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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.

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).

60 minutes of vivid aural excitement mixed by Ian Murphy.

The first episode in a series of recorded performances from our live score series, re-imagining scores for obscure and iconic animations. Featuring interviews with saxophonist and sound recordist Martin Clarke, and acclaimed vocal artist Ingrid Plum.

Colliding Lines present live sessions, cross-genre collaborations and left-field recordings drawn from the London, UK and international experimental scenes; a long-form love letter to recorded audio as soundtrack, as sound art and as storyteller.

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.

‘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

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.

A drifting transmission of found tracks, passing recordings, radio fragments, field traces, concrete textures, and sounds reshaped live in the moment.

Radio Concrete by Hagai Izenberg is a monthly experimental radio show focusing on live mixing and processing of field recordings together with contemporary music and soundscapes.

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

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, a guest mix and interview with composer and producer Midori Hirano plus selections inspired by her work.

A selection of experimental frequencies, interviews and sessions plus cuts from the First Terrace label by Alex Ives (Specimens) and Joe Summers.

This episode features DeForrest Brown Jr., an ex-American writer, journalist, theorist, curator and a self-described musician by necessity - releasing music under his Speaker Music moniker. DeForrest Brown Jr. is the author of the book Assembling a Black Counter Culture, where he presents a comprehensive account of techno with a focus on the history of Black experiences in industrialized labor systems—repositioning the genre as a unique form of Black musical and cultural production.

Assembling a Black Counter Culture reframes techno from a Black theoretical perspective distinct from its cultural assimilation within predominantly white, European electronic music contexts and discourse. This talk, given by DeForrest Brown Jr. on the 4th of October 2024 at Barreiro’s Jazz School as part of the programme of OUT.FEST’s 20th edition, is moderated by Margarida Mendes, and gives an overview of key details of his book and expands on its context two years after its publication.

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.

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 features guest selections from electronic composer and sound designer Suki Sou, who has chosen tracks which inspired her acclaimed debut mini album Notes on Listening.

Background music: Along the Lines Afterdark by Kayla Painter and East River Dawn by Laurie Spiegel.

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.