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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.

In this episode: autumnal noises with Craig Stewart Johnson, Slow Listener, The Co-operatii, Witcyst, Nathan Howdenshell, Xeroxhead, BillNace, The Obliterans, Posset & Luke Poot.

Dylan Nyoukis, Karen Constance and friends beam out an hour of audio collage discombobulation direct from Chocolate Monk HQ. A sonic salve for overstimulated ears.

zellen-sylben (a dreaming machine) is an algorithmic composition that has since been performed in various versions and languages ​​in Zurich, Dartington (UK), at the Bienal de São Paulo (Brazil) and at the Tsonami Festival in Valparaíso (Chile). The composition consists of a sound and a language level, both controlled by a non-hierarchical algorithm consisting of nine interacting cells. These control sound generators and samplers as well as the sentences, which are mostly composed of monosyllabic words.

The version in Valparaiso was already multilingual (German, English, Brazilian and Spanish). For the request from Radio Art Zone, multilingualism is increasingly becoming the focus, since the work is being performed in a bilingual region and Luxembourgish is in a process of emancipation from dialect to written language. The languages ​​in the new version have been expanded to include French and Luxembourgish.

Context: Orpheé
A young man sits in the car and listens to the radio. The car doesn't drive; it's in a garage. The young man listens feverishly to the sometimes absurd and sometimes poetic sentences and writes them down. It is Orpheus, the poet. The radio voice comes from another world. Untouched, she oracles to herself. I have a vague memory of Jean Cocteau's 1949 film Orpheé, but I liked this radio and it has become a silent placeholder for what I think of as radio art. The radio is not a transmitting medium here, but becomes an active subject itself. There is no face behind it, no person - the voice falls along with the device. The whole balances on the membrane to another world.

Like surreal dreams, the randomly generated sentences can serve as inspiration, as an oracle that opens up new perspectives. Dice machines for the names of God in Kabbalah and the random compositions of Cage (who worked with I Ching) share a desire to escape one's anticipation.

If someone talks insane, it is often not because he or she has not mastered the basic rules of logic, but because one's own needs cannot be formulated in the enclosure of the grammar accepted as meaningful, which is marked out by power.

Nine interacting cells
The controlling algorithm of the algorithmic composition is not hierarchically organized. It consists of nine interacting cells and behaves in its dramaturgy in an unpredictable yet musical way. The way in which these new cells interact is copied less from our brains and more from our society. On the one hand, the cells tend to move randomly up and down a frequency scale. On the other hand, they look for harmonic ratios (1:2, 1:3, 3:2, 3:4, 4:5, etc.) in other cells and sometimes adapt to them. The cells control sine wave generators as well as the playback speeds of nine samplers. Depending on their similarities with other cells, the dynamics of each cell ebb and flow. We can observe something similar with groups of people, who sometimes become very loud when they have synchronized. Through this principle, the samples are musically related to each other and a lively dynamic results.

cell-syllables

samples
As a guide for sine wave generators, sample players and as an impetus for word sequences, this principle produces an astonishingly organic soundscape. The tuned and clocked samples are adapted, revised and supplemented from version to version.

syllables
At certain intervals, the nine cells trigger impulses that trigger an archive of recorded monosyllabic words. The computer constantly creates imaginable sentences from the words that offer the listener – sometimes more and sometimes less – meaning. The archive is organized by voice and the sentences by strict verse forms (e.g. A - O - EI - AU). The monosyllabic nature of the words and the choice of words, which also includes slang and power words, create a rough and direct character. What they tell is reminiscent of oracles or dream stories. Touch the meaningful and tip back into surreal scenarios. An atmospheric meta-narrative develops through interactions between the different voices (languages), through changing verse forms and emotional charging.

text linked words

In contrast to the efforts of "artificial intelligence", which tries to create meaningful statements with machines, zellen-sylben (a dreaming machine) strives for the opposite: to disrupt our mental imprints productively.

zellen-sylben (a dreaming machine) is supported by pro helvetia, swiss arts council and Caroline Döhmer, Center for Luxembourgish Language.

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Jörg Köppl lives and works as a freelance artist and composer in Zurich. He is interested in social synchronization processes, which he explores in mostly auditory settings. He designs experimental radio and sound projects that have been performed at festivals such as Ars Electronica, Artprospect (St. Petersburg) and Bienal de São Paulo, or he has directed them (Zurich and Cairo).

Jörg Köppl initiated and managed the Swiss National Science Foundation-funded research projects NOW1, which deals with the auditory perception of time, and NOW2, in which extremely long radio works were produced and broadcast. In 2011 Jörg Köppl founded the ensemble metanoia, which takes up current trends in composed, improvised and electronic music. In the ensemble's performative and partly participatory productions, the distribution of roles between composition-interpretation and performers-audience are questioned.

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 week: the vinyl record as a sound object and instrument.

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.

In this episode, we hear two stories, the first ‘Pandora’ is of a man in New York in the 60s, who sees an old photograph of the original 1920s flapper, Louise Brooks, and is so taken with her that he decides to track her down. The second hears the recollections of an 100 year old woman, marching against Oswald Mosley and protesting poor social housing in the 1930s.

Everyone Else is a photographic podcast. The project looks to humanise strangers and make us more open to and curious about the people we do not know, using audio and photography to tell their stories. The podcast tells the experiences, thoughts, decisions, journeys and lessons learnt of strangers. Each of these stories is accompanied by a portrait shot by a film photographer. Together they provide a glimpse of something permanent in passing strangers who otherwise would remain unseen, unheard and indistinct.

Website: www.everyoneelse.org Twitter and Instagram: @everyonestudioMay’s blurb:

This episode focuses on Dronica, which took place at The Old Church in Stoke Newington in November 2016.

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.

Merrie Melodias is back with a new series and new rubrics! And that means new digger discoveries are waiting for you from the bottomless catalogue of the Soviet major label Melodia. As is good tradition, we start with an episode about folk music. This episode features melodies from Central Asia, the Lesser Caucasus, the Baltic States, Africa and South America and other countries of the world.

This episode highlights the intersection of the sound of the world's three main musical instruments - the lute, the lyre and the reed pipe - with each country having its own modification and name. This is the story of how the sound of a Burundian funk band's electric guitar transforms into the trill of an Uzbek dutar, the sigh of an Azerbaijani zurna turns into the moan of an Armenian duduk, and the tinkling strings of a Paraguayan harp turn into the dreamy chords of a Madagascar valiha.

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).

In this episode, a radio fairy tale in a prologue and three scenes.

Text: Fred Marchal and Jean Nello. Music: Frank Martin. Sound design: Jonathan Frigeri. Musical direction: Zoi Tsokanou. Staged reading: Anne-Cécile Moser

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

Carefull footsteps along the bank, around horizontal branches, embracing the space. This episode features special guest Timothy Wall.

The recording was made over the Easter Bank Holiday nestled between the trees beside the banks of the River Lea.

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.