← Friday 27th October 2023 →

This episode features music made by Naviar’s community inspired by Elliot Carson’s poem “in pre-dawn darkness / the avant-garde soundtrack / of orchestral rainfall”.

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 features music by Anan Elbash, Zell, Bartama Project, Youmna Saba and many more.

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.

A 22-hour radio project in 7 episodes by Milo Thesiger–Meacham. An unnamed narrator moves house and pieces together a world of recording devices, names, crime, real-world characters and media from across the globe, featuring 10-second audio extracts from over 6000 individual videos found online, original sound recordings, music, hand-held camera audio and writing. Commissioned by the European Capital of Culture, Esch2022 for the temporary radio art station Radio Art Zone. Follow Fox Neame for more.

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.

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

London-based art, music and architecture writer Bobby Jewell plays a selection of ambient, jazz and classical music over two hours.

In this episode, Jennifer plays tons of newbies that are also goodies.

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.

In this episode, "Kotori No Mori" by Koji Nagahata and Dominique B.

Since 2011, Koji Nagahata has recorded and documented the impacts of the Fukushima nuclear disaster on the soundscape of the city where he lives and works as a professor of sound design at the university.

Koji Nagahata is a partner of the project "Meanwhile in Fukushima" curated by Dominique Balaÿ.

Stéphane Marin presents a weekly series of fifteen short soundscapes recorded in the mornings at various locations throughout East Asia. This series for Resonance Extra forms part of a wider project, 'Each Morning of the World', which invites sound artists, composers and recordists globally to share their own specific point of listening, either through a raw field recording or original composition.

Beset by all manner of mission creep, this wilderness media study concludes with readings from anonymous diaries, found in a previous episode, and a smattering of unknown lost media against an unwelcome backdrop of unsettling noise from nextdoor neighbours carrying out illegal, unlicensed, unregulated structural alterations.

Asphyxia was originally broadcast as a 22-hour single transmission by Radio Art Zone, and, as can be expected, this final hour is an implosion under the gravity.

Originally commissioned in 2022 as part of Radio Art Zone's tapestry of 22-hour radio productions, this project by Daniel R. Wilson is re-presented here in episodic form. Asphyxia hacks the antagonising systems which thwart and forestall projects (its name also acknowledges the asphyxiating atmosphere of long-form radio when made by a single person). It is a damaged would-be radio documentary exploring the Narnia of restricted access material and gatekept employment.

Joined once more by Montañera, this time sheltered by a much venerated bandstand with a green woodpecker's eye view of the river lea's encounter with the Stanstead Mill Stream.

The porous structure blurs inner and outer soundworlds, filtering birdsong, trees, and the reverberations of our thoughts as we dial through the frequencies, before eventually reemerging into early afternoon sunshine.

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.

Offering surreal glimpses of what might be identified as echoes of a post-Republic America, an imagined Middle East, and some other unnamed and unreachable world, Palace chronicles a vivid landscape of crumbling towers and heart-broken animals, eclipses, comets, and lovers in abandoned rooms. Produced by Dominic J. Jaeckle and Milo Thesiger–Meacham.

Kyra Simone is a writer from Los Angeles, now based in Brooklyn. Her fiction and poetry have appeared in a variety of literary journals, including The Baffler, The Brooklyn Rail, BOMB, Conjunctions, Fence, The Anthology of Best American Experimental Writing, and elsewhere. She is a member of the publishing collective Ugly Duckling Presse, and part of a two-woman team running the editorial office of Zone Books.

"From the stuff we unfold in the morning and throw in the recycling bin at night, Simone coaxes the rhythms of cyclical life, that baseline on which extraordinary events and crises exert their pressure. The world she constructs is recognisable, textured, gently humorous—but also luminously, piercingly exact, possessed of the strangeness of seeing something for the first or the last time".

— Alexandra Kleeman, author of Something New Under the Sun.

"I was hooked by the very first sentence of Kyra Simone’s Palace of Rubble: ‘A breaking wave collapses on the bank before two half-naked women on white Arabian horses.’ The sentence is so precise, down to the use of the erotic “collapses.” Plunged into this direct, clear, and mysterious arrangement of words, I was always left wondering what will happen next. Where will the next sentence take me? I was never disappointed. Simone is able to maintain and shift that propulsive curiosity throughout the book. While dancing with us, each sentence is a journey. Each story is a multi-faceted gem—a ‘beguiling dream of eternal cinema".

— John Yau, author of Genghis Chan on Drums.

"Majestic flights of fancy spun around ravaged landscapes and savage realities, these are remarkable prose poems for the 21st century".

— Chloe Aridjis, author of Sea Monsters.

"Reading Simone’s work is reminiscent of an archaeological excavation. The writing has dug to the past and emerged in the future, passing on its way those civilisations, kingdoms and palaces long since blown away or buried, it is covered in their dust. I can’t help but think, isn’t this madness? Isn’t life beautiful".

— Vanessa Onwuemezi, author of Dark Neighbourhood.

Temporary Palaces is a special triplicate of hour-long broadcasts that serialises an unabridged rendition of Kyra Simone's debut collection, Palace of Rubble (Tenement Press, 2022). Initially inspired by a photograph of one of Saddam Hussein’s demolished palaces, Simone’s Palace of Rubble is a collection of one-page stories composed primarily of single words culled each day from the front pages of the newspaper.

Each episode is presented in two halves: the original field recordings from the first half of each episode (A-sides), and the second half of each episode (B-sides) is a sonic response by invited artists, curated by artist and musician Jack Prest.

These responses take the form of deconstructed, remixed or re-recorded versions of the original field recordings and explore ambient electronic, contemporary classical, noise and other musical/sound forms conceptually connected to the practice of field recording.

CALL FOR CONTRIBUTORS: If you would like to contribute a field recording from an art institution to This Is Not A Love Song (Sound Archive), contact Joe and Chanelle at chanelle@chanellecollier.com

The artists would like to thank and acknowledge support from all contributing artists and arts workers who have offered recordings and advice.

The series is made in collaboration with Jack Prest.

A-Side Field Notes:
“This is the first recording in the project of an ‘empty’ museum. That is, a museum with no visitors. The staff kindly offered to make the recording on our behalf, and you can hear their solitary receding footsteps as the recording begins, to reveal an emptiness in which the museum itself becomes more present. The lack of human voices allowing it to breath. The regularity of the electrical, internal life force of the space comes forward and the muffled waves of traffic flows beyond its closed doors, like the deep, slow inhale/exhale of a sleeping giant.” - Chanelle Collier

B-Side Notes:
“Side B is a one take field-recording made in our art studio in Annandale, Sydney. An audio collage made from several museum field recordings layered over the M17 recording with distortions. Running through a basic mixer from a medley of devices: two record players; cassette deck; guitar and vocal effect loop pedals; also with a Bluetooth speaker; and playing through a guitar amp into the studio space; and recorded via digital Zoom Recorder. My direction for this B-side was a process based experimental play and improvisation. Conceptually finding satisfaction in the full circle idea that the museum had been a proxy studio in the making of the original field recordings and now have come home to my actual studio where the sounds can commingle and abandon there far flung site specificity into a trans-continental distortion.

From The Archive:

(THE RECORDING BODY):
The act of making a recording puts the body into a silent position, one that wants to be invisible. We attempt to omit the body breathing and shuffling and avoid interruption or drawing attention to the act. The Museum is the subject, rather than recording body. As one records over the course of fifteen minutes, the sounds of the museum become heightened to the ear which now begins to take in everything democratically, similarly to the way the microphone does. Without judgement. This creative act reframes the museum experience into a sonic experience, mediating the visual priority of such spaces. Listening then, is an act of disappearance.

(THE VIEWER AS LISTENER):
The Listener is an interesting form of the spectator in relation to the Museum and art gallery, it implies an audio reference rather than a visual one. The listener is an acoustically responsive subject. In a visual field the spectator is an intruder, evidenced by their conspicuous absence within the trope of an installation shot. Viewing is, in this context, a vanishing labour by a vanishing body. For a sound-based artwork the conception of the viewing body preferences the disembodied ear over the disembodied eye. Of course, the listener as a participant is also likely to be required to be silent, or at the very least, quiet.

Why must the viewer disappear and the listener be silent? This is an interesting question because it supposes that that an artwork should be understood discreetly, in isolation, separated from the world it occupies and those it shares space with. Certainly though, such an engagement requires participation. The participation is erased by denying the viewer or the listener their presence; in this way an artwork also becomes absent, unseen, unheard. - Joe Wilson

Sound Engineer for this episode: Ollie Brown.

Special thanks to Serhiy Popov for providing introductions and support, and to Eugenia Gavrilenko, Content Manager, M17 Contemporary Art Centre for facilitating and making this A-Side field recording, in addition to support for the larger project.

This Is Not A Love Song [Radio] builds on an existing field recording project by artists Joe Wilson and Chanelle Collier titled This Is Not A Love Song (Sound Archive): 200 field recordings, 200 countries; a collection of the ambient sounds of major art institutions around the world, created through recordings from a global community of contributors. The project appropriates sound to critically study the ambience of institutional space.

In this episode, Quintavant continues its series of concerts recorded during the Festival Novas Frequências, the seventh edition of which took place December in Rio de Janeiro, Brazil. This time: William Basinski: A Shadow in Time, recorded live in the Church of Carmo da Lapa; Marcos Campello, one of the greatest Brazilian guitar players that appeared last decade; and his last record, Onda de Beleza Natural. Plus two records released by Propósito Recs: Crunch Soar Rinse Repeat, Jonathan Gall’s new work and Armando Nascimento de Jesus, also known as “Fazedor de Presépio” with Xinelah dih Mankuh.

Investigations of the Brazilian experimental music scene via Rio De Janeiro's Quintavant label in collaboration with Audio Rebel. With live performances and exploratory sounds produced in the context of Brazil's strange political situation, curated by Francisco Mazza, Bernando Oliveira and Pedro Azevedo.

This episode examines the rising use of field recording within contemporary art. It features interviews with the British artist Anne Hardy, and the South African artist James Webb. Anne takes us through her process of embracing sound as part of her practice, with a focus on her latest work The Depth of Darkness, the Return of the Light, unveiled at Tate Britain last month.

James examines the role of sound in his 20-year long ongoing installation work Prayer, which features recordings of vocal worship. There is also an artist introduction by Colombian sound artist David Velez, known for his live cooking concerts.

The Field Recording Show is a programme exploring the soundscape, recording, listening and composing hosted by Kate Carr and Luca Nasciuti.

This episode features the one and only Morah from Phormix Records Athens.

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

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

This episode features new music by PTrampaluz, Lackluster, Daniel Barbiero & Gary Rouzer, Red Stars Over Tokyo, N.Strahl.N & Pythagora, and Mario Lino Stancati .

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

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WE ARE EXPERIENCING STREAMING ISSUES AND HOPE TO BE BACK ASAP. IN THE MEANTIME, FIND US ON MIXCLOUD

This episode marks the handover of the controls from spearmint Caleb Maddeen to the Think Twice, a fewtime past time guest. Think Twice will be occupying half of the two-hour slot for the next six months.

Mohammad Adam has been ushered in with a gentle gesture, bringing a dark cloud of smoky glooming dank from the Morrisons car park in Leicester, that dark haze in the whip, the silence because nobody's talking to each other but everyones dark brains are so loud. The holiday, the relaxation of it all. the blanket of blankness and the roach inside.

Afterwards, a spirit of gravity analysand Remember Glaciers cools us down with the subzero that's starting to rise, has bin starting to rise for a while. Darkness. Thinking."

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