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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.

This episode features music by Vitor Joaquim, Henrik Meierkord, TraumaSutra, Alwin van der Linde, Taphephobia & IDFT, Kloob, Mario Lino Stancati, Michael Bonaventure and Stefan Klaverdal.

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

This is a three 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.

In this episode we delve into two upcoming releases: Bells: the gauzy glockenspiel experiments from Broken Chip, AKA Martyn Palmer, who is based in the Blue Mountains in Australia, and Homework, an intriguing collaboration between Londoner Matt Atkins and Italian composer MonoLogue (Marie Rose).

Martyn opens the show and talks us through his process in making Bells. We also hear from Matt Atkins who discusses the alchemical and improvisatory processes which went into his collaboration with Marie Rose.

We dip into Nichola Scrutton's new release Night Vision which is based on a practice of semi-conscious writing, enjoy Manja Ristic's special sniffing rock in Croatia and join Colombian composer David Veléz as he does the dishes.

The second half of the show is a beautiful mix by Martyn Palmer of music which inspired his forthcoming album Bells.

This is the Flaming Pines radio show featuring new releases, mixes and experiments in field recording, sound art and experimental music, hosted by Kate Carr and guests.

On the 6th of October 2022, Tenement Press held an evening at Brick Lane Bookshop to mark and celebrate the publication of SJ Fowler's debut novella, MUEUM, with readings and contributions from Gareth Evans, Chris McCabe, Chloe Aridjis, Iain Sinclair, and SJ Fowler (in order of appearance).

See here for more information. Sound recorded by Milo Thesiger – Meacham.

SJ Fowler is a writer and poet living in London. His collections include Fights (Veer Books, 2011), The Rottweiler’s Guide to the Dog Owner (Eyewear Books, 2014), {Enthusiasm} (Test Centre, 2015), The Guide to Being Bear Aware (Shearsman Books, 2017), I will show you the life of the mind (on prescription drugs) (Dostoyevsky Wannabe, 2020) and *The Great Apes *(Broken Sleep Books, 2022).

Chris McCabe's work spans art-forms and genres including poetry, fiction, non-fiction, drama and visual art. His work has been shortlisted for the Ted Hughes Award and the Republic of Consciousness Prize. His latest poetry collection, The Triumph of Cancer (Penned in the Margins, 2018), is a Poetry Book Society Recommendation and he is the editor of several anthologies including Poems from the Edge of Extinction: An Anthology of Poetry in Endangered Languages (Chambers, 2019).

Chloe Aridjis is the author of three novels, Book of Clouds (Vintage, 2010), which won the Prix du Premier Roman Etranger in France, Asunder (Vintage, 2013), set in London’s National Gallery, and Sea Monsters (Vintage, 2020), which was awarded the 2020 PEN/Faulkner Award for Fiction. Chloe has written for various art journals and was guest curator of the Leonora Carrington exhibition at Tate Liverpool.

Iain Sinclair is a Welsh writer and filmmaker. Much of his work is rooted in London. He also continues his engagement with small independent presses, publishing Fifty Catacomb Saints with Tangerine Press, 2022, and Fever Hammers with Face Press, 2021 (who are also due to release Mental Travaillers: or, The Battle of the Books; Blake & Latham in Subtle Congress on Peckham Rye).

A four-part, unabridged broadcast of SJ Fowler’s debut novella, MUEUM — as read by the author — recorded on location in Resonance Extra's South London studios. Produced by Dominic Jaeckle and Milo Thesiger-Meacham.

This month: presenter Theo Sayers plays a varied selection of pop, electronic and ambient music, including songs by Vashti Bunyan, The Television Personalities and Daphne Oram.

Electronic musician Theo Sayers transports listeners with a mix of electronic, ambient, spiritual and new age music.

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

Postnew is a modular theory, describing the fluid development of aesthetics. Every movement has a post-movement, every end is a beginning, every post-aesthetic will be followed by a post-post-aesthetic. Join the mailing list here.

Barkumdeer, a new collaboration between violist Jenny Ames & percussionist Louis Giannamore (who plays the drums for Kinn) join Kinn to form Barkinndeer.

Together they have created 50 minutes of original music formed from edits, alternative & extended versions of their music. For fans of Black Metal, György Ligeti & depressing black and white European films.

Included within the mix are 2 premiers from Barkumdeer's forthcoming debut album, slated for a release on First Light Records in the future.

Closing off the final moments of the show is new music from ALL HANDS_MAKE LIGHT & Laila Sakini.

Channelling an array of fervent interests in many genres through different mediums (Film, Music, Sound Art and more), Kinn - the brooding-electronics project of London based artist Freddy Lomas - and his guests use original soundscapes and compositions to weave together an original concept for each month's show.

In this episode, we journey to Powys, Mid Wales and talk with Ellis Green to explore the musical genre of Dungeon Synth. We discuss its origins, aesthetics and shed light on Ellis' new DIY cassette-based label Verdant Wisdom.

The conversation is interspersed with a selection of Dungeon synth, Forest Ambient and other like-minded sonic offerings. Featuring tracks from Mortiis, Fåntratt, Lunar Womb, Sunken Grove, USKK, Oaklimb, Winter Seer, Middlewood. Find out more about the Verdant Wisdom label.

Gwaith Swn's Sonic Darts is a London-based sound art collective presenting new sound works, performances and discussions.

Mitamine Lab is a culture laboratory based in Mexico City which blends sound archives with contemporary music and literature.

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

This episode features music from Adam Bohman, Usurper, Y-Pants, Luciano Maggiore, Grease Proof Kids, Insect factory, Kodama, Magnús Pálsson, Lexie Mountain and much more.

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

ID Spectral is a multi-disciplinary record label and arts collective, showcasing the spectrum of innovative creative identities worldwide.

This episode features music made by Naviar's community inspired by Kobayashi Issa’s poem “plunging my hand / into the lake... / billowing clouds."

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.

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 2 was recorded at the Foundation Louis Vuitton in Paris in August 2019, the boat-shaped institution with its surrounding pools providing respite from intense summer heat. We sat on an inordinately long white bench while observing that staff were required to stand. What is special about this recording is the slow reveal of the spatial characteristics throughout: from small, close, muffled sounds exploring the intimate surrounds; to crisp footfalls illuminating vertical hanging surfaces in middle distance; until finally a museum alarm chimes in concert with a high pitch child’s scream that touches the ceiling and very extremities of the interior space.” - Chanelle Collier

B Side Notes:
"On the recording process with a live ensemble: “a direct response in the studio wearing headphones with no previous listening” – Jack Prest

From The Archive:
(THE SOUND OF A MUSEUM)
Museums may have a homogeneous ambient sound because of the size of their exhibition halls. Each space is populated with a resounding, linguistically driven, ambient voice that is particular to the location’s culture and language. There is however, also a global audience at each cultural centre, an intercontinental melange of voices. Simultaneously, there is a transcontinental homogeneity and intercontinental melodies.

For whatever reason the squealing child’s voice is universal. It feels out the architecture of space with a projected volume that adults seldom perform. The unrestricted evocation of a child echoes from floor to ceiling and from wall to wall. Through this squeal one can feel the size and shape of the room in each recording. From everyone else, feet shuffle and clop, and undulating whispers approach, overlap, and retreat.

THE MUSEUM SPEAKS with its laser triggered alarms. When listening to the playback of these museum recordings it is interesting to try to distinguish the sounds made by the museum itself and the systems of the museum. Walkie-talkies bleep, and laser alarms siren off at various intervals, air-conditioners hum and clink in their efforts to control and condition the environment.

(RECORDING – SOFT DOCUMENTATION])
The microphone is a machine that hears. The natural reality of sound becomes codified, open to mechanical reproduction and dissemination as a multiple. The microphone differs from the human ear. In the microphone noise is treated evenly in relation to the receiver. Unlike the human ear, there is no prioritisation for listening. This democratised sound enters the microphone abstractly as conglomerate wave data. The background is brought forward because unlike the human ear a microphone is not discerning, not trying to ‘hear’ anything in particular. When the body listens, the brain edits out all that interference, focused as it is on grasping what is necessary to hear. The machine isn’t looking to communicate so it isn’t filtering signal from noise. - 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.

In this episode, we revisit the best of 2021 and beyond, showcasing work produced by out collective and associates. The show features work originally aired this year by art lab IKLECTIK's show VOIXXE, and by recorded audio festival Helicotrema.

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, Zu From All Over camps out in the car with the best Indie-Rock, Lo-Fi, and Emo (Midwest and elsewhere) to keep out of the cold.

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.

Here they present a radiophonic work based on the life cycle of the mayfly, performed at Pestival, Barnes Wetland Centre, 2006. Featuring Alistair McGowan, Sabina Meyer, Kay Grant and Ivor Kallin. The score is written by Veryan Weston, the text by Ed Baxter.

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.

In this edition, Edwina Attlee’s Book of Days.

“Garlands for the working conditions that underpin everything.”

A weathervane for New Year’s Day, a reading of the opening chapter from Edwina Attlee’s debut collection—A great shaking (Tenement Press, 2024)—as read by the poet. A suite of twelve poems written to (and from) the months of a year.

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A table can be overturned and a window can be smashed. However, those who believe that the state is also a thing or a fetish that can be overturned or smashed are sophists and believers in the Word. The state is a social relationship; a certain way of people relating to one another. It can be destroyed by creating new social relationships; i.e., by people relating to one another differently.

Gustav Landauer

Attlee’s debut collection, a great shaking, is a triptych of works—a gathering of songs, days, and hours—that detail the ways in which ‘a table can be overturned,’ an idea can be tilled, an hour can turn from something germinal to a quiet object of attention, an oblique artifact, a talisman for change. 

Gustav Landauer wrote that ‘the State is not something which can be destroyed by a revolution, but is a condition’—something impacted by the weather of our moods, by the small winds of our behaviour, by way of human contact and a romance of interrelation. In these poems, Attlee antagonises our consent to be governed, our will to be moved (in terms either emotive, temporal, or meteorological) to consider our ‘condition.’ ‘I want to tell you about the time conversations started to happen / and how it was the beginning of the room,’ Attlee writes.

Caught within an architecture wherein chance and design go bet on the horses, where we lose step with the gamble of a metaphor, Attlee segues her way through these collated hours and days to distil a poetry that is not about (or of) revolution, but about conditions. Hers is a poetry about steam; about diction; about how, to depict ‘the beginning of the room,’ you need question the porousness of its boundaries.

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Attlee’s Book of Days was recorded and produced for radio by Tenement’s Dominic J. Jaeckle and Resonance’s Milo Thesiger-Meacham.

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This profoundly exciting debut explores the complicated embodiments, politics and emotions of domestic life through the prism of the turning year. Attlee draws subtly luminous images from mundane, ordinary life—“I pat her gloves with apricot foam / blow bubbles in the dusk / with liquid from the pound shop”—allowing us to see the vivid, electric power of moments to which familiarity usually blinds us. At the same time, she is always aware of the vexed inequalities of family, time, class and gender—“joy unfurls from coupledom and a shared bank account / watch out or the big horse trudges on your head.” Her writing about childrearing is painfully tender yet radical: “they pack him differently at the nursery … am I letting them snuff it out / the little yellow flame.” In this beautiful, funny and innovative book, an important new poetic voice has emerged.

Rebecca Tamás, The Guardian

Echoing the tales and mysteries that were once our way of apprehending the world, Attlee's a great shaking allows one to feel close to the earth and the rhythms that govern it. It envelops you in its world with the steady confidence of a poet in full use of her powers. Both intimate and vast, A great shaking is like a skyline touched only by trees, land, and the stillness of forgotten time.

Vanessa Onwuemezi

A great shaking is such a rich gathering: endlessly surprising, bold and inventive. ‘Book of Days’ offers a fascinating riddle and rhyme of the seasons; the ‘Nursery Songs’ are full of secrets and vibrant flashes; while the ‘Archive Songs’ are curiously alluring. All together, they show undoubtable imagination and skill.

Lavinia Singer

In mediaeval manuscripts, engravings of the steps of life from birth to death often omitted women completely. In this fascinating collection, Attlee talks to them directly, making them entirely visible as she explores the legacies of indentured labour, the toils of women and the mythologies of motherhood, all in real time: “the crows eat up the corn / the baby is back / and the women open their legs to the stove / pushing soft porridge into his mouth / like companionable silence.” This empathy and companionship are the backdrop to her own negotiations of work, family and political activity, and expose how impossibly intermingled these are.

She weighs the magical thinking of folktale and childhood against the real world to expose the gap between there and here, while continuing the ancient task of trying to find a way to make it all work. Her language is present and exact, and razor sharp: “my mother is here / laughing like a broken plate.” Throughout, there is love and wry humour: “You are the word I will use to call the cows home at night” (‘Old English love song, Traditional’). This is a deeply affecting collection; these poems come from a very genuine sense of communion with all those semi-visible individuals who labour and have always laboured for love, family and fairness. “Forgive us this standing. Forgive us in strength. / Unforgive if forgiving undoes sorrow. Do not unstep your step.

Lesley Harrison

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Edwina Attlee is the author of two pamphlets, Roasting Baby (if a leaf falls press, 2016) and the cream (Clinic, 2016). She teaches history to students of architecture in London.

A roving, ongoing & growing catalogue of works for the radio from the Tenement Press wheelhouse, in collaboration with Prototype Publishing. Recorded and produced for radio by Tenement’s Dominic J. Jaeckle and Resonance’s Milo Thesiger-Meacham.

Running weekly, the series will broadcast the entire catalogue so far in chronological order, continuing here with JFK / LHO / ICA (Last Movies) by Stanley Schtinter.

Triple A-side on prison cassette:

(A1) police camera audio from the re-arrest of “LEE HARVEY OSWALD” at the Institute of Contemporary Arts in London on the 60th anniversary in 2023 of JOHN F. KENNEDY’s assassination /
(A2) From Russia with Love sung in RUSSIAN by STANLEY SCHTINTER (originally written and performed in English for the film of the same name by MATT MONRO) /

(A3) reading the chapter in full on JFK and LHO from the Last Movies publication (previously unreleased)

Comes with accidental final-freeze-frame-selfie of recording officer. Accompanying insert contains new text written by the author on Last Movies in 2024. Produced for Tenement Press at the Small Publishers Fair, London 2024.
credits

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.