← Tuesday 15th 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.

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.

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

This time, the second instalment of recordings taken at Day 2 of our eighth edition of the festival last October.

Live recordings from Kassia Flux, Slate pipe banjo draggers & Mowgli Art, Charlotte Wendy Law, Pascal Colman & Chasey Coley, Matawan, DVKA, Vera Spektor, Kate Carr, Ben Vince & Lucinda Chua.

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

This week: Show 100 in hexadecimal brings you music by Eniac, Simon Irvine, Katia Guerreirom, Hypp Fractal, Filmy Ghost, Eastern Fear Ritual, Marylin Scott, Danielle Dax, Experiment#508, Hardwired, Tristesse de la Lune, Joy Division, Simon Heartfield and Sofía Bertomeu.

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

This episode features Alexis Bathory. 'Carefree, mixed for the difficult days "or something like that" because... I wish people that are having a hard time to become a little more happy.'

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 focuses on found sounds and the ways in which sound connects to us through mind and body. It explores moments in music that connect us to the present. Join Kayla for a journey through experimental tracks and immersive soundscapes.

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, 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).

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

"This first episode starts our programme with an art museum local to Resonance Extra, The Tate Modern in London. It was recorded by us personally in the Rothko Room on the 8th October 2019.
What is special about this recording is that it picks up the quiet, meditative quality of the barely lit, chapel-like chamber dedicated to Rothko at the Tate. It also brings to mind the experience of the invigilator in museum spaces, the effort and attention required to sit or stand vigil quietly, and be occupied in the act of observing, while also occupying the institutional space with the personal body” - Chanelle Collier.

B-Side Notes

“Listening to the field recording I was attracted to the electronic hum underlying the recording, this made me think about the frequencies that surround our environments in an imperceptible way. Frequencies that the human ear would tune out as background noise or may not be able to hear at all. What happens when these frequencies are exaggerated and brought to the foreground? The bass drone that underlies this piece is simply a filtered version of the original field recording with no additional synthesis. The piece begins with the unfiltered recording and slowly transitions to the filtered drone. I then used smaller sections of the recordings to create a journey across the 13 odd minutes of the drone as a reminder that in spite of its otherworldly feel this piece is very much terrestrial." - Jack Prest.

From the Archive: Introduction To The Larger Lovesong Project By Joe Wilson And Chanelle Collier.

This Is Not A Love Song (Sound Archive) is an ongoing project to make a recording in a major art museum in every country of the world, where the entire archive represents 200 countries and 200 museums. The archive is to be presented as a 12” 33rpm vinyl record collection and additionally as an online digital resource. The project is made possible by a growing cohort of contributors.

The first phase of the project gathered recordings from Institutions such as the Tate Modern in London, Louvre in Paris, Guggenheim in Bilboa; additional recordings were made in Berlin and Kiev. Ideally field recordings were and are made in the largest exhibition hall of each space.

This project centres on individuals in an encounter with the institution, using sound as a representation of that relationship. This approach references and is aware of a conditional power balance between individuals and institutions. While expectedly hierarchical, the process and methodology of creating this encounter has revealed a rhizomatic interaction between subjective bodies; as the institution itself is made up of individuals working within a larger structure.

Recordings are made using a small handheld recorder for 15 minute periods that correspond to a single side of a 12” 33RPM vinyl record. To make the recordings, the artists/contributors stands or sits, they are careful to avoid recording the sound of their own bodies, and also to avoid recording the sound of any other exhibiting artist’s work, including kinetic work.

The entire 200+ recordings on vinyl will form the This Is Not A Love Song [Sound Archive] as an individual installation. A listening station with the records on a display shelf; an amplifier, player, and speakers; and seat.

The project collects sounds belonging to specific locations remote from each other and brings them into a local and singular context of the archive artwork. The physical distance between each institution is significant to any one person’s ability to feasibly reach each destination. The distance plays no small part in determining how accessible these spaces are. Each recording is an indexical tether and trace belonging to the site in which it was made. By collecting the recordings into a single installation and archive, the remoteness of each location is brought into a viable access point within an exhibition opportunity. The archive is made to be reproducible and thus able to travel simultaneously to multiple sites and audiences as an exhibition artwork for a collection or showing.

Australian regional galleries are being considered as exhibition venues for the project as these locations and audiences are geographically distanced from other institutional centres around the world.

This project was officially launched in August 2019 at COMA in Sydney, Australia, with a solo exhibition featuring the first and undisclosed recording of a Museum. As an undisclosed site, the recording acted as a proxy for the future archive, standing in as a universal soundscape of the institution. The recording was displayed via a site-specific visual-audio. The exhibition commenced in concert with the beginning of a residency at the Cite Internationale des Arts, Paris, running from the beginning of August until the end of October.

During the residency, recordings were made in European institutions; in addition to developing a network of artists, writers and curators who have committed to contribute to the project remotely. Contributors are given a How-To via written instructions and in person dialogue. With 300 studios and more than 50 partnering countries supporting music, theatre, art, literature, architecture and design the Cité des Arts residency was an ideal platform to meet artists of diverse nationalities to facilitate the larger ambition of recording all around the world.

The project will continue in 2022 with a focus on the US and Canada under the Vermont Studio Centre Fellowship program.

Individual vinyls will be made available to the institutions whose spaces were the subject of a recording. Anywhere that contact is made pre-empts an ongoing process of communications that entail permissions, review, and credit.

CONCEPT:

This Is Not A Love Song (Sound Archive) appropriates sound to critically study the ambience of institutional space and individual relationships to the institution by approaching it in the making of an artwork. It was initiated by a curiosity as to whether there is a global audio aesthetic associated with institutions’ scale of architecture and complexity of inter-relational systems. Three key ideas inform the work, Permission, Access and Labour.

The idea of Permission is explored through the administration of contacting museums and managing the relationship with all the contributors to the project. The idea of Access is highlighted by the geographical distance between museums. The idea of Labour is embodied by the individuals that work with museums and this includes visitors.

The initial conceptualisation of this work was to bring the large institutional scale into the smaller commercial gallery, at COMA. At a basic level, the aim was to have a museum scaled show in a domestic scaled commercial gallery space; borrowing the grandeur of the Museum’s acoustic prestige.

The process of the project is informed by a series of written Anticipations that critically approach the relationship between artist, viewer, and institution, to examine ideas of access, permission, and labour. Joe Wilson and Chanelle Collier focus their interest in labour types by bringing together the large scale of institutional architecture and the personal labour of the invigilator (gallery attendant/guard).

A key inspiration to the project came from visiting the MMK Frankfurt, in 2018, featuring a Cady Noland solo exhibition. In each of the rooms of this prestigious space, minimal small and large-scale artworks were displayed, and every room was guarded by a gallery attendant. Because the gallery was vast and almost empty, the resulting effect presented a single installation object/s coupled with a person (the attendant) and their chair. Object and invigilator made up the visual field together. This highlighted the presence of the viewing body, and the relationship between a human scaled body and the architecture of the institutional body that framed the works of art.

"Broadly the work examines the relationship between subjective bodies. Between the Museum and artists, visitors, and staff." - 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, a live performance by Sister Punch.

Sister Punch is a music duo founded by artists Giulio Dal Lago and Gianna T.

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.

The latest new music releases are featured in this week’s show, testing the temperature of eclectic and experimental Australian waters. With tracks from the new EP by Melbourne producer Waterhouse; future bass from Sydney’s JV; smooth MDMA music from Canberra’s Bum Creek; the debut solo single from Marcus Whale; experimental R&B from Pillow Pro; remixes of work by HTML Flowers and Dylan Michél; plus Lost Salt Blood Purges, Gentleforce, Kell//ua, Hidden, Orlando Furious, and new music from Australian electronic music legends Severed Heads.

Missed the show? Catch up on Mixcloud.

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.

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

welcome to walkplacedistancetime

my exploration of embodied movement, walking, movement in place, in air, distance through time.

today’s episode is No. 1: trace – in a lead mine and on the fellside above the mine – whilst following the route of the underground passages - the same route two different walks.

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.

From the most abrasive to the unbelievably sublime, Hope Valley Cement Works attempts to curate a selection of experimental music and sounds, from collected field recordings and sound collages, to serene ambience, impressive drone and the odd deconstructed club track. A series by Kris Cooper.

This episode comes live from L'Usine, Geneva, with a performance by Blanktapes.

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

A spiritual continuation to last month’s gateways show (ep 71). This one a more freeflowing affair replaying some artists but going more random between worlds. Up and down beat, home taped music, the future happened a long time ago!

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.

Going softly soporific ...

An Infinite Number of Monkeys

• 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 Inoue Shiro’s poem “daybreak! / the tempest interred / in snow”.

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.

Said the sky to the moon, shall we do a dance? I'll wait for you to make the move but please don't wait until you hear - the sound below the atmosphere. Ceylan Göksel and Sami Fitz reach subliminal heights with genre-busting spoken word, ambient textures, sound sculptures, and a different theme every show. We wish you a good night.