← Friday 2nd December 2022 →

Andy Backhouse presents a two hour show of new and unusual music and sounds - playing everything from Free Jazz to Field Recordings. This is an open-format show with a difference.

The station is managed by Mark Vernon and Barry Burns and is funded through Creative Scotland’s Open Project Funding with additional support from CCA Glasgow and the Goethe-Institut.

Tonight's extract from the 2022 edition of the festival features the following artists and broadcasts:

The Concrete Acid Echo Tapes by Luke Pendrell (02:00 - 02:30am GMT)

"The Concrete Acid Echo Tapes (Dr Raypower vs. His Majesties Ludd Púca) by Dr. Raypower from Live at the Broadmarsh Shopping Centre Christmas ’92, produced by Ludd Púca. The Concrete acid echo tapes resurface buried signals, emitted by spectres now cast out. The brutal dance echoes like sonic plattenbau. Undergirds the Real with a fluid solvent."

Earthloops by Tom Scott (02:30 - 3:00am GMT)

"This work is composed of analogue material recorded in the early 80’s reimagined with recent field recordings in 2021. The work maintains the presence of looped tape material and field recordings are processed via spectral filters until eventually only the spectural shifts are present. It explores the relationships between the movements of the environmental sounds and the materiality of the processed audio.

How do you listen? Position yourself in stillness."

Solar Radio by Absolute Value of Noise and Anna Friz (3:00 - 5:00am GMT)

"Absolute Value of Noise and Anna Friz are collaborating to produce a new outdoor sound installation for Wavefarm (located in Acra NY) in 2022. The piece centers around an automated radio station that is powered by the sun. It responds to its environment and the state of the sun by playing with simple AI sound synthesis algorithms – imitating the sounds of insects, birds, frogs, the wind moving through the trees, rain falling, magnetic phenomena and various waves.

This radio piece mixes the synthetic sounds of the AI with radiophonic sounds and field recordings – featuring on-site recordings made on the land at Wavefarm. Anna Friz and Absolute Value of Noise (Peter Courtemanche) are Canadian sound and radio artists. Anna Friz creates self-reflexive radio for broadcast, installation and performance. Her compositions reflect upon public media culture, ecology and infrastructure (human and extra-human, acoustic, and electro-magnetic), time perception, and various fictions. Absolute Value of Noise creates radio and outdoor installations.

He likes to work with “gadgetry” – custom turntables, lamp filaments, wire coils, high voltage ionizers, magnetic transceivers, and “little electronic brains” that observe and respond to local phenomena. His outdoor works are a comment on bio-diversity, extinction, and fragility."

Thinning of The Veil by Helena Celle (5:00 - 6:00am GMT)

"Helena Celle is a Glaswegian artist and audio engineer. She is concerned with the participatory representation of the imaginal through the organisation of sound, image and language, and currently produces an hour (or more) of original work for patrons every month. She plays guitar in the band Herbert Powell (Lost Map Records), and previously played bass guitar in the band Anxiety (La Vida Es Un Mus Records)."

Radiophrenia is a temporary art radio station that broadcasts for two weeks each year from the Centre for Contemporary Arts in Glasgow – a festival exploring current trends in sound and transmission arts. The broadcast schedule features newly commissioned radio works, live performances and live studio shows, shorts and pre-recorded features, and selections from an international open call.

In this episode: walking along the shore listening to fairport convention whilst avoiding violent men.

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

Ambient, folk, ritual, electronic, dub, free jazz and exploratory works selected by BroodingSideOfMadness.

Maximum Rocknroll Radio is a weekly radio show and podcast featuring DIY punk, garage rock, hardcore, and more from around the world. A rotating cast of DJs pick the best of the best from MRR's astounding, ever-growing vinyl archive. You can find MRR Radio archives, specials and more on their website.

This episode features music made by Naviar’s community inspired by Jim Young’s poem “the fall / of memory / leaves”.

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.

This episode focuses on 'Synthesis'.

Urban Arts Berlin is a non-profit arts organisation which supports international sound artists. In this series Verónica Mota presents selections of works from the Urban Arts Berlin label.

This episode features new music and sounds by RedStars OverTokyo, Scientia, Hans Castrup, Nardus Niemand, Healer Oran, Aragorn23, Capricorni Pneumatici, Harrison and Dunkley, with a focus on Jarl.

A selection of new experimental music and sound work from the international underground network Unexplained Sounds, curated by Raffaele Pezzella (Sonologyst).

This episode features music from Sly & Family Drone, Stochastic Resonance, Disinformation, Armageddon and Pocket Signs.

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

Fading Somewhere Else is a work by Morkebla & Dalhous. The short three-part series hopes to explore and streamline some of the music that has influenced their philosophy in the sound-exploration of unconscious states of self.

Ashington is in the North East of England with a population of roughly 27,000 . It’s a former mining town and was once one of the largest colliery sites in Europe. Woodhorn Museum is based on the site of the former Woodhorn Colliery.

We were invited by Woodhorn Museum to work with the young people at the YMCA group based in Ashington town centre and help connect the museum to the different communities and cultures in Ashington and South East Northumberland.

We created mixtapes of their favourite music using compact cassettes, made sounds with samplers and DIY synthesisers, used time coded vinyl to create cut and paste mixes and remixes of the music they love. We introduced them to the culture of field recording and taught them interview techniques and how to use digital recorders. As part of a national takeover day of museums in england on 17th November, the group, who are all aged between 13 - 17, donned hi vis jackets and hardhats, interviewed visitors and made recordings around the Woodhorn Museum site, we also played their mixes and sounds we recorded in the galleries and buildings of the museum

The Ashington Mix is a fun and energetic composite of all the mixes, interviews and sounds they made.

The Tyneside Sounds Society is a monthly broadcast dedicated to the recording and reinterpretation of the sonic environment and sound heritage of Tyneside in the North East of England.

Brainbeau are a Brisbane-based underground electronic duo featuring Chelsey Charlton and Kat Martin, aka Chelvis Chesley and Kat Martian, aka Dust Storm Jogger and X in O, aka Emotional Hoon and El Crumple Dash.

There are vestiges of classic Detroit and Chicago techno in their music, riffing off Warp and Rephlex Not Not Fun and 100% Silk, muddied with a lo-fi aesthetic redolent of a slew of North American tape labels.

In this episode of Out From Under, Stuart Buchanan talks to Chelsey and Kat about Brainbeau and Brisbane, the world they’ve created and now inhabit - a place where they take fun very seriously indeed.

Missed the show? Catch up on Mixcloud.

Hosted by Stu Buchanan, Out From Under dives deep beneath the surface of the Australian music scene, celebrating experimental and eclectic music from the far end of the world.

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 starts with Gesualdo, a 16th-century composer-murderer and Prince of Venosa who is famous for his madrigals that were ahead of their time (some would argue they still sound a bit too contemporary). It is followed by a piece of a contemporary composer Caroline Shaw that is inspired by a motet by another 16th-century composer Thomas Tallis, from England.

This is followed by music written by Thomas's contemporary compatriot—John Dowland. Dowland's composition is secular and chamber, fashionably melancholic—has been written in the shade of Elizabethan England religious and political repressions. Not unlike the next piece by Valentyn Silvestrov, a contemporary Ukrainian composer who shares not just Dowland's melancholy (except Silvestrov's melancholy is brighter and is more rooted in the XIX century) and chamber intimacy of "Kvartirniki"—dissident apartment concerts hidden from Soviet cultural repressive machine.

Next one is Tsegue-Maryam Guebrou, a Sylvestrov's contemporary, an Ethiopean pianist nun who shares her intimate "home piano" with Valentin's sound but brings a completely different, much less Western perspective to this practice. She's followed by another composer nun (later—abbess), Hildegard von Bingen, from the XII century. Hildegard's music, as Margot Fassler aptly noted, is like a stick of dynamite thrown into a Gregorian chant. However, Hildegard didn't have any musical education. The same is true for me. She relied on her secretary to write her music down (that she supposedly sang to him or her).

I rely on machines instead, on my modular synthesizer that is programmed to do generative polyphony—several self-playing melodies performed at the same time. You can hear it on Giardino, next track. Generative polyphony there is joined by improvisations on period instruments: baroque oboe, archlute and baroque viola.

It is followed by Beata Viscera, Perotin's music from the XII century Paris. He is one of the first known composers of polyphonic music and one of the most famous representatives of the Notre Dame school of polyphony. Then there's a composition by John Tavener, a XX century English composer who shares with Perotin the sacred quality of music.

The playlist is concluded with Brighde Chaimbeul, a Scottish bagpipe player. The connection is with Perotin's music, in Beata Viscera Perotin uses drone—a tone that is constantly held during the whole piece. Like a music foundation. Similar techniques are widely employed by various fold and ethnic music around the world, including the Scottish bagpipe music.

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

Where the Dead Voices Gather is an indeterminate process driven radio experiment that uses the book 'Where The Dead Voices Gather' by Nick Tosches as its starting point.

Songs are chosen from a series of libraries based on the structure of a haiku. Each show has 17 songs / sounds therefore each show represents a sonic haiku.

Where the Dead voices gather is exploring the sonic potentials of written text and the indeterminate.

This episode features tracks from artists involved with The Wire 40 at The Cube events in Bristol, including People Like Us, Scratch Orchestra and Saul Williams, plus new releases by Marisa Anderson, Ellen Arkbro, Kyle Kidd, Lucrecia Dalt, and more.

New music with The Wire Magazine.

This first iteration of 'Overheard' was recorded live at Kill Your Timid Notion in February 2010 at DCA, Dundee. Commissioned by Arika, it features actors Tam Dean Burn and Pene Herman Smith; musicians Ed Baxter, Stephen Bloe, Ali Butcher, Rowan Corkill, Cat Lee Marr, Chris Lee Marr, Chris Weaver, and Lin Zhang; and boxers Neil Danskin and Hamid Ahmed. Text by Ed Baxter. Score by Chris Weaver.

The Resonance Radio Orchestra is a floating pool of musicians, engineers, sound-effects creators, actors, writers, composers and broadcasters devoted to making live radio-art. It is based in central London as the in-house artistic wing of Resonance104.4fm, under the direction of Ed Baxter.

Charlotte Saga –– Soundcloud

Olivia Morgan is a London based musician playing synth in Nukuluk and Blue Bendy. She is interested in distorting sounds and making instruments/soundscapes from recordings or samples. This is a somewhat nostalgic piece inspired by the death of my cat. She recorded him purring the day he was put to sleep and used the recording to make many of the sounds that create this space. It’s a melancholic, calm environment with occasional disjointed sounds and implications of unease.

George Rayner-Law is a sound worker from South London, with an art practice in Noise. Recently, he has completed collaborations with Nicholas Tee on the video pieces untitled [circuit breaker], You Will Not Feel This Way Forever, and sound for the durational installation REST-LESS. He has an ongoing collaboration with Dominic O’Donoghue on the Bootlicker project, and is an ongoing contributor to Louis Grace’s Teaching Computers To Love program on Resonance EXTRA. He also has a recent release via Brachliegen Tapes.

Beyond this, he is an experienced radio broadcast engineer, and has produced work spanning radio arts, installation, video, live performance and commercial release, as well as running DIY record labels.

Louis Grace presents Teaching Computers to Love. This is a collaborative platform for artists to develop an episode sonically with a 10-20 minute body of work.

This episode opens with an hour of music from within the orbit of the spirit of Gravity Collective, including a long piece from our friend Simon James, plus some tracks from collective member Jim Purbrick, taken from his new Alien Alarms debut album "0 to 1", and a piece from someone new to us, Hannya White.

The second hour features a full playback of the latest release on the Spirit of Gravity Label, a re-issue of the 2008 compilation, Festival.

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