← Wednesday 15th January 2025 →

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.

Thie episode features new music by Mantris, Happomeri, AFTERVOLTER & Ungus, the altered, Antonin De Bemels, TRSv2, Nerthus, Yousef Kawar, Virus2020, SÍLENÍ, unearth noise and CASTRUP I EMERGE.

A selection of new experimental music and sound work from the international underground network Unexplained Sounds, curated by Raffaele Pezzella (Sonologyst).

This is a two hour extract from the festival, featuring sound art, computer music, homemade instruments, DIY electronics, radio play, noise, data sonification, field recordings, radio art, sound studies, historical anchor points, niches, insider tips, and different generations of Cologne's electronic and sound art landscape.

Full details and line-up: https://www.gerngesehen.de/funkt

The FUNKT programme was developed under the project management of Georg Dietzler by Anke Eckardt, Claudia Robles-Angel, Dietmar Bonnen, Dirk Specht and Felix Knoblauch, in cooperation with Sarah Washington and Knut Aufermann.

Thanks to sponsors Musikfonds e. V. with project funds from the Federal Government Commissioner for Culture and the Media as part of the special programme Neustart Kultur, Kunststiftung NRW (North Rhine-Westphalia Endowment for the Arts), the Cultural Office of the City of Cologne.

FUNKT was a festival of electronic music and sound art from Cologne, which took place on the 16th, 17th and 18th of April 2021.

*

Why is our life dominated by discontent, by anguish, by the fear of war, by war? In order to answer this question I have written La rabbia, not following a chronological or perhaps even a logical thread, but only my political reasons and my poetic sense. — Pier Paolo Pasolini

Written in response to producer Gastone Ferranti’s request for his comments on a set of newsreel items, the poet would respond with a montage of his own. Via the unfolding of a chrysalis of images, in La rabbia / Anger (1963), Pasolini’s lens pans over Soviet repression in Hungary; the Cuban revolution; (the utopian object of) space exploration; political imprisonment in Algeria; the liberation of the former European colonies; the election of Pope John XXIII; the prospect of revolution in Africa and the Middle East; in Europe and in Latin America... Here, we’ve a panoply of photorealist intimations of Pasolini’s ‘poetic sense.’ The death of Marilyn Monroe crests as an idea in this tidal pooling of reflections, as the poet’s line lights out for conceptual rhymes and counterpoints.  

In Viti’s translation, the weave of prose and poetry that forms La rabbia portrays the vitality of Pasolini’s work in its capacity to speak to both the specifics of his contexts, the character of our own present tense, and the ironic fact of a life lived against the gulf of discontent in its myriad forms. Here, we’ve a startling confrontation of a revolutionary struggle in stasis set in lines that crystallise a rallying call against blindness. ‘I’ll not have peace, not ever,’ he writes. A lucid acceptance of the poet’s restlessness, and a marker for Pasolini’s commitment to a solidarity with the oppressed that we find reaffirmed on every page, in La rabbia the poet charts how ‘the powerful world of capital takes an abstract painting as its brash banner’ in this unravelling of ‘crisis in the world.’

*

Pasolini’s poems thrive with passion and outrage. A 20th century Dante, he grieves at inequity, feels disgusted by corruption, and wails against the evil that people do. Pasolini doesn’t render a coming paradise, but contests hate with love, meanness with generosity, and through the reality of his beautiful poems, suggests the possibility of creating a better world. – Lynne Tillman

Pasolini saw what was coming and saw the poet’s mission as an excoriation of this world to come, that has now arrived. His tremendous energy was not negative. It came from an abounding love of the world. Picturing himself like a hero from ancient days, he struggled mightily, in and against the powers arrayed against life. What he called neocapitalism already came with its own brands of neofascism. Good comrade that he was, he knew the mark of our enemies, and where to direct his rage. Here we find him in a moment when he thought the good fight might still be won. A book to give us courage. – McKenzie Wark

La rabbia remains one of Pasolini’s most singular achievements, an all-consuming expression of the restless and relentless fury that defined his work and his thinking. In an age of increasingly one-dimensional political art, this most welcome volume is an urgent reminder of its dizzying possibilities. – Dennis Lim

‘Today,’ we read in La rabbia, Pasolini’s remarkable set of poems composed in 1962 to accompany his film by that title, ‘only four thousand subscribers have televised moving images in their homes; in a year they will be in the tens of thousands.’ And then the poet corrects the line: ‘No—in their millions. Millions of candidates for the death of the soul.’ Sixty years later, in the age of TikTok and Instagram, those ‘candidates’ may well be in the billions. Indeed, what gives La rabbia its uncanny accuracy is that its vision, however exaggerated and extreme, might well characterise our own moment in history. Not only ‘in my country, my country that’s called Italy’ (Pasolini’s refrain), but all over the world, the ‘noble’ solutions of the late 1940s and ‘50s, with their UN charter, their Marshall Plan, and their call for No More Wars, now seem to have been little more than Band-Aids that left things pretty much as they were. Whether he is dealing with the failed Hungarian Revolution or the Algerian War, or with the ‘new problem [that] breaks out in the world. It is called colour,’ Pasolini sees the real enemy as normality—the normality or qualunquismo that accepts things as they are. In Cristina Viti’s excellent translation, Pasolini’s anger would be devastating, were it not for the proviso that poetry can change consciousness. It is poetry, La rabbia insists, that provides the counterweight to the darkness that surrounds us. – Marjorie Perloff

*

Pier Paolo Pasolini (1922–1975) was an Italian poet, novelist, journalist, filmmaker, theorist, and dramaturg. First and foremost a poet, he is a major figure in European literature and cinematic arts. Life in Rome during the 1950s furnished the material for his first two novels, Ragazzi di vita / The Ragazzi, 1955) and Una vita violenta / A Violent Life, 1959); works whose brutal reflections of urban poverty in the city were similar in character to the depictions of Rome in his debut film, Accattone (1961). All three works dealt with the lives of thieves, prostitutes, and other denizens of a Roman underworld. Other notable novels and narrative works in translation include the unfinished novel Petrolio (published in English in Ann Goldstein’s translation by Pantheon), a work-in-progress at the time of Pasolini’s death, and La lunga strada di sabbia / The Long Road of Sand, a facsimile of writings towards a travelogue initially published in the magazine Successo.

Pasolini published numerous volumes of poetry in his lifetime, including La meglio gioventù (1954); Le ceneri di Gramsci (1957); L'usignolo della chiesa cattolica (1958); La religione del mio tempo (1961); Poesia in forma di rosa (1964); Trasumanar e organizzar (1971); and La nuova gioventù (1975). Works of poetry in English language translation include Norman MacAfee’s Poems, an anthology covering the entirety of Pasolini’s ‘official publications’ (Farrar, Strauss and Giroux, 1982); Lawrence Ferlinghetti and Francesca Valente's Roman Poems (City Lights, 1986); Jack Hirschman's anthology, In Danger (City Lights, 2010); and Thomas E. Perterson’s translation of The Divine Mimesis (Contra Mundum, 2014), amongst others.

A noted journalist and publisher, Pasolini was also a rare voice in the popular press. In 1955—in collaboration with Francesco Leonetti, Roberto Roversi and others—he edited and oversaw the publication of Officina, a periodical dedicated to new poetry in Italian (which ran for fourteen issues), and contributed a regular column to Vie Nuove from May 1960 to September 1965 (titled Dialoghi con Pasolini, or Pasolini in Dialogue, subsequently published as a collated edition in 1977 as Le belle bandiere or The Beautiful Flags). His literary works informed his cinema, and Pasolini would follow the release of Accattone in ‘61 with such noted features as Il Vangelo secondo Matteo / The Gospel According to Saint Matthew (1964); Uccellacci e Uccellini / Hawks and the Sparrows (1966); Oedipus Rex (1967); Medea (1969); Teorema / Theorem (1968); Porcile / Pigsty (1969); Il Decamerone / The Decameron (1971); and The Canterbury Tales (1972). Pasolini referred to himself as a ‘Catholic Marxist’ and often used shocking juxtapositions of idea and imagery to expose the vapidity of values in modern society. His friend, the writer Alberto Moravia, considered him “the major Italian poet” of the second half of the 20th century. Pasolini was murdered in 1975.

Cristina Viti is a translator and poet working with Italian, English and French. Her most recent publication includes Pier Paolo Pasolini’s La rabbia / Anger (Tenement Press, 2022), a co-translation of poems by Anna Gréki, The Streets of Algiers and Other Poems (Smokestack Books, 2020), and her translation of Elsa Morante’s The World Saved by Kids and Other Epics (Seagull Books, 2016), which was shortlisted for the John Florio Prize. Viti held collaborative translation workshops within the Radical Translations project run by the French and Comparative Literature departments of King’s College; Tenement’s imprint, No University Press, published an anthology of texts resulting of these workshops in 2024, An Anarchist Playbook.

Martin Esposito is a freelance language professional operating in London and Rome. His entry into voiceovers took place organically twenty years ago through the side-doors of conference interpreting and song. Martin is strictly agnostic with regard to content as his main objective is to balance two identities, languages and influences into a composite whole—an act of exposure and digestion enough to last a lifetime.

catholic Churgh is a is a two-person organisation.

A signal post for the Winter solstice, an unabridged reading of the 2022 Tenement Press publication of Pier Paolo Pasolini’s 1963 work La rabbia / Anger—translated from the Italian by Cristina Viti—as read by Viti, with contributions from Martin Esposito and music by catholic Churgh (Jon Auman and Thomas Bush). Pasolini’s Anger was recorded and produced for radio by Tenement’s Dominic J. Jaeckle and Resonance’s Milo Thesiger-Meacham.

This episode was created for the Winter Solstice of 2024, a time of extreme dark or light in either direction, a hunkering down in the wet earth or a baking out in the hot sun. The piece is composed by Stephen Shiell using original material from NSOTA scholars.

With contributions from Stephen Shiell, Rhona Eve Clews, Chris de Sel,** Sk.ye, **Lu(Lu)Lu, Blanc Sceol (Stephen Shiell & Hannah White), Clare Whistler, Michael Timmerman, and Simon McClelland Morris.

The New School of the Anthropocene is a radical experiment in alternative education, away from marketisation and arcane specialism towards co-sensing systems change through creative practice. This is an ecological transmission of DIY ethics, non-hierarchical structures, radical networks, interconnected sensing through sound, text, voice, spoken word, human and more-than-human collaborative practice, patchwork group thinking, and radio art.

This special episode is a celebration of the music of Tim Barnes. Visit his GoFundMe page to support his care.

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

This episode features works by Porya Hatami / Ruaridh Law, Ian Henderson & Alice Yousaf / Raudive / The Bug / DJ Persuasion / A New Unity / Underworld & The Necks / TVO / Eugene Carchesio / Bill Drummond / JP Hartnett / Alice Hoffman-Fuller / Silent Servant / Svreca / Spiral Wrack / Loud Numbers / Tengui / Dylan Nyoukis & Karen Constance / Keith Fullerton Whitman / Ex Easter Island Head / Andre Holland / Angelo Badalamenti / Posthuman.

An immersive psychosonic space, where sounds converse, collide and converge, featuring works, selections, edits, experiments, new music, non-music, archival objects, abstract artefacts, sound(system) and A/V art, pop, trash, noise, voice, and the associated mediums, processes and techniques that make up the ongoing audial investigations of Agents of the Culture Industry & OVT, all presented for art not profit.

This episode features Lucas Abela, and the Solar Sound System in India.

Missed the show? Catch up on Mixcloud.

Long-form gonzo radio exploration of artists on the outer edge with Eric Boros.

A monthly collection of audio experiments and listening objects with sound artist Matt Burnett from Berlin.

Ambient, folk, ritual, electronic, dub, free jazz and exploratory works selected by BroodingSideOfMadness.

Virgilio Oliveira explores the sonic environment in collaboration with Porto's Radio Manabras, presenting an hour of sound art and field recordings.

Sound collage, record spinning, havering, ear wonk and general head scratch with Dylan Nyoukis of the Chocolate Monk label.

Investigations of the Brazilian experimental music scene via Rio De Janeiro's Quintavant label in collaboration with Audio Rebel. With live performances and exploratory sounds produced in the context of Brazil's strange political situation, curated by Francisco Mazza, Bernando Oliveira and Pedro Azevedo.

This episode features music made by Naviar's community inspired by Matsuo Basho’s poem “Year's end, / all corners / of this floating world, swept.”

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.

Joe and Chanelle’s audio recordings encompass ambient sounds, conversation, experimental composition and improvised instrumental response. Cassette drones, loop pedals, voice and guitar are used to echo, mimic or bend over bird calls, thunderstorms, night sounds, indistinguishable chatter, museum reverberations and urban movement. These moments captured to tape are presented in two halves as an A-side/B-side format.

Enriched by visual counterpoints for each episode, Bruna’s critical eye forms an ambiguous tonal narrative from Jake's method of stumbling into excellence. Mountain, valley, glacier, and urban horizon are presented in stereo format, to parallel the A-side/B-side format.

This program has been made on the stolen lands of the Gadigal people of the Eora Nation, we pay respect to the Elders both past and present.

Project lead and sound by Joe Wilson and Chanelle Collier. Creative direction by Bruna Volpi. Photography by Jake Terrey.

This episode is supported by Artist Profile, Higher Ground Studios and Resonance Extra.

Field Notes

Feat. FAREWELL TOUR recorded at Chicken House. Farewell Tour is a new rock band project by Joe Wilson and Chanelle Collier developed throughout 2023 and 2024, mixing field recordings and long form psych rock, with Joe on guitar and pedals and Chanelle on vocals and samples.

Side A - Lover’s Cheekbone

“I saw you standing. Long days long nights waiting on the stage and those hallowed lights. Screaming to the wild and dancing with the wind, just as it starts, it always ends. This could be the last time I see you, this will be the last time I see you. I saw you standing through the window of your apartment, saw you standing naked in your beautiful garment. Garment, yeah! All this trouble and the devil we have”. (distortion/delay)

Side B - In Defence of Submission

Notes on a Sound Art Practice: MIXTAPES

Sound is a time based medium and is therefore about time. A site specific music that incorporates field recordings. Each sound has a location in time and space, that repeats again in a kind of nietzschean time travel. Playback, delay, and looping are the eternal recurrence. It is this life, now, living in terminal diagnosis. Living with an acute awareness of the limitation in the availability of time. The here and now is filled with the presence of time and mortality, ART and DEATH.

Sound art in the medium of mixtapes: a practice combining textiles and sound. It is for those wanderers willing to make a sidestep to embrace resistance, agency, or refusal. An intentional pause for creative procrastination inspired by a Situationist spirit. It is anxiety and method, irreverent of its resources. This practice, only a labor for love, ingests, internalises, and releases. This is mechanical reproduction via cassette, which is an un-living agent, a prop, and a gift. Through cables sprawling to construct a signal chain where authority resides in the binary input and output solution. Companions consenting to a noise domain, Heavier Than A Death In The Family. A sound ambition that finds the silent friendship of grief. A Farewell Tour rock band project. – Joe Wilson

A monthly programme which blends textured audio from cassette recordings by Joe Wilson & Chanelle Collier with tonal imagery by Bruna Volpi and Jake Terrey. Sound engineering by Ollie Brown.

This episode marks the release of River . Pathway . Static, upcoming album by Stephan Barrett and Sylvia Hallett produced by Colliding Lines.

The two musicians find themselves nestled within field recordings of the River Lea, Tottenham Marshes, and Downhills Park, drawing the listener between the cracks and into hidden corners; into the rich background worlds that surround us daily. The two musicians first met and collaborated as part of Littoral Transmissions, a broadcast with Stephan here on Resonance Extra.

For Sylvia, whose musical approach can be best described as “violin moving outwards,” to bowed bicycle wheel and vinery, this piece follows Tree Time and Bolt and Latch. For Stephan this follows on from sound collage and invented language project The Abrasion Tapes, from long distant collaboration Blitemotes.

We round out with a replay of live work performed and composed as part of 2020’s live series Reanimation, which featured artists Ingrid Plum, Bell Lungs, Martin Clarke with Derek Yau, and Merlin Nova to name a few.

Colliding Lines present live sessions, cross-genre collaborations and left-field recordings drawn from the London, UK and international experimental scenes; a long-form love letter to recorded audio as soundtrack, as sound art and as storyteller.

In this episode, Erika Elizabeth presents another hour of broken-down sounds.

Maximum Rocknroll Radio is a weekly radio show and podcast featuring DIY punk, garage rock, hardcore, and more from around the world. A rotating cast of DJs pick the best of the best from MRR's astounding, ever-growing vinyl archive. You can find MRR Radio archives, specials and more on their website.

Now: Both Cuttings and Peri realise Monday Man knows something. Perhaps he knows you. Or do you know something he wants?.

Missed the show? Catch up on Mixcloud.

A unique audio drama series created by writer/director Neil Cargill and musician/sound designer Simon James featuring an original electronic music score and full cast including Ian McDiarmid, famed for his role as Emperor Palpatine in the Star Wars saga, as Cuttings – the radio ham who picks up a mysterious voice. The voice belongs to a girl (Joy McAvoy, from Ken Loach's The Angels' Share, and Filth) trapped in an abandoned amusement park called Akiha Den Den. Singer Wendy Rae Fowler (featured vocalist with bands such as Queens Of The Stone Age) lends her distinctive Alabama tones to the multi-layered soundscape as it becomes clear there's a whole community there, whose words and music become woven into a mesmerising plea for help. Everything becomes highly charged when one of the trapped inhabitants finds a way into our world – where his impact on us could be as devastating and far-reaching as an unknown, unseen virus.

Second Sketch for Larry Shipping, featuring Tam Dean Burn, Ed Baxter, Peter Lanceley, Kim Moore, Milo Thesiger-Meacham and Mark Vernon, was performed live for Radiophrenia at the Centre for Contemporary Arts, Glasgow, in 2016.

The Resonance Radio Orchestra is a floating pool of musicians, engineers, sound-effects creators, actors, writers, composers and broadcasters devoted to making live radio-art. It is based in central London as the in-house artistic wing of Resonance104.4fm, under the direction of Ed Baxter.

Running weekly, the series will broadcast the entire catalogue so far in chronological order, continuing here with Prisoner of Love: The Dead Dance read by Takashi Inagaki.

Takashi Inagaki’s original soundtrack score for filmmaker Takashi Ito’s Japanese-language stage adaptation of Jean Genet’s ‘Prisoner of Love’, and its parallel video installation, The Dead Dance.

Genet’s final literary work recounts the two years he spent in Palestinian refugee camps in Jordan. Prisoner of Love, ‘written some ten years later, when many of the men Genet had known had been killed, and he himself was dying, is a beautifully observed description of that time and those men as well as a reaffirmation of the author's commitment not only to the Palestinian revolution but to rebellion itself.’

numbered + handmade in an edition of 200 copies only; 180gr vinyl in custom-made outer (sealed), containing extensive booklet with images from performance + installation + newly commissioned essay by AKIHITO YASUMI (Japanese original + English translation); no digital

There are two payment options for this record, one of which includes a donation to Medical Aid for Palestinians, considering the ongoing situation today. If you wish to select this option please order direct from our website: purge.xxx/purrrrrj034

Special edition of 10 copies only.

This series for Resonance Extra is the first time much of the label's catalogue has been available to hear outside of its material form. It accepts the invitation by Resonance on the basis that none of these sounds are stored. If you want to hear it you need to be able to access the radio at midnight every Thursday.

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.