← Tuesday 12th 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 instalment contains opportunistic content made during a 'pure volunteering' trespass into an archival recording facility, where a vanishingly rare - possibly unique - acetate record (originally found in a bin) is digitised, cryptically titled Baz Kromagnum. Varying fidelity ensues.

Fittingly, this old record - nominally skiffle - sings of unresponsive culture, failed endeavour, and perseverance, heralding sympathetic elongated remixes, and philosophical enquiry on the nature of experiment, passion, presentation, and pratfall.

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.

This episode features music by The Cosmic Tones Research Trio, Bardo Todol, L'arbre Nu, Galen Tipton and more.

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.

this episode features Eric Random in session - plus music by Nuclear Whale, Visonia, Thomas Dolby, Junichi Akagawa, Bryce Eiman, Kieran Mahon, Covolux, Bloom de Wilde, Schmaidl and Malcolm Clarke / BBC Radiophonic Workshop.

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

This episode explores sounds from various fields of music from the city, with an addition of field recordings from within the Athenian infra structure (Arriving to Athens via car, via plane, via bus plus city ambiance 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.

Our senses, you say, are fallacious. Our understanding is erroneous. Our ideas even of the most familiar objects, extension, duration, motion, are full of absurdities and contradictions. You defy me to reconcile the inconsistencies which you find in them. I haven't the skill for so great an undertaking

I see that there is no need for it. This dialogue concern your religion. But U never really listen until you have to why is that?

Girls B-Side Orchestra is back. And for the first of their series on Resonance Extra, a ghost is eluding their senses.

Special thank you to Zachary Knowland-Barker.

a transient stream / no narrative / no intent

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:
"Episode 6 closes this series with a recording of the MCA in our home town, Sydney, Australia. It is the very first museum at which a recording was made for this project. Here we tested if we could keep our bodies still and silent for 15mins of audio recording, while taking in the artwork and museum around us.

And it was here that we learned that though museums are places for looking at art, it is highly suspicious to look too much and too long. After standing still and looking intently at an excellent large scale wall piece, for about 10mins, staff were compelled to ask what was I doing? With some obvious concern. Perhaps for my wellbeing. Perhaps for the wellbeing of the artwork or the art-space. I couldn’t be sure. I could only assure them that “Everything is OK” – Chanelle Collier.

B-Side Notes:
"For ep.6, Museum of Contemporary Art, Sydney, the B-side is by Ollie Brown. Ollie has presented a series of audio vignettes that drift over the Museum sounds. There is a kindness and beauty in these compositions that has prompted me to think of the soft collision between the personal and the institutional.

I think about the actualities of spaces, represented within these sounds. The huge halls of the MCA, Sydney; the digital; the territories of exchange; of Ollies's studio; the room he's in; his breath; and the space that reverberates his voice. Sound travels, it has many coordinates, multiple origins, it echoes, closes and is absorbed, multiplies and fades. It touches.

Every space is characterised by a system; is territorialised with its own authority and ownership, rights and regulation; each is occupied for specific causes and varied uses. These are made up of many bodies and personal stories that visit, inhabit, and relate to sound and space; the role Chanelle and I play by instigating this project, our travel and correspondence; each B-side contributing artist and their labour from within each individual circumstance; and of course, Milo, who is in London, caretaking and delivering this opportunity to ride the airwaves." – Joe Wilson.

From The Archive:

(THE POSITION OF THE IMAGE):

Eschewing traditional painting methods in favour of doing a recording in its place, is an engagement with the context of its placement. The sounds of an audience looking at paintings is an engagement with the context of viewing. This is an effort to engage the unspoken ideology of a painting and the spaces that painting occupies.

The position of the image is at once a physical set of parameters relating to its location, and an ideological position. A painting doesn’t only display from a singular vantage, such as a canvas surface or a wall, but instead displays within a system, that is also a network. Paintings move through multiple sites of agency and viewing. The handling of a painting changes hands between artist, handler, curator, dealer and collector which pertains to ownership and transaction. Paintings are in motion, travelling into differing contexts, from studio to gallery to home or storage. So the ephemerality of sound belonging to an origin is comparable to a picture in contemporary culture, to reproduction in particular.

Objects inevitably recur as images, sounds recur through recordings. They become multiplied heterogeneously into various digital devices, services and places simultaneously. The digital data travels onto screens and speakers at different resolutions and fidelity. At the same time the it travels electronically to remote physical locations to be stored on hard-drives and servers belonging to various entities. An original painting is more than likely to end up in a storage rack, while the data goes to a rack of hard-drives and storage device. In the end, as part of a multi-platform digital reality, the fixed singularity of the original is a highly suspect notion, distant, given that it departs from one singular network and origin.

An original is the locust of its copy as agent, becoming one amongst many in a network of competing agencies. The possession of agency and ownership, is transactional and ideological. Each having a familial relationship to the context of each discrete image. What amounts to a consideration of reproductions and originals is important when one weighs the possibility that the original also becomes a derivative of its own reproduction.

There is a shifting focus; into situational context, from the discrete to its counterpart, and its supposed position in the environment it aspires to, the Museum.

– 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.

This episode features solo live recordings by Stefan Voglsinger, captured over the past seven years across the globe, and remixed and edited by Hagai Izenberg. Exclusively released and archived on Radio Concrete, Resonance Extra (UK).

Stefan Voglsinger, born 1986, is a musician and performer based in Vienna. He studied drums at the Vienna Music Institute, Music & Movement Pedagogy at the University of Music and Performing Arts Vienna and Sound for Films at the Escuela internacional de Cine y Television in Cuba. He focuses on interdisciplinary experiments working with sound and image, developing performances or audiovisual installations including selfbuilt or hacked electronic circuits.

At Setzkasten he modifies analog film projectors, works in the darkroom and the sound studio. As a curator he organizes regularly concerts and transdisciplinary evenings, holds Circuit Cooking soldering workshops in schools and at festivals. He works at the Filmmuseum Vienna, is co-curator of Klangmanifeste and plays with The Vegetable Orchestra.

Radio Concrete by **Hagai Izenberg is a monthly experimental radio show focusing on live mixing and processing of field recordings together with contemporary music and soundscapes.

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 walkspacedistancetime

a programme / a listen / a contemplation / my exploration of embodied movement / walking / movement in place / in air / distance through time

todays episode is “four Northumberland rants” inspired by John Cage’s 49 Waltz’s for the five boroughs, framed in the musical motif of the traditional Northumberland dance style of the Rant.

this is four walks to locations across Northumberland. locations and recording durations are chosen using chance procedures .listen to distance, time and place explored on a human scale.

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.

In this episode, a selection of audio in response to postcards sent in by Ez Goomi. Featuring Angelo Badalamenti, Nina Simone & Peter Schickele.

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.

The sound installation AUI OI is the winning project of the competition dedicated to creativity held by Transart, in collaboration with the Museion Foundation and the Südtiroler Künstlerbund.

A sound journey on the Renon Cable Car, which will take place as part of the Rosengarten Festa.

With Ulrike Bernard, Caroline Profanter, JD Zazie, j/zemmeler, Johnny Haway, Daniel Kemeny and Ernst Markus Stein.

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 heavily tipped on the mystical downbeat side of things, to listen in between ocean splashes during a now familiar heatwave…

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.

       some Eno , sometimes  scary noises

Danielson - Almost Live from Joyful Noise

• 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 Natsume Sōseki’s poem “Fog clears away: / the waterfall shows up / bit by bit”.

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.