic arts. Life in Rome during the 1950s furnished the material for his first two novels, Ragazzi di vita / The Ragazzi, 1955) and Una vita violenta / A Violent Life, 1959); works whose brutal reflections of urban poverty in the city were similar in character to the depictions of Rome in his debut film, Accattone (1961). All three works dealt with the lives of thieves, prostitutes, and other denizens of a Roman underworld. Other notable novels and narrative works in translation include the unfinished novel Petrolio (published in English in Ann Goldstein’s translation by Pantheon), a work-in-progress at the time of Pasolini’s death, and La lunga strada di sabbia / The Long Road of Sand, a facsimile of writings towards a travelogue initially published in the magazine Successo.

Pasolini published numerous volumes of poetry in his lifetime, including La meglio gioventù (1954); Le ceneri di Gramsci (1957); L'usignolo della chiesa cattolica (1958); La religione del mio tempo (1961); Poesia in forma di rosa (1964); Trasumanar e organizzar (1971); and La nuova gioventù (1975). Works of poetry in English language translation include Norman MacAfee’s Poems, an anthology covering the entirety of Pasolini’s ‘official publications’ (Farrar, Strauss and Giroux, 1982); Lawrence Ferlinghetti and Francesca Valente's Roman Poems (City Lights, 1986); Jack Hirschman's anthology, In Danger (City Lights, 2010); and Thomas E. Perterson’s translation of The Divine Mimesis (Contra Mundum, 2014), amongst others.

A noted journalist and publisher, Pasolini was also a rare voice in the popular press. In 1955—in collaboration with Francesco Leonetti, Roberto Roversi and others—he edited and oversaw the publication of Officina, a periodical dedicated to new poetry in Italian (which ran for fourteen issues), and contributed a regular column to Vie Nuove from May 1960 to September 1965 (titled Dialoghi con Pasolini, or Pasolini in Dialogue, subsequently published as a collated edition in 1977 as Le belle bandiere or The Beautiful Flags). His literary works informed his cinema, and Pasolini would follow the release of Accattone in ‘61 with such noted features as Il Vangelo secondo Matteo / The Gospel According to Saint Matthew (1964); Uccellacci e Uccellini / Hawks and the Sparrows (1966); Oedipus Rex (1967); Medea (1969); Teorema / Theorem (1968); Porcile / Pigsty (1969); Il Decamerone / The Decameron (1971); and The Canterbury Tales (1972). Pasolini referred to himself as a ‘Catholic Marxist’ and often used shocking juxtapositions of idea and imagery to expose the vapidity of values in modern society. His friend, the writer Alberto Moravia, considered him “the major Italian poet” of the second half of the 20th century. Pasolini was murdered in 1975.

Cristina Viti is a translator and poet working with Italian, English and French. Her most recent publication includes Pier Paolo Pasolini’s La rabbia / Anger (Tenement Press, 2022), a co-translation of poems by Anna Gréki, The Streets of Algiers and Other Poems (Smokestack Books, 2020), and her translation of Elsa Morante’s The World Saved by Kids and Other Epics (Seagull Books, 2016), which was shortlisted for the John Florio Prize. Viti held collaborative translation workshops within the Radical Translations project run by the French and Comparative Literature departments of King’s College; Tenement’s imprint, No University Press, published an anthology of texts resulting of these workshops in 2024, An Anarchist Playbook.

Martin Esposito is a freelance language professional operating in London and Rome. His entry into voiceovers took place organically twenty years ago through the side-doors of conference interpreting and song. Martin is strictly agnostic with regard to content as his main objective is to balance two identities, languages and influences into a composite whole—an act of exposure and digestion enough to last a lifetime.

catholic Churgh is a is a two-person organisation.

A roving, ongoing & growing catalogue of works for the radio from the Tenement Press wheelhouse, in collaboration with Prototype Publishing. Recorded and produced for radio by Tenement’s Dominic J. Jaeckle and Resonance’s Milo Thesiger-Meacham.

Drone Operator returns after a two-year pause. We are happy to melt your fatuous little brains with the finest selection of free jazz, noisy electronics and avant-garde improvisation again. Sometimes shrill and loud, sometimes quiet and melodious, we will watch in amazement as the most delicate sound palaces collapse and disappear into chaos, only to be rebuilt in new forms shortly afterwards.

This episode features Alice Coltrane in a Slowed & Reverb Special and picks up exactly where the last one left off. A ten minute Kratzr Records Store live recording can also be found in this fine eclectic mix, which should sweeten your probably shitty day.

Monthly experimen†al kleptomaniac post digital free jazz spam channel operated by artists Tilman Hornig and Paul Barsch aka DRONE OPERATØR.