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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.

According to the show's creator, some broadcasters choose to distort the voices of unfavourable participants in political panel shows to discredit their arguments. Chunk fifteen of Asphyxia begins with a sonic rumination on this legend.

Creepbeat continues to be deployed apace, and a return to the bookshop heralds preparation for the imminent Saatchi Gallery bookfair which has as its theme 'banned books' - a possible ruse to draw dangerous rarities out the woodwork for later destruction, or a scheme to blackmail bookdealers too-versed-in-secrets with the threat of 'cancellation', as they unwittingly platform edgelords and fin de siècle Parisian filth(?).

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 episode features live recordings taken from Day 1 and Day 2 of the last 3-day Dronica festival.

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

In this episode, music by Simon Heartfield, Aupheus, Xavier Corbera, Lucy Gooch, Kanal Drei, Signs, Temple Ov Saturn, The Northern Lighthouse Board, Baker Street Philharmonic, Rezo Glonti, Lata Ramasar, Petunia-Liebling MacPumpkin, Murray Ewing and Norah Lorway.

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

This week: 'Athens Inner City Broadcast: Pilot Episode' explores sounds from various fields of music from the city, with an addition of field recordings from within the Athenian metro system tunnels. Athens Inner City Broadcast aims to create a lucid state between being alert and dreaming, based on the notion of a Site specific transmission.

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 third episode features four artists who took part in a research residency at GMEA (Albi, France) as part of the Tekhnē, initiated in 2023:

• Gauthier Deplaude in an informal discussion with Benjamin Maumus about his project Horloges etc.. This work uses two quartz clocks and their electrical environment as the sole sound sources, within a unique technical setup created by the artist, without effects or attempts at control.

• Rodolphe Bourotte tested his latest music production software, COMMA, during his residency. He engages in an informal discussion about his program and insights from his residency week.

• Yann Leguay shares an anecdote about one of his early projects, Dead Media, which centered on reversing the recording process in a vinyl pressing factory in France that has since closed. He reflects on the notions of trace, media, and collective memory.

• Abigail Toll presents Where Words Fail: World Building With Data, Sound, and Co-creation, a sound and interdisciplinary visual study that explores algorithmic herd behaviour in nature and its connections to surveillance practices.

Bi-monthly insights into the activities of the European project tekhnē, which started in 2023. The series showcases a selection of artists who share and discuss their work and listen to recorded material. By putting the focus on the user rather than the developer, this project aims to explore the emancipatory potential of technology in music and sound art. Technology as an art of craft, appropriating and transforming existing tools, to imagine multiple ways of creative misuse. tekhnē is a collaborative project, co-funded by the European Union.

In this episode, get ready to listen to the weirdest and most mind-blowing covers and drifts of Pumped Up Kicks by Foster the People. There's no order, no lists, only stilted and exclusive material.

Marching bands, Kahoot players, industry workers, lovers of ‘corridos tumbados’, summer reague … 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 field recording of Kraftwerk in Berlin was made during the pack down of the sound and light festival, Atonal, with the help of Atonal Art Director (and our dear friend and former Sydney ARI gallerist) Adrianno Rosselli. These personal connections highlight the interweaving of disparate moments and places that the recordings often produce, that can instigate a dynamic reading of site and context. For instance, 1960’s power station in Berlin, meets international contemporary art festival, meets a closed Sydney ARI.

What is interesting about this site is that it is a former power station (like the Tate Modern and others). It is not made for art, but occupied by it. So it exists as something of an anomaly in the project, not being easily classified, that provides an opportunity to wonder: what is the art institution or museum, and from where does it draw its power?” - 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 (DEFINING THE MUSEUM):
The International Council of Museums (ICOM) definition of a Museum, which stood for 50 years but is under revision (at the time of writing September2019). It states that the Museum is “a non-profit institution” that “acquires, conserves, researches, communicates and exhibits the tangible heritage of humanity and its environment for the purposes of education, study and enjoyment.” – (ICOM)

Danish curator Jette Sandahl, working with ICOM, has put forward a new definition in a 21st century language. The new definition was developed in a two-year process but has been met with criticism. Sandahl’s proposal defines Museums as “democratising, inclusive and polymorphic spaces for critical dialogue about the past and the future”.

It continues: “Addressing the conflicts and challenges of the present, they hold artefacts and specimens in trust for society, safeguard diverse memories for future generations and guarantee equal rights and equal access to heritage for all people.” They should be “participatory and transparent”, work “in active partnership with diverse communities”, “aiming to contribute to human dignity and social justice, global equality and planetary wellbeing”. (excerpt as reported in The Art News Paper, by Vincent Noce, 19th Aug, 2019, theartnewspaper.com)

This new language and definition highlights who is to have access and asks who has permission to engage with the Museum; it highlights a need to address diversity and inclusion, ultimately recognising the need to include the voices of its many beneficiaries (viewers not donors).

"As an update (August 2020), Jette Sandahl has resigned over definition disputes." - 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 solo performance by Merlin Nova, who is a London-based experimental vocalist, composer and performer.

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.

In this episode, Bayankhongorijn Khukh Nuur by Patrick Franke.

"In 2013 I took part in an expedition to Central Mongolia. I was focussing on sound recordings to clarify the taxonomic status of some species based on bioacoustics or even to make first ever recordings."

Amongst other places we went to an alpine area surrounding the lake Bayankhongorijn Khukh Nuur. As days during expeditions are usually very packed, time for recordings of the general soundscape or even enjoying that just by listening is very limited. Thus, this excerpt of an one hour recording is a rather rare exception.

My aim was to document the soundscape of this particular spot after capturing vocalisations of most of it's inhabitants discretely. Furthermore this recording of a sparsely populated habitat should scrutinise Bernie Krauses 'acoustic niche' theory which is mostly based on data from densely populated habitats."

Patrick Franke is a freelance ornithologist and sound recordist based in Berlin, Germany.

Stéphane Marin presents a weekly series of fifteen short soundscapes recorded in the mornings at various locations throughout East Asia. This series for Resonance Extra forms part of a wider project, 'Each Morning of the World', which invites sound artists, composers and recordists globally to share their own specific point of listening, either through a raw field recording or original composition.

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.

In the first hour, Gravity Waves: as preparation for her new album, some long overdue tracks from I Am Fya, some tracks from the new Xylitol & Alien Alarms albums, a couple of remixes from Nil by Noses new trains based album, and some pieces by friends of the Spirit of Gravity.

In the second hour, Spectral Transmissions: Midnight in the Haunted Karaoke. It is nighttime in the city. Tatty terraces and scattered concrete tower blocks, the detritus of a vast up-turned wheelie bin bathed in orange twilight. Around this time of year strange things happen. The ether is populated with unruly beasts.

Pipes can be heard tapping in the darkness, lightbulbs flicker, music plays on an unplugged jukebox and faint calls of distant laughter can be heard echoing in the subway. An empty karaoke booth crackles into life and the soft crooning lament drifts through the still corridors, someone has entered the building.

Contains fragments of: Stomu Yamash'ta's Red Buddha Theatre; What a way to live in modern times

With thanks to: Stephen Mallinder and antivoid alliance.

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

Today’s episode is No 2: no trace” in the waters of a Northumberland River.

In the river my walking is primarily an act of walking as touching. The senses that predominantly guide my movement along the bank of the river – vision, sound and balance – are blunted; the use of two sticks turns me into a quadruped, and it is only this that allowed me to move with any confidence at all.

Whilst I ‘watch my step’ and ‘look where I am going’ the reality in the river is that I can only see and hear the river’s surface. What shapes my movement is hidden from my sight and hearing, up to a metre below the water’s surface, on the bottom of the river, and apparent only to the touch of my feet or the probing of my sticks.

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 features tracks selected in response to postcards sent in by Luci Pina, Orlando Gaffney Hyde & Jacob Clayton. Featuring Laurie Anderson, Erik Satie, Elvis and recordings from the second iteration of our event at first sight live at the ICA on 21st October 2022.

The radio counterpart to live intermedia event series Late Works, hosted by founder Joseph Bradley Hill. Each month a selection of artists respond to the show on postcards and send them in as inspiration for the next. Running through the shows are a modular stem experiment in which musicians improvise live to original 15 minute compositions.

In this episode, an hour long dive in the DIY cassette culture of Brussels, sometimes even crossing its border, to discover some shiny pearls on the muddy bottom, grabbed by mechanical octopi tentacles and bitten by harsh noisy teeth on the way back up.

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

This episode is full of upcoming exclusives on main label as well as associated artists. Featuring Tasos Stamou’s new synth folk precious album, Mike Cooper’s track on the upcoming Aquapelago Anthology as well as an exclusive Marc Codsi tune, also coming soon on Discrepant.

Closing the session with Jerry Blue’s unique brand of twisted pop (out on Sucata Tapes) and a special track from Ondness upcoming new album Oeste A.D.

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.

• 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 Jason Richardson’s poem “Through a world of sound / the only filter I have / my discerning ear”.

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.