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Lena Mega and LoA are musical collaborators who explore a wide range of sounds and styles, from fast-paced rhythms to humorous and sensual tones, as well as otherworldly experiments and chopped beats.

Their shared research interests include topics such as plants, mushrooms, gardens, playing with mud, and ecological explorations, which often find their way into their music.

Based in and around Berlin, Lena Mega and LoA have created a unique sound that draws inspiration from their diverse interests and experiences. Their music can be found on Soundcloud, where they have multiple accounts featuring their individual and collaborative work.

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.

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.

This episode explores the use of rhythm in improvised music, and how we’ve been looking to it to inform and alter our approach to music making. We have a release coming up on Discreet Archive (Instagram) of quieter and more reflective pieces.

As always for collaborations, invitations, or jubilation its hello@subphonics.com

Quarterly noise from SubPhonics exploring themes of collaborative sound and performance.

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

Dronica meets events curators, creative directors and labels owners in 2021.

In this episode, Dronica meets Shahin Entezami, co-curator at SET Experimental Art Events, in Tehran.

Shahin Entezami, also known by his stage name “Tegh” is a musician and sound artist and practitioner based in Tehran, Iran. In his music, Tegh tries to bring new aural experiences to life by using various audio elements and complex soundscapes. These experiences usually manifest his personal perception of facing new stories, geographies and different situations. The ways he usually tries to express these ideas take root in Noise, Drone and Experimental electronic styles and sometimes manifest themselves in the form of electroacoustic compositions.

He has also released albums and singles on labels like Opal Tapes (UK), Zabte Sote (IR), Hibernate Recordings (UK), Dronarivm (RU), Inner Ocean Records (CA), Midira Records (GE), Futuresequence (US), Flaming Pines (UK), Bitrot Recordings (IR) and more.

Also, based on his eagerness to discover the world of other artists he has been involved in many collaboration projects like “Artirial”, “Temp-Illusion”, “Umchunga & Tegh” and so forth. He’s one of the curators at SET, Experimental Iranian festival in Tehran.

Shahin presents a two-hour mix focused on presenting music from my favorite artists considered as a part of Iranian Experimental Electronic Scene, from around the world, a mixture of both promising and well-known artists.

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

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.

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

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

New music with The Wire Magazine.

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.

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.

The Resonance Radio Orchestra presents 'Score for Open Heart Surgery on Charlie Watts' as part of Radiophrenia. As an integral part of its week-long celebration of the best and most innovative ideas in radio art, Radiophrenia presents a series of specially commissioned ‘live-to-air’ performances, of which this is but one. Selected artists have been asked to respond to the unique circumstances of creating a work that is simultaneously a live performance and a radio broadcast, reflecting the fact that there will be an audience present in the theatre in addition to an unseen audience of listeners at home.

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 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.

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.

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.

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).

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

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

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

Btech and Eman Resu of Superfluid present sound, music, noise along with all their sources via talk, fiction and truth.

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, 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.