← Tuesday 8th October 2024 →

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.

At this mid-point crisis in the Asphyxia series, a discourse on the new genre of music known as 'creepbeat' is provided. Creepbeat emerged as a viable "going concern" during investigations into a remote music event.

As with breakbeat, sampled 'beats' are creepily sought, albeit dulled through distance - the creepbeat producer works with the sonic dregs of a faraway revelry, filtered by environmental pressures and obstructions.

Just like the researcher of suppressed material, the creepbeat producer works with incomplete and compromised artefacts. This necessitates various forms of cognitive leaps to complete the bigger picture.

In the case of creepbeat, this involves identifying patterns; the half-audible melodies and rhythms are accentuated, creepily re-painted back into definition. Analogous to the investigation of suppressed materials, the task is one of recuperation - following the ghost of the gesture. The show's creator may release an album if enough interest is shown.

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.

Cosmic, transcendent sounds and exploratory electronics with f.ampism.

Music from Inner Space Travels, Ruido, Fastidious Android, BAG, Cameraoscura, Giovanni Lami, IOM, V-Stok and The Nent.

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

Toxic Chicken lays down some tracks in an eggsclusive session recorded for Bantam I mean Phantom Circuit and there is also music by Field Lines Cartographer, Jenny Tseng (甄妮), Whettman Chelmets, Opal東京, Leaving Richmond, Tom Ellard, Laurie Anderson and Rancid Poultry. Don't be chicken; give it a listen!

Phantom Circuit is a show of strange and wonderful sound waves - featuring music that is alien, electronic, exotic, essential.

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

Virgilio Oliveira explores the sonic environment in collaboration with Porto's Radio Manabras, presenting an hour of sound art and field recordings.

This episode celebrates the release of new music, including Kayla’s new EP Ambient Owl Core Vol.1. A journey through releases, live tape loop improvisations and soundscapes.

Background music: What is keeping you alive makes me want to kill them for by Kathryn Joseph (Unofficial Jilk Remix).

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 this edition of Shuffle, get ready to listen to the weirdest and most mind-blowing covers and drifts of Tina Turner's Private Dancer. There's no order, no lists, only stilted and exclusive material. Public and private dancers, non-binary voices, Finnish superstars, peaches, orchestras, strong women, workers who hate their jobs … all are welcome in Shuffle formula radio mode.

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).

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:
“Episode 2 was recorded at the Foundation Louis Vuitton in Paris in August 2019, the boat-shaped institution with its surrounding pools providing respite from intense summer heat. We sat on an inordinately long white bench while observing that staff were required to stand. What is special about this recording is the slow reveal of the spatial characteristics throughout: from small, close, muffled sounds exploring the intimate surrounds; to crisp footfalls illuminating vertical hanging surfaces in middle distance; until finally a museum alarm chimes in concert with a high pitch child’s scream that touches the ceiling and very extremities of the interior space.” - Chanelle Collier

B Side Notes:
"On the recording process with a live ensemble: “a direct response in the studio wearing headphones with no previous listening” – Jack Prest

From The Archive:
(THE SOUND OF A MUSEUM)
Museums may have a homogeneous ambient sound because of the size of their exhibition halls. Each space is populated with a resounding, linguistically driven, ambient voice that is particular to the location’s culture and language. There is however, also a global audience at each cultural centre, an intercontinental melange of voices. Simultaneously, there is a transcontinental homogeneity and intercontinental melodies.

For whatever reason the squealing child’s voice is universal. It feels out the architecture of space with a projected volume that adults seldom perform. The unrestricted evocation of a child echoes from floor to ceiling and from wall to wall. Through this squeal one can feel the size and shape of the room in each recording. From everyone else, feet shuffle and clop, and undulating whispers approach, overlap, and retreat.

THE MUSEUM SPEAKS with its laser triggered alarms. When listening to the playback of these museum recordings it is interesting to try to distinguish the sounds made by the museum itself and the systems of the museum. Walkie-talkies bleep, and laser alarms siren off at various intervals, air-conditioners hum and clink in their efforts to control and condition the environment.

(RECORDING – SOFT DOCUMENTATION])
The microphone is a machine that hears. The natural reality of sound becomes codified, open to mechanical reproduction and dissemination as a multiple. The microphone differs from the human ear. In the microphone noise is treated evenly in relation to the receiver. Unlike the human ear, there is no prioritisation for listening. This democratised sound enters the microphone abstractly as conglomerate wave data. The background is brought forward because unlike the human ear a microphone is not discerning, not trying to ‘hear’ anything in particular. When the body listens, the brain edits out all that interference, focused as it is on grasping what is necessary to hear. The machine isn’t looking to communicate so it isn’t filtering signal from noise. - Joe Wilson.

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 extract from the day, an unreleased album sent to us by Neil Luck and Benedict Taylor.

Neil Luck is a composer, performer, and director based in London. His work often explores the pathos and interaction between live human performance and multimedia, and attempts to frame the act of music making as something curious, or weird, or useful, or spectacular in and of itself.

Benedict Taylor is a solo violist, violinist and composer.

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.

This episode is 100% new Australian experimental and exploratory music. We’ll be listening to: new sound works from both musician and composer Rosalind Hall and Sydney’s Alexandra Spence; the Melbourne duo of Tarquin Manek & Ying-Li Hooi on a celebratory compilation from Altered State Tapes; minimal electronics meets exquisite vocals in new work from Allume and Eitanr; plus new music from Logic 1000, Automating, J Campbell and the deliciously named Little Songs Of The Mutilated.

Hosted by Stu Buchanan, Out From Under dives deep beneath the surface of the Australian music scene, celebrating experimental and eclectic music from the far end of the world.

A set of live recordings from the launch party for Brighton's new Peripheral visionaries festival. This is a bit of an outlier, some sound art from the Antivoid Alliance, spoken word from A number of local poetry nights, spoken unwords from Dyian Nyoukis and Duncan Harrison, sounds and words from Kayfabe and Vapour vox.

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

Welcome to walkplacedistancetime.

Walking, movement in place, in air, distance through time.

From a beach to a tide-race via a deserted village and a crowing cockerel. Island Suite presents two islands, two walks, four hours across one day. This is movement 5.

embodiment -:- walking human movement -:- place more-less natural -:- distance time over across -:- field recording -:- poetry -:- composition -:- martin p eccles

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.

This episode presents the outcome of a particularly exciting rehearsal of ours from May, and also contains tracks from our rehearsal archive that have been used for an upcoming release of ours, set for an end of October release! Keep an eye out on our Instagram!

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

Bunhill Open Studios Sound Walk and Scoring Workshop Signup

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

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

Special show this week dedicated to recently passed legends, Klaus Schulze, Philip Jeck and Mira Calix. Starting and ending with two trademark long jams by vintage Schulze the show organically moves between these three artists as well as three other (wisely chosen) toll tunes for the boatman’s ride. Deep passages, gateways, rest in peace…

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.

If a man does not keep pace with his companions, perhaps it is because he hears a different drummer. Let him step to the music which he hears, however measured or far away.

Henry David Thoreau

Furbytronics by Peter Rockmount

• audio / visual decomposer Lepke B posits the question - "How will we live in the 21st Century?"

This episode features music made by Naviar's community inspired by Masaoka Shiki’s poem “misty spring rains... / umbrellas high and low / aboard the ferry”.

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.

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

This episode hosted by Phil England features a guest mix by Bristol-based improvising guitarist and promoter Matthew Grigg plus Phil's selection of new releases by Tashi Wada, Mourning [A] BLKstar and more.

New music with The Wire Magazine.