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

Amsterdam's Shimmering Moods Records explores the many sides of experimental ambient music, into the far reaches of the imagination.

In this episode, Zu From All Over runs out of air to scream with and turns to distorted feedback for help, with the best slowcore, punkgaze, and sludge to wash herself clean of this year.

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.

This episode features music from Hokkett, Lamia, Ruido, Pinna, Larix, Stephen Shiell, theskyisthinasapaperhere, Ben Vince and more.

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

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

This episode showcases Argentinean duo Whisky. María Pérez and Macarena Fuentes decided to join forces in an experimental project where the music triggers other artistic experiences. Inspired by viral videos and absurd regional beliefs, they make their songs with synthesisers and voiced subliminal messages.

They like to tell personal, intimate stories through lo-fi videos that they make themselves, in which they blend everyday situations with moments of fiction and dance. The music breeds a desire of contemplation and the videos, a desire of dance. Between rhythm and noise, take a sip of this experience.

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

London-based art, music and architecture writer Bobby Jewell plays a selection of ambient, jazz and classical music over two hours.

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 episode features music made by Naviar's community inspired by Yosa Buson’s poem “dreadful the stream / without so much as a name! / early-summer rains.”

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.

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 the lowlight, eyes and ears dissolve. What sounds like the chirping of crickets could in fact be static from overhead cables. Are those really birds? Where does the sky begin? The lightning strike of empty, onrushing trains briefly sends the scene into stark relief, followed by brief silence before the dusk chorus resumes.

Littoral Transmissions meander through the sonic landscape of the River Lea from Stonebridge Lock to Leamouth. Recordings from the field converge with layers of sound to create an aural impression of the navigation.

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.

Watch Tarmac Garden, a track which currently exists exclusively in Kinn’s Live setlist, filmed in the studio. Recordings engineered by Shaun Duncan. DOP and editing by Herbie Lomas.

Live sampling, challenging performance cues and locked in a knife edge focus, a statement of the Kinn’s intent to make profound and provocative music.

A one-off broadcast of two tracks performed, recorded and filmed by Kinn at Resonance Extra's studios in October 2022 to mark the imminent release of his sophomore album Dogtooth. He is joined by Barkumdeer, a duo made up of violist Jenny Ames and percussionist Louis Giannamore; cellist Will Boon; and Eli Callingham, who plays out the final moments with harmonica.

In this episode celebrates 10 years of Sonic Darts with a special retrospective show, delving right back to the earliest shows and playing some highlights from the last 10 years, including interviews and work by singer and composer Marianna Sangita, Gwaith Swn producer, writer and musician Dan Linn-Pearl, Hackoustic creative director and instrument builder Tom Fox, poet Childe Roland, artist and improviser Rie Nakajima and Krautrock musician and author Wolfgang Seidel.

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

This episode features sounds from the beginnings of the recording era in Athens, Greece. Strictly locally found 78 RPM phonograph records from my archive, reproduced using an old HMV gramophone player from the 1920's. Featuring amongst others: Margio Salonikia (Manes Neva), Linda Hanoum, Bay Nadir, E.Lagoudakis aka Lagos, G.Manisalis, obscure Japanese phonograph records from Teichiku and more.

It is very interesting to notice that in the early 20s and 30s many of the records that were produced in Greece were in the Turkish language although they were Greek productions and many times by artists of mixed origin, there were no clear lines formed between the East and the West. Some of this tunes are 'entering the digital domain'' for the first time.

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

This month we have a special guest curation from the Othermen crew, featuring music from the sewage works, sand bag and brain cell

Text from Othermen:

"And just because I'm Smyling
Doesn't mean that it's happy.
And just because I'm laughing
Doesn't mean that it's funny.

Do you know how Real that is!"

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

In this episode: how do artists process recorded and generated sounds? What kind of new meaning emerges from this process? Apparently, it often results in laid-back music.

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.

This episode features new works by Fabien Robbe, Farabi Toshiyuki Suzuki, Castrup & Wilholm aka elektrojudas, Andreas Davids, Billy Yfantis, Sea Of Wires, Bruno Dorella, vÄäristymä, Mario Lino Stancati, Twilight Transmissions, Insectarium, and The Great Old Ones.

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

In this episode, back to the free-styling roots that defined this show, records pulled randomly, a bunch of new stuff – not necessarily new releases but recent listenings down at Discrepant HQ.

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.