← Wednesday 12th June 2024 →

In this episode, Meg Woof plays Tongue In The Mind, Gordan, Weird Weather, Marta Forsberg, Tadleeh, Aidan O'Rourke, Gomid and more.

New music with The Wire Magazine.

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

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.

The second episode showcases Siavash Hakim and tarxun's new album Hireath, the forthcoming EP by New Zealand duo Tonkyn Pearson, Leena Lee's recordings of a quarry turned wildlife laboratory in Mexico City, chairlift recordings from Argentina by Alma Laprida, an album out of lockdown in China by Li Yilei, Robert Curgenven's weighty new release, not so new releases by Ellen Fullman and Pascal Savy and more!

This is the Flaming Pines radio show featuring new releases, mixes and experiments in field recording, sound art and experimental music, hosted by Kate Carr and guests.

In this episode, Blanc Sceol (Stephen Shiell & Hannah White) invites the audience to listen with the Channelsea river, a recovering waterway in East London and home to the city’s largest combined sewage outfall.

A six-part series by Meira Asher and Stephen Shiell exploring the interactions between transmission, sound, activism and water. Each episode is created by a different artist or group who engage with water politics and the politics of listening through the medium of radio.

This episode features work by Anders Jakobsen, Karlheinz Stockhausen, VHS Head, Jon Collin & Demdike Stare, Tony Conrad, Datassette, DJ BLOBBY / AOTCI / OVT, The Durutti Column, Simon Heartfield, Berke Can Özcan featuring Arve Henriksen, Fugazi, Luke Sanger, Sciama, Air Liquide, Island People, Art School Girlfriend, Salvador Dali and Pub.

An immersive psychosonic space, where sounds converse, collide and converge, featuring works, selections, edits, experiments, new music, non-music, archival objects, abstract artefacts, sound(system) and A/V art, pop, trash, noise, voice, and the associated mediums, processes and techniques that make up the ongoing audial investigations of Agents of the Culture Industry & OVT, all presented for art not profit.

a response to what didn't exactly happen last weekend:

“Within Must Not Be Underestimated” is a collaborative performance and installation by Anastasia Freygang, Lia Mazzari, Dovilė Šimonytė and Sholto Dobie.

an attempt to let it come into being in some ways

Weekly compositions, sketches and motifs by Anastasia Freygang.

Field recordings, experimental narration, ragamash mixes, big time polyrhythmics including fantasy language and hearsay from IRL and the World Wide Web.

This episode of Listening Experience consists of material acquired and created during the Multiversal MultiNorth IV tour of Oslo, Copenhagen, and Berlin, in January 2018. 

A monthly collection of audio experiments and listening objects with sound artist Matt Burnett from Berlin.

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

In this episode, part 2 of a mythogeosonic journey around Gateshead in Tyneside and the site of the former Gateshead Garden Festival.

From 1984 until 1992 five National Garden Festivals were held in the UK. One of them was in Gateshead in the North East of England in 1990. It lasted 157 days across that summer and received over three million visitors.

The Garden Festivals were the idea of UK Conservative environment secretary Michael Heseltine in 1980. They were based on the German post-war Bundesgartenschau concept for reclaiming large areas of derelict land in cities.

All the festivals were held in designated areas — reclaimed land that had become derelict and poisonous in the wake of industrial decline. Other festivals were held in Liverpool, Stoke and Glasgow. They each cost between £25 — £70 million.

Michael McHugh is joined by artists and mytho-geosonic experts Tim Shaw and John Bowers for an exhaustive journey along the River Team and through the landscape and footpaths of the former festival on the eve of this years vernal equinox.

It's very different to how it was in 1990 and if you look closely, in amongst the empty bottles of white cider, 30 years of lager cans, discarded laptops, torn suitcases, condoms and nitrous oxide bulbs you’ll find remnants of the festival’s sculptures, landscaping and foundations.

It's an eerie interzone and that makes the aspiration and ambition of the 1990 festival feel somewhat unreal.

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.

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

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 features music made by Naviar's community inspired by Mizuhara Shuoshi’s poem “rain on the cherry blossoms / with bamboo in the mist - / so pale and green".

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.

In this episode, Lost Letter, a piece composed by Snezhana Reizen. Here are her words about it:

To describe the process in which I was involved here, I would need to convey some details of the setting and the basic materials that formed the backbone of this piece.

In the beginning, there were noises appearing between unconnected wires (an additional and sort of premortal material to my upcoming album Parallel Movements). I found some of the themes this material suggested, such as the desperate seeking of connection in disconnection or beauty in noise or meaning in life full of war, fairly corresponding with what is going on in general or what I can perceive from my current environment in particular.

So these sources were fertilised with Israeli radio, military helicopters severing the night sky, smithereens of debris and bird’s voices, and various sounds of 'human and not' presence and not.

There were some attempts to reverse signifiers of sound in an acousmatic manner so that rolling stones of “go-game” appeared as breathing or speeded human heartbeat as erupting calvary. Water, though, was included in its literalness as a fragrance of hope to the deserted. The water here is Sicilian — a good memory from the Oooh and RARA improvisation art festivals.

But besides processing concrete sounds, closer to the end, I allowed myself a bit of sound synthesis.

Lost Letter is the second chapter of my new series Cryptography. Find out more here.

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.

Dusty, bimonthly, high-density mixtapes and exclusive material from London duo Sirius, digging loop-holes and following their nose for the God scent.

Debut LP by Dutch vocalist Janneke van der Putten. Her voice emerges from deeper grounds, shaping the acoustic aura of architectural and natural spaces, exploring the limits of vocal techniques through site-specific performances. Becoming siren, becoming storm, a rose of resonance for a new world.



Janneke van der Putten (Amsterdam, 1985) is a visual artist and vocalist based in Rotterdam. Her voice is her main tool, guiding her through physical and sonic explorations in different landscapes. In her site-specific performances she uses extreme vocal techniques and architectural features to relate with the here and now.

Janneke is autodidact in various extended vocal techniques and studied North-Indian Dhrupad singing with Amelia Cuni and Marianne Svašek (Berlin & Rotterdam, 2009 – 2014). She completed her MMus in Artistic Research, Royal Academy of Art & Royal Conservatoire (The Hague, 2013) and her BDes in TXT (Textile), Gerrit Rietveld Academy (Amsterdam, 2009).

Solo exhibitions include: ‘All Begins with A’, TENT, Rotterdam, 2015; ‘Directed to the Sun’, Quartier am Hafen, Cologne, 2017; ‘Quitsa’, CINNNAMON, Rotterdam, 2017; and duo-show ‘[to]’, Kunstraum 34, Stuttgart, 2020. Her solo debut album ‘JNNK’ was released on the June 21st Solstice 2023. Her previous album was made together with Sajjra Xhrs Galarreta (PE) for their project 'Invisible Architecture' (Aloardi, 2015). Other composers Janneke collaborated with are Budhaditya Chattopadhyay (IN), Werner Durand (DE), Yvan Etienne (FR), Philemon Mukarno (ID/ NL), Rory Pilgrim (UK) and Marcus Schmickler (DE).


See more of her work on YouTube and listen on Bandcamp.

Experimental vocalist Janneke van der Putten presents her debut solo album JNNK.

Here they present a recording of The Death of Kodak, live at The Cockpit Theatre for Rough for Opera, 2015.

"Founded by George Eastman in 1892, the renowned photographic film company Eastman Kodak filed for bankruptcy in 2012. The Death of Kodak imaginatively charts this tragic trajectory in terms of the apparent eclipse of analogue technology and the dissolution of identity in the digital era. The graphic score (the length and structure of which is determined by Fibonacci Numbers) is drawn on digital camera flash units, projected on to the retinas of the individual musicians – a technique originally explored by Ed Baxter."

Featuring:

Rodney Earl Clarke: voice (Rochester, New York); Richard Scott: voice (Eastman Kodak); Ed Baxter: text, direction; Louise Goodwin: percussion; Simon King: electric guitar; Elo Masing: amplified violin; Markus Sasse: bass guitar; Milo Thesiger-Meacham: electric guitar; and Chris Weaver: electronics. Voice over: Piers Gibbon.

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.

In this episode, Jennifer plays lots of new releases.

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.

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 series for Resonance Extra is the first time much of the label's catalogue has been available to hear outside of its material form. It accepts the invitation by Resonance on the basis that none of these sounds are stored. If you want to hear it you need to be able to access the radio at midnight BST every Thursday.

Running weekly, the series will broadcast the entire catalogue so far in chronological order, continuing here with Bruce Gilbert's Ice Burns.

"Holy, sacred and festive is the day that Bruce Gilbert grants your label the permission to publish his work. And holy, sacred and festive are the minutes that you, listener, will spend in it. Recorded live at Cafe Oto in London, 2017, in tribute to Mika Vainio."

purge.xxx releases music. It has been celebrated by The Wire magazine for its ‘disregard for the music industry, self-promotion and prevailing cultural norms,’ and an ‘ability to elevate distinct works and the obscure artists behind them.’ purge.xxx only releases music physically, unless a digital alternative has specifically been requested by a collaborating artist. It considers even the recording a compromise, but advocates things.