← Tuesday 5th November 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.

This sixteenth chunk of Asphyxia broadly explores audio cassette tapes as a means of transmitting ideas. It contains a manifesto on 'pure volunteering', i.e. an act whereby involuntarily unemployed aspirants forcibly employ themselves by gatecrashing workplaces.

A lost micro-cassette phone recording (yielded during a bin dive) of wildlife expert Chris Packham discussing wood mice with a tabloid reporter is digitised and archived in a guerrilla pure volunteering trespass at an unnamed recording facility. The illegality of pure volunteering lends it an inadvertent thrill, portrayed here in breathless commentary and nibbled process.

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.

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

Music by Figurative Theatre, The Leaf Library, 4T Thieves, Eric Random, Caroline Munro, NNYz?, Carl Matthews, FSME, Trova, Skipism, The Little Hand of the Faithful and A Handful Of Dust.

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: From the rainy streets of Athens to the dust winds of Africa episode' explores sounds from various fields of music from the city, with an addition of field recordings from within the Athenian cityscape (Athens street markets, Monastiraki square, rain over Athens etc...). 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 episode focuses on found sounds that connect with us through our minds and bodies, finding moments in music to connect us with 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 of Shuffle, get ready to listen to the weirdest and mind-blowing covers and drifts of “Complicated”. There's no order, no lists, only stilted and exclusive material. Featuring special guest Bella Paloma.

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 is the first recording in the project of an ‘empty’ museum. That is, a museum with no visitors. The staff kindly offered to make the recording on our behalf, and you can hear their solitary receding footsteps as the recording begins, to reveal an emptiness in which the museum itself becomes more present. The lack of human voices allowing it to breath. The regularity of the electrical, internal life force of the space comes forward and the muffled waves of traffic flows beyond its closed doors, like the deep, slow inhale/exhale of a sleeping giant.” - Chanelle Collier

B-Side Notes:
“Side B is a one take field-recording made in our art studio in Annandale, Sydney. An audio collage made from several museum field recordings layered over the M17 recording with distortions. Running through a basic mixer from a medley of devices: two record players; cassette deck; guitar and vocal effect loop pedals; also with a Bluetooth speaker; and playing through a guitar amp into the studio space; and recorded via digital Zoom Recorder. My direction for this B-side was a process based experimental play and improvisation. Conceptually finding satisfaction in the full circle idea that the museum had been a proxy studio in the making of the original field recordings and now have come home to my actual studio where the sounds can commingle and abandon there far flung site specificity into a trans-continental distortion.

From The Archive:

(THE RECORDING BODY):
The act of making a recording puts the body into a silent position, one that wants to be invisible. We attempt to omit the body breathing and shuffling and avoid interruption or drawing attention to the act. The Museum is the subject, rather than recording body. As one records over the course of fifteen minutes, the sounds of the museum become heightened to the ear which now begins to take in everything democratically, similarly to the way the microphone does. Without judgement. This creative act reframes the museum experience into a sonic experience, mediating the visual priority of such spaces. Listening then, is an act of disappearance.

(THE VIEWER AS LISTENER):
The Listener is an interesting form of the spectator in relation to the Museum and art gallery, it implies an audio reference rather than a visual one. The listener is an acoustically responsive subject. In a visual field the spectator is an intruder, evidenced by their conspicuous absence within the trope of an installation shot. Viewing is, in this context, a vanishing labour by a vanishing body. For a sound-based artwork the conception of the viewing body preferences the disembodied ear over the disembodied eye. Of course, the listener as a participant is also likely to be required to be silent, or at the very least, quiet.

Why must the viewer disappear and the listener be silent? This is an interesting question because it supposes that that an artwork should be understood discreetly, in isolation, separated from the world it occupies and those it shares space with. Certainly though, such an engagement requires participation. The participation is erased by denying the viewer or the listener their presence; in this way an artwork also becomes absent, unseen, unheard. - Joe Wilson

Sound Engineer for this episode: Ollie Brown.

Special thanks to Serhiy Popov for providing introductions and support, and to Eugenia Gavrilenko, Content Manager, M17 Contemporary Art Centre for facilitating and making this A-Side field recording, in addition to support for the larger project.

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.

World Listening Day takes place every July 18 to honour the birthday of Canadian composer and environmentalist R. Murray Schafer, often credited as the founder of acoustic ecology.

Many thanks to Chris Sciacca (sound recordist, editor and producer) and Kersten Glandien (executive producer).

Into The Wild is a recorded sound excursion from Brighton Station to Stanmer Park, discovering sound marks of the city and its enchanting environs, winding up in the unique garden community of Stanmer Organics. Produced by members of Sound Art Brighton to celebrate World Listening Day 2023.

On this week's Out From Under, Stu Buchanan talks with Newcastle’s Cooper Bowman - musician and artist and founder of the Australian cassette label Altered States Tapes.

The label, which recently celebrated its 100th release, features music that sits across punk, industrial, experimental, electronic and noise; with a roster that includes Australian artists Dead Boomers, Lisa Lerkenfeldt and many more, sitting alongside international acts such as Beat Detectives and Opal Beau.

Cooper talks about making music and making tapes, and pulls out a selection of tracks from the label’s past, present and future - including a number of unreleased exclusives.

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.

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

Iceland ... every three hours for 24 hours ... eight times ... daag einn I juni ... I stand and look east across the fell to the obelisk. Beyond it the northern shoulder of Burfell rises then slips away off its hog’s back summit. Stand and listen to the plaintive pipe of the Golden Plover and the croak of the Snipe.

Stand … then move off ... down the slope; through the Marsh Marigolds; over the stream; cross two fences; cross the horse paddock to the leaning post; along the horse path; around to the fence to the left; over the fence; cross four streams; pass the waterfall; cross the marsh; cross the stream on stones; up the slope to gap in ridge; up the slope to the lip; around the obilisk; pause; retrace my steps ... eight walks ... eight sections ... split ... re-built ... into a day at random ... eight movements ... This is movement 6.

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 Molly Martin. Featuring John Cage, Judy Garland, Carolee Schneeman, Debbie Harry, Shirley Kwan & more.

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.

Radio Picnic celebrates six years of life, love and radio creation in Brussels. Hot wine in the Royal Park!

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

This hundredth edition is a very special memorial episode. The great and unique D, Dave Watts, D. WattsRiot, KingL Man as well as part of Fun-Da-Mental and a gazillion other collaborations, left us last month and with him a huge void that will never be filled.

DJ, producer, friend, collaborator and eternal connector, many can count themselves lucky to have crossed his path, eternally grateful for all the chats, politic rambles, jams, chicken meals and bichillo grills and most of all his endless energy!

This show is dedicated to his everlasting impression on me as well as everyone who met him. My way of saying goodbye with an hour mix of tracks he produced, featured in, played in his DJ sets or simply tunes we both liked and talked about. Ride high my brother, ride high on a windy day!

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.

All will belong to Brother Eye .

• 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 Mukai Kyorai’s poem “autumn wind... / I am stringing / a plain-wood bow”.

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.