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A freeform episode featuring some recent favourites as well as upcoming releases on the label.

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.

This episode features Billa Ensemble, Hali Palombo, Yeast Culture, Bufflemckee, Neil Campbell, Jerome Noetinger, Alice Kemp and more.

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

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

In this episode: one hour in the Radio Picnic studio. Eating, reading and listening to sound created by our lovely radio artists, including Kim Laugs, Emanuelle Nizou, Maxime Lacôme, Selene Mauvis, Tzii, Julien Bibard, YZ and Samuel Tombola.

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

~ Dana ~ the dwarf is now a tree ~ get you a show that can do both ~

Moods and preoccupations in a nonlinear narrative in and out of the club with COSI and The Source of Some Certainty - created by Corinna Triantafyllidis and Henry Rodrick.

In this episode, Dronica meets Dalila Kayros for a guest mix.

Sardinian singer and composer Dalila Kayros creates avant-garde indie electronic songs with dark ambient elements. Her music evolves through concept albums, which see Kayros creating surreal images relating to symbolism and a dystopian aesthetic, blending lead with ritualistic vocals and combining quiet and fierce moods.

"We'll walk on different terrains, from an etheric sound to a scream from the guts! So from a quiet sideral night to a screaming foggy day where the sun hits as strong as ever!" – Dalila Kayros.

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

Since 2019, Leika has been playing her signature sound of downtempo, deep tech and deep house in some of the most popular venues in Europe, including Freiburg's Insel der Freuden Festival, Hans Bunte Areal, Ruefetto, The Great Räng Teng Teng, Beate Uwe in Berlin, Südpol in Hamburg, Kaschemme and Art Stage in Basel, and Chat:Eau Festival in France.

As part of the MoMo/Raum|Zeit collective, she is involved in organizing parties and events. Additionally, as one half of the duo Lenkrad, she is already a fan favorite. Leika is also an admin of House of FLINTA, where she works to promote equity and visibility for FLINTA artists. With her contagious energy and focus on the crowd's mood, it's no wonder Leika is quickly becoming one of the most sought-after DJs.

Twice-monthly broadcast showcasing electronic music produced by members of the female:pressure international network of female, transgender and non-binary artists practising in the fields of electronic music and digital arts.

With the programme Vienna Crawling, the Vienna Radia Collective feat. Fabi Lux would like to welcome a new guest (Fabi) to Vienna and make ‘arriving in the city’ the topic of discussion.

Equipped with the sounds of the city on their way to the radio station, the group met for a radio programme in which the concept of the programme was discussed live in an on-air public editorial meeting. Fabi Lux used the material from all the participants, including the recording of this editorial meeting, as material for a remix.

Fabi mixed the sounds with DJ software, changed speeds, added effects and asked chance if it would like to contribute to the flow. Vienna Crawling is a mixtape that tells of the journey, of arriving and then inviting you to take another trip.

Sound-Recordings by Fabi Lux, Barbara Kaiser, Stefan Nussbaumer & Karl Schönswetter.

Mixdown by Fabi Lux.

Members of Radia, the international group of independent cultural radio stations, explore new and forgotten ways of making radio.

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.

Injazero Records founder Siné Buyuka plays a selection of electronic, experimental, ambient and contemporary classical tracks.

Experiments in exploring humanity with Keno Westhoff of http://klanglabor.ayayay.eu.

Night Trippin' unearths alternative sounds from around the world, one country at a time.

This episode features music by The Darkening Scale, William St Hugh, Rich Sudney, Douglas Wood, Primitive Calculators, Toxic Chicken, Mel Blanc, Red Spells Red, Caroline Melzer & Nurit Stark, Mu Tiny, Crust, Der Blutharsch, Swine, Kaztalien and Boson Spin.

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

In this show we'll be broadcasting Part 1 of a remote collaboration between Alaa Yussry and Stephan Barrett who were brought into contact through Colliding Lines.

Starting with an open-ended process of sharing recordings, sparked by an interest in micro-tonal and unequal temperament systems, the interplay between text and sound, and working with aleatoric methods of sonic disintegration.

Accompanying this, we'll be re-playing recordings from our 2018 Shadowplay tour, performed by Jacob Kyriakides, Reuben Kyriakides and guests.

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.

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 features work by o (ft. Connor Oman), Ignatius, KABRA, Scientia, Mario Lino Stancati, Drift, durance, SKOTÓGEN, Daimon, and Kohellus.

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

This episode features Tori Kudo covering Bob Dylan’s Masters Of War and I’ll Keep It With Mine, plus tracks from KRM & Dis Fig, Satoko Fujii GEN, Theresa Wong, Lao Dan, Cheng Daoyuan, VIRUS2020, Kenyan Afropunks Crystal Axis, Sophia Djebel Rose, Turning Point, Springhouse and C.I.Z. Recordings’ SBR, and more.

New music with The Wire Magazine.

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 David Leach and Tony Kenny, Higher Ground Studios and Resonance Extra.

Field Notes

Side A - Oh Petal: New Material

(Anthony Hodgkinson - Guitar; Joe Wilson - Guitar and Vocals)

"Sleep, my love. Lay down for another day. It cuts me deep, into my bones. Soon my love, I will be home. All this trouble, that we make; the pains, we take. That tall tower, it awaits; and all that power never fades. Sleep, my love. Lay it down, your burning blade." – Joe Wilson.

**Side B - Oh Petal: Cicatrice **

(Anthony Hodgkinson - Guitar; Joe Wilson - Guitar and Vocals)

"When a cut pierces the skin,

the body repairs around the site—

restructuring its inner form.

Our body accommodates the wound,

reorienting to serve

a new shape within.

The scar is forever a part of you,

like the blood flowing, through your fingertips.

New lines,

New traces."

– Anthony Hodgkinson, Jan, 2025

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 features music by Telluric Shock / Yally / Anton Lukoszeviez / Kathy Acker with Nox / Catherine Christer Hennix / Watkins Group / T.Power / Jo Johnson / Sarah Davachi / HLM38 / Anthony Manning / Senking / Mucha & Spatial / Cristian Vogel / Yurii Samson / Cody Brant & Carl Kruger / Gabor Lazar / AOTCI / Lee Ranaldo.

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.

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

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.