← Thursday 6th March 2025 →

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.

A 22-hour radio project in 7 episodes by Milo Thesiger–Meacham. An unnamed narrator moves house and pieces together a world of recording devices, names, crime, real-world characters and media from across the globe, featuring 10-second audio extracts from over 6000 individual videos found online, original sound recordings, music, hand-held camera audio and writing. Commissioned by the European Capital of Culture, Esch2022 for the temporary radio art station Radio Art Zone. Follow Fox Neame for more.

In this episode, new and strange emissions from N1L, Second Woman, Ewa Justka and Vytear, plus a guest mix from London's mighty Holodisc. Holodisc digs up prime cuts from Ophelia’s interviewing past. Meet Jamal Moss—the label’s unknowing spiritual godfather—repurposed to fit their selection of disembodied sounds.

Tracks from across the spectrum of electronic and computer music, with Calum Gunn of Conditional.

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

More South Coast experimental music.

The second half of the show features another long form piece by Spirit of Gravity founder and one time Rimbaud Brother Tony Rimbaud as Not By radium.

Commissioned new work from contemporary sound practitioners and other audio choices from experimental electronic collective The Spirit of Gravity.

In this episode, musica per la radio with Ana Garizurieta, a series of concerts conceived for radio and transmitted exclusively on the radio.

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

In this edition of Shuffle, get ready to listen to the weirdest and mind-blowing covers and drifts of “Complicated”. There's no order, no lists, only stilted and exclusive material. Featuring special guest Bella Paloma.

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).

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 episode focuses on Tenerife and features some recent guests and local island fiends. Opening with an island jam by Monopoly Child & Sun Araw, Lava Tube Solos on Horsebacks, swiftly segueing into CV & JAB’s pool tide inspired tunes from their island séjour last March.

GAF and friends make a deep appearance too with their latest psych heavy double whammy, Reptiles – seek this and others such as Lagoss and Akane on Keroxen, Discrepant and beyond.

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 recordings from the Athenian air waves. What lies between and under broadcasts and what is hidden during' is deconstructed in an attempt to expose the space behind structured radio transmissions. An attempt to re-introduce the ''space'' of the radio back into the radio. Come with us and take a small glimpse of what it is like to listen to a ''missing'' program.

The mix has been edited in real time using 4x radios, all different models and all with their own sound character and different feedback and mechanical possibilities.

This experiment aims to broadcast the absence of a broadcast.

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

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

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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.’

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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

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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.

Featuring original music and field recordings, and spoken contributions by writer and translator Cristina Viti and filmmaker Ahmed Yassin Aldaradji, Audible Heat ranges across continents, embracing Greek tongue twisters, the poetry of Ibn Quzmān and Harry Crosby, African-American mathematician Benjamin Banneker’s lost wooden clock, Plato’s Phaedrus, cicadas on the film sets of Sergio Leone’s ‘Spaghetti Westerns,’ the body language of Clint Eastwood, the apocalyptic premonitions of the Wampanoag, Geronimo’s hatred of telegraphy, and botanist Donald C. Peattie’s terror of the inescapable buzz of mortality.

Equal parts academic argument, travelogue, and critical collage, this synthesis of ideas pulls upon a wide-ranging bibliography of materials to examine the omnipresent sound of the cicada throughout human history and culture. Herein, this climatic sound acts as a conduit between ecology, identity and mortality, and the cicada’s sonic inference emerges as a codification of the unknown and unfamiliar—as a spiritual weathervane in desert settings—and as a means of teasing out the sensorial limits of human understanding.

Audible Heat was written, read, recorded, produced & scored by Milo Thesiger-Meacham. It was first commissioned and broadcast as a work for radio by Radiophrenia, September 2023.

As a manuscript Audible Heat was shortlisted for the inaugural edition of the Prototype Prize, 2024, and was published as a book by Tenement Press, February 2025. Its radiophonic counterpart will be released on CD by World Service, March 2025.

“A wonderful bringing together of natural and cultural histories.”

– Tom McCarthy, author The Remainder & Man Booker Prize nominee

“A work of great refinement and intelligence, entailing some beautifully crafted surprises.”

– Elizabeth Price, artist & 2012 Turner Prize winner

"Almost Borgesian in the levity by which it seems effortlessly to embody encylopaedic multitudes ... we understand – and appreciate the – the intricate assembly of fragments, quotations and images that factor in distance, as much as intimacy, as an engine to the work ... Audible Heat balances both the warmth of genuine passion for its material with a controlled and 'cool' gaze that makes for a singular outcome."

– Gareth Evans, writer, editor, film & event producer

"... nibbling at the edges of philosophy, entomology, anthropology, poetry, music, film and diverse technologies ... like a latter-day Langland, the author “wente wide in this world wondres to here” only to find in a sound at once familiar and uncanny, eternal and pregnant with anticipation and dread, a hall of mirrors for the restless human soul. Like the sun, the cicada looms like likeness itself and we are led down garden paths that form a maze of amazing information, suggestion and nuance ... It also speaks of the limits of species entrainment, of our faltering efforts at empathic behaviour, and tells us a lot about how we act in relation to other creatures, how culture sits with nature. Perhaps more important is how it subtly suggests how we should or might act."

– Ed Baxter, writer, sound-artist, co-founder Resonance, co-editor Works of Thomas De Quincey

“Beautifully written.”

– Bhanu Kapil, poet & Windham-Campbell Literature Prize winner

Many thanks to Max Syedtollan and Dominic Jaeckle. Thanks also to Cristina Viti, Ahmed Yassin Aldaradji, Dr Gene Kritsky, Dr Douglas Yanega & Matthias Loibner for their kind contributions. Thanks to Tom McCarthy, Bhanu Kapil and Elizabeth Price for shortlisting the text, and to Mark Vernon, Jess Chandler, Rory Cook and Gareth Evans. And for their help and encouragement, a heartfelt thanks to my dear friends Ed Baxter and Valentina Bacci. 

Milo Thesiger-Meacham is an artist, composer, performer and creative director of the community arts radio stations Resonance FM and Resonance Extra.

Milo Thesiger-Meacham’s Audible Heat is an extended documentary, a fitful academic essay, a mass-media probe, an idiosyncratic piece of travel writing, a densely illustrated sound-art montage, and a deep dive into man’s complex relations with the seemingly eternal sound of the cicada as ‘audible heat’ in human consciousness.

In this episode, we dive into the vibrant and renewing spirit of spring with a special selection of music. As the days grow longer and nature bursts into color, we invite you to join us for a unique auditory experience—a curated collection of music and sounds designed to inspire meditation and reflection.

This season influences not only our environment but also our minds and bodies. So let’s take a moment to pause, appreciate, and savor the beauty that surrounds us. From Felix Mendelssohn’s enchanting Spring Song to the evocative melodies of Sun Ra and Yusef Lateef, each piece will guide you into a serene space of "springfull" mindfulness and heartfelt connection.

Join us as we embrace the essence of spring, exploring themes of renewal and harmony through sound.

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

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

This episode focuses on space – ahead of NASA’s upcoming mission to search for signs of life on Jupiters frozen moon, Europa – featuring some new releases from Kayla ahead of her debut album release, Fractures, inspired by and written about this space mission. New releases also from an array of artists working with noise, found sounds, and our environment.

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, Emily Bick presents tracks by Cleaners From Venus, Marina Zispin, Kuunatic, Circuit Des Yeux, Backxwash, Nazar, and more.

New music with The Wire Magazine.

duration unknown is contribution by Mobile Radio.

This piece concerns the uncertainties and contradictions of modern-day car use, and unfolds in the mind rather more as an unfinished philosophical journey than a physical one.

It was conceived as an antidote to the celebratory sentiment (although perhaps ironically intended) engendered in listeners by the Kraftwerk song ‘Autobahn’ - in relationship to the building of an out-of-time motorway bridge over the Mosel valley near Ürzig in Germany. The originally planned action was to detonate the record while it played on a portable turntable on the unfinished bridge, which was deemed somewhat tricky to realise.

The work was made for the show Cafe Sonore on the Dutch national radio channel VPRO in 2010, commissioned by Lukas Simonis. During a residency at WORM in Rotterdam to prepare source material, we recorded all the electronics on their wonderful array of analogue synths, which we interconnected with our own home-made instruments. We also set up radio and open-mic feedback processes in the studio. The voiceover was recorded in our home studio.

Each airing of the work is unique due to a production stunt; this version was specially produced for Radia in December 2024.

Mobile Radio

Sarah Washington and Knut Aufermann began Mobile Radio on the 18th September 2005. For the first two years the project was touring Europe without a home base.

It was established as a travelling project to build upon our work across Europe in the fields of radio and sound art which had arisen during the three years that we helped to establish the London art radio station Resonance FM. Our work takes us to media and art festivals, conferences, universities, and one-off events where we run short-lived radio stations, create special live broadcasts, give workshops and talks, design radio installations and play concerts. We also make radiophonic works for public and community radios worldwide, and produce books on the topic of radio art.

Nowadays based in Germany, we continue the work of Mobile Radio with those who want to develop concepts through the medium of radio. Our mission remains the same: to seek out new forms of radio by taking radio production out of the studio environment.

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

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.