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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.

In a panoramic examination of how reading can shape the trajectory of life, Jack Chuter asks artists to discuss one book that has a profound impact on them.

Thematic mixes and reflections, captured along the Dorset coastline by ATTN:Magazine's Jack Chuter.

Held in pitch darkness, Glasgow's Lights Out Listening Group is a bi-monthly series of listening sessions, sharing new sound/radio works and a love of creativity in the sonic arts. This month founders Mark Vernon and Monica Brown play selected works from their archives and talk about community, radio, LOLG and upcoming broadcast festival Radiophrenia.

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.

SubPhonics have been working with artist and performer Uli Ap for the latest installation of her Alien AI project. In this episode, hear some sounds we used in our the performances on Saturday 13th and Sunday 14th of January at Ugly Duck!

As always if you’d like to get in contact with us for collaborations, performance or recording opportunities, or just to say hi, please email hello@subphonics.com

Quarterly noise from SubPhonics exploring themes of collaborative sound and performance.

Mission creep is at full tilt by this seventh episode, where indigestions supercede investigations. Notably features ongoing earth hum, phone calls and gnarled trajectories.

The discovery of a bot-like content-aggregating YouTube channel spells disaster for the original thinker's mental equilibrium. Mouseclicks pave the way to fuller understanding of man's inhumanity to man.

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.

This episode features music by Puppet Wipes, Porest, Lexie Mountain, Barn Sour, Meadow Argus, Staubitz & Waterhouse, Violent Onsen Geisha and others, plus a new collage work made especially for the show by special guest Seymour Glass.

Sound collage, record spinning, havering, ear wonk and general head scratch with Dylan Nyoukis of the Chocolate Monk label.

Short Manual is a sound collage program & conceptual mix show with some original production included.

This episode hosted by Chris Bohn opens with Nashville based Chinese musician Wu Fei’s guzheng portrait of Nashville under heavy snow. It concludes with a piece by Guangdong, China group Wu Tiao Ren, "Unfinished Building", from their album Stories.

In between there’s some archive music from Felix Kubin’s tetchy teenage group Die Egozentrischen 2 (“The Germans”), and a reissue of Amon Düül’s 1972 album Disaster/Lüüd Noma; plus new music from toechter, Champagne Dub, AUTORHYTHM Meets Scientist, Happy Family, Maher Shalal Hash Baz (singing Oscar Wilde’s poem ”Each Man Kills The Thing He Loves”, as done by Jeanne Moreau in RW Fassbinder’s Querelle), PoiL Ueda, Anne Gillis, Annie Aries, and more.

New music with The Wire Magazine.

This episode focuses on found sounds and the ways in which sound connects to us through mind and body. It explores moments in music that connect us to the present. Join Kayla for a journey through experimental tracks and immersive soundscapes.

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.

In summer 2023, George experienced a ruptured eardrum that made working with headphones or stereo sound temporarily impossible. So, when visiting Argyll in August, he decided to field record with equipment that could be monitored with one ear, or not at all.

All edits are 'in camera' and he deployed a wide range of extended micing techniques to change the quality of the audio. Starting on the ferry to Dunoon and ending at Glasgow Central Station, Argyll distills the whole three-day trip sequentially into one saturated object.

Argyll is a field recording sound object created by sound artist George Rayner-Law. It consists of recordings made directly to cassette in Argyll, Scotland.

In this extract from the day, a live performance of improvised and reimagined music and text from the project Dead Cast Bounce – a collaborative performance work by Gary Zhexi Zhang and Waste Paper Opera, telling tales of time, money and the unmaking of reality in the wake of catastrophe.

The original piece unfolds over five vignettes, blurring the lines between capitalism and ritual, finance and nature, belief and manifestation. The original score merges the Baroque music of Niccolò Jommelli and J.S.Bach with mimetic improvisation, choral rounds, synthpop and the textures of public speaking. Dead Cat Bounce takes the form of an oratorio, a medium of vocal performance used to deliver a sacred narrative.

Music by James Oldham. Text by Gary Zhexi Zhang and Klara Kofen.

Violin – Chihiro Ono; drums – Cameron Graham; additional performer/band leader – James Oldham; banker/reader – Klara Kofen; banker/Namazu – Gary Zhexi Zhang; Mezzo soprano (Jeremiah) – Suzie Purkis; Baritone (Real Estate Agent of Miami) – Themba Mvula; chorus – Jacob Bolton, Keir Cooper, Gabriella Demczuk, Klara Kofen, Livvy Lynch, Themba Mvula, James Oldham, Suzie Purkis, Gary Zhexi Zhang. Thanks to Resonance Extra, Milo Thesiger-Meacham and Travis Yu.

Waste Paper Opera is an experimental music theatre collective currently based in London. Defining “Waste Paper” as any found text with the potential for recontextualisation, we write music, build structures, make costumes, and write stories using Waste Paper.

Archival recordings of a 7-hour radio event broadcast live from the Resonance Extra studios on the 29th January 2023, featuring live performances and new and exclusive audio works.

Watch Tarmac Garden, a track which currently exists exclusively in Kinn’s Live setlist, filmed in the studio. Recordings engineered by Shaun Duncan. DOP and editing by Herbie Lomas.

Live sampling, challenging performance cues and locked in a knife edge focus, a statement of the Kinn’s intent to make profound and provocative music.

A one-off broadcast of two tracks performed, recorded and filmed by Kinn at Resonance Extra's studios in October 2022 to mark the imminent release of his sophomore album Dogtooth. He is joined by Barkumdeer, a duo made up of violist Jenny Ames and percussionist Louis Giannamore; cellist Will Boon; and Eli Callingham, who plays out the final moments with harmonica.

For this episode, guest artist Emilie De’Ath, who performs as Luxul, has put together a mix of her own music, tracks from members of the London Noise scene, and music from further afield.

This varied collage of sounds encompasses tracks, ideas, and an insight into the imperfect process of relearning piano pieces from her childhood as well as a guest piano contribution from one of her cats.

This is a segment born of a hypomanic flurry of productivity that truly reflects her current place in her musical journey.

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

Or Rimer, born 1986, working and living in Tel Aviv, is a musician and composer. Rimer collaborates with video and film artists, choreographers, visual and performance artists for which he has composed original scores and designed soundscapes.

HYBRID MOMENTS by Or Rimer is composed out of original music and sounds, mixed and edited together with the following:

• AmosKorman-tabla
• Asaf Setty-violin
• VoiceofRobertoBenigniinJimJarmusch1986movieDOWNBY LOW
• RobertAshley-privateparts1978
• BillRuyle, Peter Zummo & the London Contemporary Orchestra present the UK premiere of Arthur Russell's Tower Of Meaning with Oliver Coates, live from Kings Place.
• Carl Stone-Figli
• Mika Levi-Hosting
• Additional sounds from woman giving natural birth

Radio Concrete by Hagai Izenberg is a monthly experimental radio show which deals with live mixing and processing of field recordings together with radio broadcasting and concrete sounds. Fresh raw materials including everyday sounds, samples from tv & radio, news editions and advertisements are all gathered on a regular basis and then mixed together with live sources (FM and AM stations and other live online streaming sources) and objects (such as amplified/hacked toys).

Conceived as a diffused oratorio that crosses over between the city and the domain of radio broadcasts, Zoom conversations and the space of the book, The End of the World Service sees the body of the choir endure a modern-day tarantism of colour and sound in the streets and open spaces of the old town.

First, composer Neil Luck (UK) taps into the double trope of the city as a film set and traditional locus of mystery plays with three short tableaus populated by props, choral extras, a wind band and onlookers who happen across the scene at night, pining for a view of the surreal action playing out in the yellow light of Taranto’s street lanterns.

Then, Joseph Kohlmaier (UK/AT) takes the audience on a slow-moving choral procession that ambulated through the narrow streets of the old city, a remorseful, humming and mumbling crowd carried along by the sound of the drums and steel instruments of the Complesso Bandistico Città di Crispiano, culminating in a choral and communal recital of a libretto written for the occasion by members of the ensemble.

The End of the World Service is part of Bodies as Infrastructures – a season of events and performances staged in the city of Taranto by curatorial platform Post Disaster Rooftops. With new works by Aga Beaupré (PL), Mela Boev (IT), Marie Hamilton (UK), Joseph Kohlmaier (AT/UK), Neil Luck (UK), Sara Rodrigues (PT).

Musarc is one of the UK’s most progressive choral collectives. Founded by Joseph Kohlmaier at the School of Art, Architecture and Design, London Metropolitan University in 2008. The choir has collaborated with Jennifer Walshe, Lin Chiwei, Laure Provost, Ed Atkins, Jenny Moore, Lina Lapelytė, Sam Belinfante, Fritz Hauser, Neil Luck and many others.

It has worked with numerous festivals and arts organisations in the UK and abroad – including the BBC Proms, London Contemporary Music Festival, Palais de Tokyo (Paris), the Royal Academy, CCA Goldsmiths, Museum of London, Extra City (Antwerp), Serpentine Gallery, MK Gallery, Wysing Polyphonic, STUK (Leuwen) Cafe OTO, Bold Tendencies and Whitechapel Gallery.

A series of live performances in Taranto, Italy, on the 27th May 2022 by choral collective, Musarc. Featuring Neil Luck and Joseph Kohlmaier in collaboration with Post Disaster Rooftops.

Tracks from across the spectrum of electronic and computer music, with Calum Gunn of Conditional.

Moods and preoccupations in a nonlinear narrative in and out of the club with COSI and The Source of Some Certainty - created by Corinna Triantafyllidis and Henry Rodrick.

yeah the hider

yongrak activeates that dark breath in my ‘chest wall’
oozing (weezing) out like speaking the leaking spout

the gammar is taken off
gamma takeoff
grammes
the darkness of game

decomposition and clay retrieval

smuggling clairty in rotoscopic lava

“atrocios”

”-itis’ (disease idea)

so heavy you cuold never lift it and then it rushes your blending (flenders II) (HURLY IFLENDS)

did i give you rotten mound permissions

Bask in this knowledge bath
Basking like shark
“bath” (graey water)

talk about ‘beaks’ ‘mouth’ ‘melt’ ‘weak’

head carve
and each slice reveals hendred four new old worlds

Martin relegation hile filve

VORE spacial Em rotery

every word is subject to change, every word is subject to chance, every word is under the scent, every word is under the weight of it and under the bed, under the hill running under us like deep savage sewer
every word is in “quotations” every word is in vocalic choke hold, vocalic colic, vocalised rize and local rice

“nerve gaga”
harry ‘Plotts’
Yerng Woosh

It sounds like waste with an attention to science
It sounds like haste with slowness alliance
It sounds like taste of ceffalize nevermine

garstly expediency
running through lanes hooting
moola lanes

There is a sense of biology a nervous biologeme a biology of language
might sound silly might sound defunct but I’m rolling around
I’m rolling around in the callous victim of cartoon idea
the fallus whip
little metal script
high tide my life scrolls past
tiddle war happy leggo tiddle war
flipping to them

the body of the name and the name of the body
and so much can happyen in twenny secons
fortey naine seconds hellish remainder plain stark fish flinger

tcker tape acknowlegesys the remidner that truth remains in the length
up and down, left and right, through and through
long through my team of loose screw tighten and rubbish them the men the you
I’m led by a string of socking sound that extends beyond my many men like 50 cent
Hundred bags forteen bags the ninestyle rags the hyper ‘sags’
the usage of quotation the talking the station I’m generation I’m generating elocquation
electriquaytion

and is junking through the pile even really necessary
thats i what find mytself asking to myself
hard back dust sack must

all emerging from the darkness
nothing in the light
the dark is the hot light
this is language disbanded from the mouth mouth
language got hunted down lang dspreay

and now i want to tell everyone “shitu p” if they tell me the AI, the after space the last city in the world and The alien is getting me, i tant to tell them ‘lose you’ if you tell tme this is technology at the end, this is the game, this is ‘Japan’ i tell tehm ‘goodbye’ take the piss mate. this is not the thought from that place this is more than you could ever imagine. its within the crux and the plex, hunting from the beginning and never finding. Indle spiralling into the thicket stash. Hilling the running the lung got caught on the brush.

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

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.