← Saturday 21st September 2024 →

Alphonsine Koh is a DJ, producer and artist from Singapore, now based in Germany.

Twice-monthly broadcast showcasing electronic music produced by members of the female:pressure international network of female, transgender and non-binary artists practising in the fields of electronic music and digital arts.

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

This episode is led by Tarik Haskic. The group works through a number of deep listening scores inspired by Pauline Oliveros.

Artwork by Erin Robinson.

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

In this episode, sound artist Leonel Vásquez and researcher Lisa Blackmore navigate the Bogotá River in Colombia through a more-than-human song created together with the living forces that shape the watershed’s ecosystems.

Loaded with chemicals and sewage along its course, the river is largely devoid of the fish and freshwater crustaceans that for thousands of years teemed in its waters. People have turned their backs on the water body, even though it was once the centre of collective life.

How might listening to the river’s song renew bonds of relation and reverence for water in dis-enchanted times? Guided by Leonel’s compositions, River Song, Singing Rivers is sonic immersion that attends to the Bogota rivers bogs, meanders, and flows as a living being worthy and in need of care.

Lisa Blackmore is founder-director and curator of entre—ríos, exploring continuities between bodies of water, human bodies and territories, recognising rivers as active subjects. Lisa is Senior Lecturer in Art History and Interdisciplinary Studies at the University of Essex, United Kingdom. She holds a PhD in Latin American Cultural Studies and is the author of publications like Spectacular Modernity: Dictatorship, Space and Visuality in Venezuela 1948-1958 (2017), and co-editor of Hydrocommons Cultures: Art, Pedagogy and Care Practices in the Americas (LA ESCUELA__JOURNAL, 2024) and Liquid Ecologies in Latin American and Caribbean Art (2020).

Leonel Vásquez is a Colombian sound artist exploring non-human sonic agencies: waters, trees, rocks... living and vibrant materials. Their interests include underwater noise, geo-resonances, relational listening, and vibroacoustics of planetary well-being. They have worked with the National Radio of Colombia, Ministry of Culture, and as a teacher of sound art at the University of Los Andes.

entre—ríos explores continuities between bodies of water and human bodies, recognising rivers as active subjects producing aesthetic forms and shaping memory. They believe in artistic practices as catalysts for collaborative experiments connecting us to the environment. Their practice traces hydrographies rendering borders porous, creating shared territories. They put into circulation ways of knowing and feeling bodies of water through creative methodologies and flow systems that create deltas of knowledge where arts and sciences, communities and institutions meet. Their project, **RÍO BOGOTÁ&&, connects community initiatives in one of Colombia's polluted rivers through culinary encounters and publications.

Collective Werebere focuses on communication and expressions between the human and natural world, based on the study of different bodies and their sounds. They have conducted research on resonance phenomena and subtle landscape signals. They lead the High Mountain Listening Station project, a space for contemplation and well-being practices towards the body and Sumapaz páramo territory.

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 two independent labels, Calling Cards Publishing and Italian cassette Canti Magnetici, first Sebastian Melmoth LP out on Artificial Dance and Stephen Shiell 'Sonance' on Linear Obsessional Recordings.

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

Wet assemblage of dank & dark delights. Malfuncioning themes of humidity, wetness and everything moist. Neo tropical thrills to watch the (early) sunset by...

Picture: Jambiani, Unguja Island, Zanzibar, 2015

Discrepancies is a global showcase of disparate music with a focus on earthly field recordings and international sounds, curated by the Discrepant record label, presented by Gonçalo F Cardoso.

This episode features a mix by Mabe Fratti.

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

Joe and Chanelle’s audio recordings encompass ambient sounds, conversation, experimental composition and improvised instrumental response. Cassette drones, loop pedals, voice and guitar are used to echo, mimic or bend over bird calls, thunderstorms, night sounds, indistinguishable chatter, museum reverberations and urban movement. These moments captured to tape are presented in two halves as an A-side/B-side format.

Enriched by visual counterpoints for each episode, Bruna’s critical eye forms an ambiguous tonal narrative from Jake's method of stumbling into excellence. Mountain, valley, glacier, and urban horizon are presented in stereo format, to parallel the A-side/B-side format.

This program has been made on the stolen lands of the Gadigal people of the Eora Nation, we pay respect to the Elders both past and present.

Project lead and sound by Joe Wilson and Chanelle Collier. Creative direction by Bruna Volpi. Photography by Jake Terrey.

Supported by Higher Ground Studios, Annandale.

Field Notes

Side A - Urgently

Field recording of European museum with morning birds and amplifier feedback from guitar; complaints from Mum about washing clothes in the copper; undulating chords with vocal and crickets from Bundanon; pitch alteration on octave pedal; drone and feedback over museum sounds and harmonics in E major followed by a riff in E minor, ‘Heart Starts Beating Too Fast’.

Free Love: “A language that demands, urgently and violently: care. A generative exchange and agency in labour. A criticality through care, using play. A position that can be both active in participation and maintain the potential to deactivate, become divested. Doing something nice, flying a kite, or having a picnic. Just looking to be invited to converse, an extension of love to collapse two worlds; work and life.

Catered for by massive failure as a means of opening. Doing over making to relocate the work to the action. Relocating the site of art to the body and the use of time. A revolutionary release of time through play as resistance. Constructed relationships, situations, with an emphasis to act freely; to resist the positions of interest. A domain of emancipation and kinship for a subjective body." - Joe

Side B - Violently

Field recording of a visit to Palais Tokyo followed by a drone melody malady in G major with lead guitar; feedback with studio improvements such as making a shelf using a timber router, with museum crowd both clean and distorted; continuing drone sounds; crowds under compressed guitar handling and amp noise followed by chords with feedback; storm outside the studio and gallery opening night crowds.

A Lover’s Cheekbone: “A play that happens to be naturally abrasive to the system. It scratches against the sides on its way past. Maybe doing a bit of damage in the process of making contact. Not adversarial. It just doesn’t stay in its lane or conform to the right shape. Joyful and harsh. Always making a play for a kind of loving 'fuck you', full of intimacy and without concern for any consequence but enjoyment, kinship, friendship, comradery, the gang, the good life, the game.

A hypothetical but actually used playing field not made of spite or hate or jealousy. There are no sour grapes growing here. Just the things we do that happen to be antithetical to the status quo: hard work. The lazy artist. The drinking artist. The joker. The lark. All resistant. Revolutionaries even, if given enough purpose, and against the machine simply for not being welcome in its workings.

Not in protest, just not still enough to remain squarely in an assigned place. That place, comfortable to others, that is easily read. Forever willing to deploy a playful elbow to a ‘lover’s’ cheekbone to guard that sensitive spot, to avoid the grabbing of an unsuspecting nerve, a flinch in defense of submission, sometimes leaving a bruise, a wound, but necessary just the same. 'I will not show my belly if you will not show yours'. Not even for the promise of a kiss.” – Chanelle

Sounds (guitar, vocals, samples and pedals) by Joe and Chanelle. Oral storytelling by Jenny Magrath. Router sounds by Oliver Wagner

This episode was a cassette recording presented as 1 of 10 tapes for the Visual Arts Emerging Fellowship (VAEF), with Artspace, Sydney. Presented in partnership with National Art School Gallery, curated by Scott Elliot, Alexie Glass-Kantor and Elyse Goldfinch.

A monthly programme which blends textured audio from cassette recordings by Joe Wilson & Chanelle Collier with tonal imagery by Bruna Volpi and Jake Terrey. Sound engineering by Ollie Brown.

Meg Woof presents their last show featuring music by Byard Lancaster, José Mauro, Bedouin Ascent, Prangers, Maral and more.

New music with The Wire Magazine.

This episode focuses on the darker shades of ambient music as well as the sounds of life, collage-esque music, tracks that experiment with the messiness and randomness of our existence.

Featuring new and archival releases from an array of artists working with ambience, found sounds, and our environment.

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.

This episode features Matt Krefting, Erell Latimier, Puppet Wipes, Prick Decay, John Trubee, Alan Licht & Aki Onda, Polly Shang Kuan band, Henry Flynt, Clarence Bison, Rick Potts and more.

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

The International Institut for Research on Radio and Magic is concerned with finding imaginary solutions at the border between technology and magic.

In this episode: Laurent Schmid

Radio Picnic is a mobile radio art project by zonoff which invites multi-disciplinary artists to create works inspired by the radio medium.

In this episode, Sonic Hugs, curated by Colin Black for This Sonic Life.

Curator's statement:

No matter where we live in the world, we all feel alone from time to time, some of us more than others, some of us to the point we can’t bear it anymore ... this collection of new works entitled Sonic Hugs is a reminder that we are not alone. With this objective at hand, I invited nine of Australia’s most distinctive & esteemed artists to create original new works that express their interpretation of a “sonic hug.”

At the time, I remember wondering, just how will these artists combine the ideas of “sonic” and “hug” into their new works? If we explore the word “hug” by itself, then we usually start to think of the following: hug … to anticipate a hug, to be hugged, to have been hugged, and that research has shown that a hug can reduce feelings of loneliness and the harmful physical effects of stress. A hug can also boost feel-good hormones such as dopamine and serotonin, the antidepressant hormone that reduces feelings of loneliness, controls anxiety and elevates mood. Psychologically, a hug builds trust, boosts self-esteem, and creates a sense of safety, creating a pathway towards a deeper connection.

But this was not just a hug, but a Sonic Hug … then I also remembered a quote from an interview I did for my PhD with Andrew McLennan about his experiences as an ABC radio producer working with artists at The Listening Room program where he explained, “But artists don’t always do expected things …”(1) In this context, McLennan is discussing the potential awkwardness between the public media programming directives and the artist’s desire for creative, uncensored, boundless possibilities.

While with the Sonic Hugs collection, there are differences (e.g. there is no overarching government programming directive other than the request to compose a sonic hug), artistsboth delivered works that met and challenged my expectations, all of which I found sonically highly stimulating and was touched by. What emerged from this diverse mix and treatments of the subject matter is a multi-faceted creative exploration of embrace, connectedness, and community.

If we listen deeper into these individual new works, in the order that they will be presented, we can hear that with Cat Hope’s 7 Options (as performed by The Low Tone Orchestra), we are listening to how musicians empathise with each other during a live recording as they are “moving in and out of each other’s timbre,” in effect exploring varying degrees of sonic connections.

With Ros Bandt’s Sonic Hugs, we enter a personal autobiographical soundscape of tenderness that, as Bandt explains, “metamorphose into a new magical energy empowering love, kindness, sharing, community, co-operation and selflessness, a larger hug from nature and the cosmos.” In Eve Klein’s Mantra of Enfolding we imagine our first embrace and connection as a zygote in our mother’s womb. Robert Sazdov’s “I Cried” Spasovden, electroacoustic compositional structure is based on “20-second sonic sections that aim to deliver 12 sonic hugs.”

Next, Stephen Adams brings us Close To Your Ears in which a single vocal gesture develops and is augmented with other elements to create intimacy, as Adams asks the question, “What is a sonic hug?” With, Claire ‘Furchick’ Pannell’s Berjalan, amongst other things, reaches across cultural boundaries by using music as a type of universal language. In Jim Denley’s Mixmaster Troposphere we explore embracing the Australian environment and place and is intended as a sonic hug to the Aboriginal people (Wayilwan, Gamilaraay and Wiradjuri) who had previously gathered on the remote site in the Warrumbungle National Park where the work is recorded.

With David Chesworth’s Cohesion Calisthenics we are listening to the “personal experiences of embodied hugs and being in larger social gatherings, which we sometimes struggle to be part of.” Finally, with Colin Black’s Embosomed, we are exploring the light and shades of embrace, a reaching out for connection and fragility.

I now invite you all to open your ears to this new collection of works that affords vulnerability, speaks from different levels and dimensions and brings focus to the need for more interpersonal/social connectedness and cohesion.

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

In this episode we delve into two upcoming releases: Bells: the gauzy glockenspiel experiments from Broken Chip, AKA Martyn Palmer, who is based in the Blue Mountains in Australia, and Homework, an intriguing collaboration between Londoner Matt Atkins and Italian composer MonoLogue (Marie Rose).

Martyn opens the show and talks us through his process in making Bells. We also hear from Matt Atkins who discusses the alchemical and improvisatory processes which went into his collaboration with Marie Rose.

We dip into Nichola Scrutton's new release Night Vision which is based on a practice of semi-conscious writing, enjoy Manja Ristic's special sniffing rock in Croatia and join Colombian composer David Veléz as he does the dishes.

The second half of the show is a beautiful mix by Martyn Palmer of music which inspired his forthcoming album Bells.

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 edition of Shuffle, get ready to listen to the weirdest and most mind-blowing covers and drifts of Believe by Cher. There's no order, no lists, only stilted and exclusive material. Aliens, nu metal singers, banana lovers, bardcore makers...all are welcome in Shuffle mode.

This episode features music by two guest artists: Lower Mars and S1m0nc3ll0.

Shuffle by Agnès Pe is a formula radio programme taken to the extreme: repetitive, obscure and humorous. Each episode presents obscure covers of a single song. “Anything that spreads by imitation or spreads by bodily reproduction, like genes, or by viral infection is a meme” - (Richard Dawkins, 2013).

Experiments in exploring humanity with Keno Westhoff of http://klanglabor.ayayay.eu.

Three thoughts in relation to an upcoming performance.

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

"Here is a mix I made last month. It is inspired by a stupid piano I found a few houses down and dragged home. Lately, I've been working on some new instruments, spawned from various marshlands around South East London, and this moss-covered electric piano was a funny addition.

So, I put together these mostly keyboard-oriented pieces; some are bits I played on the following days, some experiments with homemade robotics, but it features a few relics too, such as: Koray and Marc's remixes of some old music and one of my all time favourite rave tunes, Twisted Girl, with a hypnotic piano."

Musical sketches by ENGLAND'S COUNCIL OF LEGISLATION AND GOVERNING BODY OF HYPER REAL SIMULATIONS AND CONSTRUCTS is a monthly mix of curation, recompilation and pseudepigrapha.

This half hour is mixed by Great Area.

Super Takeover was a 24-hour takeover on Resonance Extra organised by Superfluid.

This half hour is mixed by Lolina.

Super Takeover was a 24-hour takeover on Resonance Extra organised by Superfluid.

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

Drone Operatør's AA + session #4 takes the listener on a 2-hour journey through rough terrain. The walk starts at ground level where we pass by lively waters and layered sound strata with detailed landscapes that fade into each other.

Once in a while, familiar sightings re-emerge out from the ground and we go up and down until we finally meet up with NATHAN CORDER who takes over after this 1-hour walk. He guides us up that steep 30min climb into his very own territory filled with wild sharp rocks and beasts baring teeth that leaves you breathless and drenched in sweat.

A 30 min downhill hike after we waved goodbye to our guest and this ride is over. We hope you picked some flowers along the way.

Monthly experimen†al kleptomaniac post digital free jazz spam channel operated by artists Tilman Hornig and Paul Barsch aka DRONE OPERATØR.