← Thursday 10th October 2024 →

Running weekly, the series will broadcast the entire catalogue so far in chronological order, continuing here with Avebury by ** Nkisi**.

Future music by NKISI, ancient music by NKISI: ‘Ndombala’ (A) is the original score for Journey to Avebury, Stanley Schtinter’s video remake of Derek Jarman’s film of the same name. ‘Centripetal Vortex’ is its own parallel ritual, made as part of the same sessions.

numbered + handmade in an edition of 250 copies only; 180gr vinyl in custom-made screen-printed outer (sealed), containing two risograph inserts with a specially commissioned essay by Sukhdev Sandhu

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.

Dallas Simpson has worked since the 1990s as an environmental location performance sound artist improvising live on location, listening and performing with found objects and surfaces. Works are usually recorded live on location in a single take using custom in-ear binaural techniques. These 3-D perceptual recordings are ideally heard through headphones for a full surround sound experience.

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.

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

In this episode, Joe & Alex invite the prolific composer, field recordist, sound-sculptor and deep listener Annea Lockwood to the show. She provides an insight into a selection of her works from the past 50 years, as well the work of her late partner Ruth Anderson, who’s debut album ‘Here’ was released by Arc Light Editions this year.

A selection of experimental frequencies, interviews and sessions plus cuts from the First Terrace label by Alex Ives (Specimens) and Joe Summers.

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

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.

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 edition, get ready to listen to the weirdest and most mind-blowing covers and drifts of Hey Ya! by OutKast. There's no order, no lists, only stilted and exclusive material. Featuring special guest 480billion.

Pizza lovers, skateboarders, broken hearts, liver cooks, complicated people, hyperpop fans … 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).

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.

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.

In this episode: Greece is on the verge of revolution once again. A mix for Athenian riots with Greek punk.

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

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

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

The compilation brings together new and recent projects by composers Olivia Block (US), Cassandra Miller (CA/UK) and Andrew Hamilton (IE/UK), with Sheen’s eponymous Croon Harvest (2021–ongoing) as a central starting point.

The programme explores music in a situated and embodied state, floating on noise and quiet sounds, peeling off from the brink of silence towards a good old sing-along. In each work, the voice occupies a different space in relation to other sounds, the body, technology, or notions of memory and tradition.

The project is part of Musarc’s work with contemporary composers and the ensemble’s commitment to new music – brittle and radical, in need of projection as well as protection and advocacy. The choir was joined by musicians from the Royal College of Music and Trinity Laban Conservatoire of Music & Dance.

Instrumentalists: Cara Houghton (flute), Rowan Jones (clarinet), Michelle Hromin (bass clarinet), Andrew Hamilton (viola), Andrew Liddell (viola), Rebecca Burden (cello), Steve Potter (piano).

Sound engineering and mastering by Julian Sander.

Recorded in Resonance Extra's studios on 30th April 2022, Croon Harvest is a constellation of four experimental choral works curated by Jack Sheen for Musarc.

Hypermobil is an artist with a passion for networking and collaboration in feminist collectives. She loves to express herself through art and music and believes in their impact on social change. In this podcast you can enjoy a collection of tracks by women, non-binary, and trans artists.

You are taken on a journey to hear from and about boss bitches, cuties, good girls, and whatever you feel like on the dancefloor.

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.

This episode starts with Gesualdo, a 16th-century composer-murderer and Prince of Venosa who is famous for his madrigals that were ahead of their time (some would argue they still sound a bit too contemporary). It is followed by a piece of a contemporary composer Caroline Shaw that is inspired by a motet by another 16th-century composer Thomas Tallis, from England.

This is followed by music written by Thomas's contemporary compatriot—John Dowland. Dowland's composition is secular and chamber, fashionably melancholic—has been written in the shade of Elizabethan England religious and political repressions. Not unlike the next piece by Valentyn Silvestrov, a contemporary Ukrainian composer who shares not just Dowland's melancholy (except Silvestrov's melancholy is brighter and is more rooted in the XIX century) and chamber intimacy of "Kvartirniki"—dissident apartment concerts hidden from Soviet cultural repressive machine.

Next one is Tsegue-Maryam Guebrou, a Sylvestrov's contemporary, an Ethiopean pianist nun who shares her intimate "home piano" with Valentin's sound but brings a completely different, much less Western perspective to this practice. She's followed by another composer nun (later—abbess), Hildegard von Bingen, from the XII century. Hildegard's music, as Margot Fassler aptly noted, is like a stick of dynamite thrown into a Gregorian chant. However, Hildegard didn't have any musical education. The same is true for me. She relied on her secretary to write her music down (that she supposedly sang to him or her).

I rely on machines instead, on my modular synthesizer that is programmed to do generative polyphony—several self-playing melodies performed at the same time. You can hear it on Giardino, next track. Generative polyphony there is joined by improvisations on period instruments: baroque oboe, archlute and baroque viola.

It is followed by Beata Viscera, Perotin's music from the XII century Paris. He is one of the first known composers of polyphonic music and one of the most famous representatives of the Notre Dame school of polyphony. Then there's a composition by John Tavener, a XX century English composer who shares with Perotin the sacred quality of music.

The playlist is concluded with Brighde Chaimbeul, a Scottish bagpipe player. The connection is with Perotin's music, in Beata Viscera Perotin uses drone—a tone that is constantly held during the whole piece. Like a music foundation. Similar techniques are widely employed by various fold and ethnic music around the world, including the Scottish bagpipe music.

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

'Que bonito es el Mundo . Latima es que yo me muera .'

Cast in order of appearance -a plundered riff , a Poltergeist child , George A. Romero's The Night of the Living Dead(1968 ) soundtrack .
Elvis - a 2.217 second excerpt from the sound artist Peter Rockmount (the inspiration for this episode of Looperama ) whose work with modified double cassette players evokes the sonic equivalent of the collages by Kurt Schwitters (1887 - 1948).

The Firesign Theatre , extracts from the album In The Next World, You're On Your Own , the introduction of the mind bender .
Zombie Nation by Kernkraft 400 , the first reference to Rock On by David Essex .
Special guest vocals from Ice -''snatch back your brains, Zombies ,snatch ém back and hold ém !'' T .
Who's Afraid Of The Big Bad Wolf? by Henry Hall - https://youtu.be/MLh-ZoV0aUI

Next , a magnetic tape recording of Relax with Nelson Riddle and his orchestra ,which has been initially adapted accordingly
by N.Senada's Theory of Phonetic Organization.

We turn our eyes skyward to try to identify the source of the Zombie Ray -(42 seconds of non -Earth based signal ) with Green Velvet .
A sample of The Rattles, a German rock band, formed in Hamburg in 1960, known for their 1970 psychedelic hit single, "The Witch".

Finally - electromagnetic pulse (EMP) , dialogue from 2008 American horror film Pulse 3 ,by Man with a Plan actor Todd Giebenhain.
Conclude with something bombastic .

Lepke B's blissful disregard for the sacred in life has placed him as one of the testcard knights with a totally unique approach to sound plunderphonics and visual art.

In this episode James Gormley plays new music by White Boy Scream, Able Noise, FOUDRE!, Jordan Deal and more.

New music with The Wire Magazine.

This episode is contribution by Radio Helsinki

"If you want to find the secrets of the universe, think in terms of energy, frequency and vibration" ––– Nikola Tesla

Sounds of electromagnetic waves, overlapping frequencies of unfathomable spaces - magical, fleeting and touching, these are the electro-poetic worlds of sound that Reni Hofmüller opens up with the antennas of her Resonating Sculptures. Radiation emissions from the natural and human-made world, the cosmos and the technological environment transformed into sounds: hissing, crackling, hissing, whistling, vibrating, clanking and clicking, humming, buzzing, vibrating and booming, voices, tones and sounds from the radio.

Since 2012, the media artist, musician, composer, organiser and activist has been working with communication spaces that are created and characterised through the use of antennas and interpreted musically and improvisationally in live sets. The sculptures are mobile, small, heavy, expansive, they reference places and spaces for which they were designed, and they each have their own history of creation.

These are reflected in the forms as well as the spectrum of what they receive. Eight Resonating Sculptures have been created over the past eleven years. In April 2024, a new series of antennas based on the water systems – rivers, drinking water canals and sewage – will open in Scala, Tabakalera, San Sebastian.

As early as the end of the 19th century, Nikola Tesla picked up signals from Jupiter during his first radio experiments and interpreted them using his imagination. The Resonating Sculptures appeal to this power of imagination in the same way as the blue of the deep when diving in the sea or the noise of the radio between the transmitters that suggest a potential, a maybe, a possibly. Hofmüller: "The world opens up for me from my world of sound."

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

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.