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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.

In this episode, four short talks with artists NikNak, Nick Klein, Tintin Patron, and Vomir, presented in sequence, accompanied by sounds captured during their residencies at the Skaņu Mežs festival in Riga, Latvia, in the autumn and early winter of 2024. The first interview is conducted by Viestarts Gailītis, while the remaining three feature conversations led by Dmytro Filatov and Bohdan Kuspys. The music and sounds included are on-site recordings from performances and installations at Skaņu Mežs.

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.

Cosmic, transcendent sounds and exploratory electronics with f.ampism.

In this episode, Dronica meets Danilo Casti.

Electroacoustic musician and composer, Danilo Casti was born in Cagliari (Sardinia island, Italy) and has been present in the Italian electronic music scene since the early 2000s, working in live performance, contemporary dance, video, and multimedia installation.

He performs either as a solo artist or as a member of collective projects. Since 2018, he has been part of Dalila Kayros's band as an electronic musician, composer and arranger.

He is also part of Alessandro Carboni's contemporary dance company as a composer and performer. He has collaborated with several artists and he performed at various festivals of electronic music, theatre, and contemporary dance around Europe, USA, and Asia. His music style includes synthetic and concrete sounds organised in different ways, from straightforward composition to an algorithmic generative approach.

His career has been strongly influenced by experimental theatre and contemporary dance, and his music is based around atmospheric composition and soundscapes. Collaborating with Dalila Kayros, he explores more rhythmic and harmonic textures, combining his experimental, electroacoustic attitude with a songwriting style.

ANIMAMI, the latest record by Dalila Kayros and Danilo Casti, has recently received the Mario Cervo Award for Best Album 2022.

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

This episode features music by Chra / Ikuko Morozumi, Tor Lundvall, Percival Pembroke, Hans Edler, 10cc, Nausi, Лена Катина, Temple Ov Saturn, The Night Monitor, Jean Blaute, Willie Wonder, The Residents, Alison Cotton, Gianni Safred & his Electronic Instruments and Mikado Koko.

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

This episode features Recordings from Pokhara Nepal plus an unreleased track from my upcoming record on Coherent states of Athens, plus an unreleased track by Jay Glass Dubs.

“The bombastic and Repetitive Sounds Of Tashi Ling Buddhas In Pokhara, Nepal” is a sound mix of Pablo Picco and María Victoria Arener’s trip. The first side is including field recordings by the Buddhis ceremony in Pokhara Nepal, that took place on the 6th of February, 2012. Side b includes various recordings from river, caves and a wedding band, recorded on the same day between 10 AM and 18 PM. The cassette include a 40min mix of their experience, and absolutely ethnological document, that is already documented as a full length experimental film under the name “Kalinga Utkal”. Released by More Mars Records

Mortal path is part of the upcoming record by G.Karamanolakis on the Athenian label Coherent States, a concrete approach to a non existent spiritual electronic cult.

Explorations of the inner city sounds of Athens and surrounding areas through lucid soundscapes and site-specific transmissions.

This edition of Sonoridades is hosted once again by Portuguese sound artist Marco Alexandre. Marco is based in Porto and his work in centered around field recordings and sound art.

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

In this episode, a deep dive into ambient experimental music, shining a spotlight on evoking a sense of deep emotion through crafted soundscapes and production choices.

Listening to tracks that tell stories with no words, that paint pictures with sound, and take us somewhere new and different, out of our regular surroundings and into the unknown.

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 episode, get ready to listen to the weirdest and most mind-blowing covers and drifts of Shape of you by Ed Sheeran. There's no order, no lists, only stilted and exclusive material.

Users of google translate, notes alterers, carnatic indians contemporary, cumbia lovers, chemists and physicists, flute duets… all are welcome in Shuffle formula radio mode.

This episode features a special guest, Malinda K. Reese, with her project Twisted Translations.

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).

DJ Dany Nijensohn has maybe the biggest musical background within the local scene. Former painter, in charge of “El Agujerito” record store, he began his activity in 1975 as Resident DJ in Le Club (Puerto Madryn, Chubut) where he stood for four years. Back to Buenos Aires, he became Resident DJ at Cemento playing dark, techno pop and rock nacional to join in 1995 “El Morocco” as a head of latin and electronic music trends. He has played in countless underground parties and international festivals such as Creamfields. He’s also a member of “Agencia de Viajes” collective together with Graphic Designer Alejandro Ros, Journalist Pablo Schanton and musicians Leo García and Gustavo Lamas.

A selection of the most vibrant and exciting new sounds of Latin America's emerging talents.

Andrew Tuttle is an artist who for twelve years has been exploring the relationship between the electronic and the acoustic - primarily by marrying the worlds of laptop processing with that of banjo and acoustic guitar. He has played live with artists such as Matmos, Mike Cooper and Blank Realm, and recently released the album Fantasy League on the Room 40 imprint, Someone Good.

In this episode of Out From Under Andrew discusses the inherent tension in his work and his relationship with his home city of Brisbane. In the second half, we hear an exclusive new recording from Andrew, titled Transitory Adaptations - a mixtape of edited improvisations created while on the road in Europe, recorded in hotel rooms in Lausanne and Berlin and on a train from Berlin to Basel in April 2016.

Missed the show? Catch up on Mixcloud.

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 of this midwinter episode, Gravity Waves: **Founder v Founder, with tracks from one of the founders mixed by another, plus more remixes from McCloud, something new from *Spirit of Gravity** member MelJoann, plus music from around our orbit.

In the second hour, Spectral Transmissions: Fallen Shrines: A New Myth. Scrawled in spidery script on the torn remnants of the label on a scuffed C60 are the words: PART ONE: historical development. You take it home and press play: We found you! Thanks for subscribing! You'll receive an email confirmation in 1 hour.

For now, here is your 10% discount code to copy and paste at the checkout: A team of people standing around a table, actively participating in a discussion and exchanging thoughts. A man and woman stand on the moon, gazing at a photo of themselves, surrounded by the vastness of space. Congratulations, you have successfully adjusted your set.

Please find herein directions for Irregular operational activity. Find out how to Invoke a weirded and haunted modernity. Some listeners have been chosen arbitrarily. Others for their ability to haphazardly determine the thought of an era. A diverse group of individuals gathered around a table, engaged in conversation and collaboration.

A shadowy group of figures looms by the roadside, their faces obscured, as darkness creeps in around them. Two individuals are depicted in police mug shots, showcasing their faces and identification details for law enforcement records. You have a chance to be one of them.

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.

In this episode: 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 episodes marks the announcement of the next plates article Memory After Memory with selected audio surrounding the themes of plagiarism, sampling and mimicry. Featuring Led Zeppelin, Arthur Lipsett, The Muppets & David Attenborough. You can read the introductory text and editors' notes for the article here.

The radio counterpart to live intermedia event series Late Works, hosted by founder Joseph Bradley Hill. Each week a new guest joins Joe in the studio to discuss and perform their work. Expect in-depth interviews, live performances, conversations and new event experiments.

In 1991, in the last year of the Soviet Union's existence, Melodiya decided to embark on a pioneering experiment in product marketing by launching the Signal Series of records. Each record in this series contained fragments of four new albums to be released, and the envelopes contained sketches of their artwork. The listener was invited to vote for their favorite artist by sending a written request to the major's editorial office to order the record through the label's official store. In essence, Melodiya launched the process of the first democratic elections in the Soviet Union.

In total, the series included 10 LPs with fragments of upcoming albums by 40 artists respectively. Most of them were bands playing the fashionable gorby rock - the so-called “red wave” guitar music of Gorbachev's perestroika period with screaming socio-political lyrics and manifestos. However, the series also included music by Russian art-rock bands, which at that time had already become cult in underground circles and had their own army of listeners (AuktsYon, NOM, NOL, Object of Mockery and others).

I compiled this episode from the music of projects that were less honoured by listeners - their albums were never released on Melodiya in full form. And the label was shut down shortly after the release of the last LP in the series. You will hear outsider new wave, occult hard rock, national reggae, free jazz and mesmerising folk. I'm kidding though - one project on this tracklist did release their debut LP on Melodia. You have one hour to guess who it was.

Uzbekistan-based DJ and boss of the experimental TOPOT label Eugenie Galochkin presents rare vinyl rips from the Soviet Melodia label. Melodia has released music from all around the world: from obscure Baltic electronica and free jazz from Siberia; to synth-pop from Tajikistan and academic avant-garde from Ukraine. The series will explore how national and cultural characteristics are embedded in musical language.

Another freeform episode featuring some current listening as well as my return to the microphone on radio dj styles. I think last time I talk during the a show was 2017 so after 6 years you get to hear my semi serious rambling.

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.

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.

This episode features music made by Naviar's community inspired by Yosa Buson’s poem “Mount Asama / amidst its fumes and ash / fresh young leaves!”

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.

Online music publication Stray Landings invites guests from across the electronic music spectrum to discuss themes and innovations.

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.