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

In this episode, we visit live literature experiment 'Shadowplay' – the story of a fictional global pandemic cancelled by a real global pandemic. Looking at the many projects frustrated, complicated and transformed by lockdown, we'll be taking damage reports from artists across Europe and exploring hopes for a better future. Debuting new music from Amore Meow, Lost Harbours and NOK, and Jacob and Reuben Kyriakides.

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.

This is a three hour extract from the festival, featuring sound art, computer music, homemade instruments, DIY electronics, radio play, noise, data sonification, field recordings, radio art, sound studies, historical anchor points, niches, insider tips, and different generations of Cologne's electronic and sound art landscape.

Full details and line-up: https://www.gerngesehen.de/funkt

The FUNKT programme was developed under the project management of Georg Dietzler by Anke Eckardt, Claudia Robles-Angel, Dietmar Bonnen, Dirk Specht and Felix Knoblauch, in cooperation with Sarah Washington and Knut Aufermann.

Thanks to sponsors Musikfonds e. V. with project funds from the Federal Government Commissioner for Culture and the Media as part of the special programme Neustart Kultur, Kunststiftung NRW (North Rhine-Westphalia Endowment for the Arts), the Cultural Office of the City of Cologne.

FUNKT was a festival of electronic music and sound art from Cologne, which took place on the 16th, 17th and 18th of April 2021.

Method, by Anna Zett via reboot.fm 88.4 FM Berlin for radia.

In this spontaneous audio piece Anna Zett explores the interview as a form of monologue and a form of trialogue. It is centered around the artist’s visit at a professional fortune tellers office in Beijing.

She has brought her own deck of modernist tarot cards, he is willing to share his approach to situation analysis and fate calculation according to Chinese traditions. Mediated by a third person who is serving as translator, they enter a conversation about chance.

Anna Zett has written and directed two radio plays for the public radio in Germany, both of them dealing with voice-based oracles and the challenge of communication.

Members of Radia, the international group of independent cultural radio stations, explore new and forgotten ways of making radio.

This very special episode of Third Space pairs two forerunners of the contemporary ambient scene, Nairobi-born, Berlin-based KMRU and Liverpool's Beau Beaumont.

In a Third Space first, all the music you hear throughout the show has been created by the artists themselves, offering an intimate window into their relationships with their cities.

Prodigious and fast-rising star of the underground electronic community KMRU takes the reins for the first half of the show, exploring the sonic character of Nairobi through his vast library of field recordings and luscious synth meditations.

Meine Nacht curator Beau Beaumont (fka Breakwave) takes over for the second hour, premiering a piece called L8 - a journey into the vibrant city of Liverpool through the lens of her fine-tuned creative practice.

Artwork by Michael Skeen.

Each month, First Light Records invites two artists to take an unplanned journey with a microphone around their city to curate an hour-long mix. Each show captures the unique atmosphere of a city from each artist's perspective, through music and found sound.

In this episode, Joseph Stannard plays The Haxan Cloak, Faust, Martin Rev, Techno Animal, Teresa Winter, Allison Burik, Creation Rebel, and more.

New music with The Wire Magazine.

In this episode, sounds from various fields of music from the city, with the addition of field recordings and found tapes.

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

Guy Fleisher

"My process involves mainly the curation and reappropriation of the recorded materials. I build bespoke digital tools for specific pieces, based on FFT analysis, in order to capture specific data of the natural environment’s recordings, and resynthesise them into the composition.

The Piece “Giussy’s Meditation Song” is a meditative composition, meant to accompany meditation practice. In such a practice, breathwork and mental imagery is not important, and the main aim is at relaxing the psyche in order to be able to ‘just sit’, in the moment.
The piece is dedicated to Giussy Galo, who is a taoist practitioner and Qi Gong teacher, in Rome, Italy.

This initial intent determined the piece’s length, and informed the various sound objects used in the piece. It includes field recordings from Rome, Lazzio region, Jeffery’s Bay South Africa, and Beit Hanan, Israel. In my work I try to find a way of merging the recordings to create a scene in which the meditation practice evolves over time, as in guided meditation, through cognitive perception of salient audible details, and attention.

I was mainly focused on using the recorded environment sound descriptors (meaning) in order to progress the compositional process, and not the obvious relationships in enculturation and familiarity of the materials.

To me, this was very vivid in the process, as I was testing and trying out different materials, observing my own perception as it moved along with the piece, while 'letting go' of making conscious choices in technical possibilities. In it, the serendipity whenever I sat to work on it, became key. The hardest part was writing in a circular fashion, composing the piece inwards, without implying it in the composition itself. The sound objects refer to bells or gongs, used frequently in meditation in order to refocus the meditator's attention inwards, as one advances linearly over time.
Happy meditation practice!

Silent Illumination Lights

The heart

The song of nature

The veil of Maya"

Bretwalda

British-born, Bangkok-based, experimental musician focusing on investigating medieval culture through the lens of analogue electronics and cut-up. Topics include linguistics, Christian mysticism, social conditions and popular literature. Bretwalda’s first album, Barrowlands, was released last year; the material submitted will be issued on the forthcoming album Cammock Tongue.

These particular pieces are exercises in ‘drone linguistics’: using the uncanny sound of spoken Middle English, regional dialects and amplified articulation in post-industrial, musique concrete de-constructions. The second movement makes use of a 1486 poem by John Lydgate, The Dance of

Death, read by Middle English academic Dr. Elizaveta Strakhov (of Marquette University) using authentic pronunciation.

The Dance of Death

"Verba Auctoris

O creatures ye that ben resonable

The liif desiring wich is eternal,

Ye may se here doctine ful notable,

Youre lif to lede wich that is mortal,

Therby to lerne is especial

Howe ye shul trace the Dauce of Machabre, To man and womman yliche natural,

For deth ne spareth hy ne lowe degre."

Mali Baden Powell

"This piece represents the cognitive dissonance of the Afro Brazilian instrument the Berimbau and it’s relationship with the sea. The sea is represented in all forms by the synthesizers and sound design incorporated into the piece. On the one hand the Berimbau represents emancipation for Africans on Brazilian soil, but on the other, it is emblematic of the struggle my ancestors paid their lives for in grief, labour and mutilation."

The Raven

"The Raven speaks no language I understand

The call neither shrieks nor cackles

The nest is unfettered, filled with the remnants of another plan

The shirk of one wing to another grants freedom:

Flight is the essence of the human ideal

A super power most people would want

But to the raven, the ideal is the next meal

Calling to friends and foes to flaunt"

Words by Mali baden Powell

Written & produced by Mali Baden-Powell. Performed by Mali Baden-Powel. Additional percussion by Wazoo Baden-Powell. Recorded in Rhythm Section Studio.

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.

William Fields explores the potential of algorithmic music through the process of recreating (and inventing?) genres with his musical operating system.

Intertwining themes of motivations and justifications form the central nervous ganglia of this instalment.

Loosen your tolerance threshold and listen in, as some of the loose ends regarding the new genre 'creepbeat' (introduced previously) are tied up, followed by rantings at the TV, then a phone call of dubious audio quality is received from a friend who formerly worked at Oxford Street's HMV where a strange diary was discovered inside an abandoned bungalow on the roof of the iconic music store.

If the aforementioned has not whetted appetites, meat is provided in the form of reports of Pure Volunteering workplace trespass incidents. Pure Volunteering is a mode of work which mocks the divide between the employed and unemployed, causing untold fuss.

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.

In this episode, Dronica meets Ellen Southern for our monthly guest mix.

Singer and interdisciplinary artist, Ellen Southern, has woven together a special selection of audio spanning years of her practice, including unreleased live material from the dark-neoclassical group Dead Space Chamber Music, new collaborations and an exclusive long-form premiere, and raw vocal field recordings from her experimental solo work. The result is an intrepid journey through an audio-landscape of varying textures, dynamics and atmospheres.

Ellen Southern is a singer and visual artist from the UK, working with voice, sound and site. Southern is the vocalist in the dark neoclassical quartet Dead Space Chamber Music, also contributing visual art and experimental percussion / found sound. They released their second album, The Black Hours, in December 2021, co-releasing the vinyl with experimental independent label Avon Terror Corps in April 2022.

Southern also co-curates the independent Dark Alchemy event series, often held in unique spaces including crypts and churches, immersing audiences in the acoustics, aesthetic and atmosphere of each unique sacred space.

She has contributed to a variety of acclaimed collaborative projects, including a tour and release with Bristol noise/drone artist BURL (“a meditative séance for increasingly dark times” - Crack Magazine), appearances as part of The SeeR immersive performance collective (Dronica Festival, London, The Woodland Gathering, Cumbria, and Supersonic Festival, Birmingham), and as soloist for the acclaimed ceremonial electronic / AV work Kistvaen by Roly Porter and MFO (Mira Festival, Barcelona, and Les Garages Numériques Festival, Brussels).

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

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

60 minutes of vivid aural excitement mixed by Ian Murphy.

In this episode: a guest mix from Georgie McVicar, comprised of material from their release on Conditional, and the usual grab bag of computer and electronic music and sound from past to future.

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

Btech and Eman Resu of Superfluid present sound, music, noise along with all their sources via talk, fiction and truth.

"gnarled roots exposed on mud-moss banks picking through pottery shards

bird songs ring river

river sky fills

moon swims electric

through (t)rains weft-warp current"

Two 15-minute field recordings placed side by side, the first taken on the banks of the River Ching, Epping Forest, a tributary of the River Lea, along which the second recording was made during a storm over Hackney Marshes.

Various sonic techniques were then used to tune into these recordings, obfuscating and teasing out sound patterns, tracing echoes, creating confluences. Additional stump thumping and railing rhythms by Helen Frosi.

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.