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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 new works by Tescon Pol, BVHZ Bruno Varvohza, TRI.OBYTE, Cadlag, Richard Bégin, rauðvik, Mark Hjorthoy, Yousef Kawar, Pharmakustik, Small Things on Sundays, PNÉVMMA and Sea Of Wires.

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: Australian composer Timothy Fairless's Rising Water is out on Friday and he introduces today's show as well as treating us to an aqueous mix to celebrate the release.

We also listen a little more to Vongoiva's Jatuli Observatory inspired by the stone gardens of giants, my own very niche piece 'resurfacing' about a surreal collective roadworks experience in London and a first listen to Hadi Bastani and Maryam Sirvan's wonderful trans.placed.

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.

Lepke B's blissful disregard for the sacred in life has placed him as one of the testcard knights with a totally unique approach to sound plunderphonics and visual art.

Celebrating 5 years of Logic of the Signifier – Sonic Commune residents AOTCI & OVT's 'archival experiment slash label' – this episode features tracks, edits and excerpts from the last ten releases, by Mücha, ENA, Drvg Cvltvre, sideb0ard, TVO, Tengui, AOTCI & OVT.

An immersive psychosonic space, where sounds converse, collide and converge, featuring works, selections, edits, experiments, new music, non-music, archival objects, abstract artefacts, sound(system) and A/V art, pop, trash, noise, voice, and the associated mediums, processes and techniques that make up the ongoing audial investigations of Agents of the Culture Industry & OVT, all presented for art not profit.

Jon Leidecker presents an introduction to the history of sound appropriationism in 20th century composition, popular art and mainstream media, and the convergence of these trends in the present day.

The idea of a completely original piece of music is fairly recent. Music was passed on through sound, through generations, even for centuries after the invention of written music. Only in the 14th century did it become standard practice for a composer to sign his name to a piece of music and claim it entirely as his own, giving rise to the cult of the individual composer. But as recording supplanted sheet music in the 20th century, the presence of communal influence became unavoidably obvious once again as composers began to use recordings to make new recordings. We can now hear the presence of more than one voice. And there is a reason why people don't say they listen to a record – they say that they play a record. From the beginning, recordings have been instruments.

The first episode of this overview of appropriative collage in music covers the years 1909 through 1961, beginning with Charles Ives, who composed in a cut and paste style with sheet music in a way that anticipated what later composers would do with multi-track tapes and mixers. We skip through decades to arrive at "Twisting the Dials", the Happiness Boys' 1928 tribute to late night radio surfing, before moving to John Cage's proto-sampling pieces for radio and tape, "Credo in US" and the "Imaginary Landscapes". We witness the million-selling cut-in records of Buchanan and Goodman and the resulting lawsuits, Richard Maxfield's tape cut-ups of a sermonizing preacher, and conclude with James Tenney's dedicated dissection of a single recording of Elvis: "Collage No. 1", the first 'remix'. For more information on this episode, visit RWM Curatorial.

Transcript available here:
http://rwm.macba.cat/uploads/variations/01Variationseng_script.pdf

Link to the complete series:
http://rwm.macba.cat/en/variations_tag

For more information on this series and other podcasts, visit Ràdio Web MACBA.

In this episode, Kareem and Kinn stitch together 3 years of sketches, demos, field recordings and live improvisations into an hour of completely original and unheard music. Additional features from composer Reuben Kyriakides (Piano) & Bint Mbareh (Vocals & Buzuq).

Kareem and Kinn will be recording a short LP in the summer featuring finalised pieces for Oud, Guitar, Feedback and Samplers.

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.

Ambient, folk, ritual, electronic, dub, free jazz and exploratory works selected by BroodingSideOfMadness.

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 works by Ashtray Navigations, Mark Groves, Alvarius B, Gabie Strong, Alice Kemp and 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 shima Ryōta’s poem “steady spring rains... / both dream and reality / Mount Yoshino!"

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.

In this episode, a new sound artwork composed during a blitz session in Studio Loos (Den Haag) by Leonie Roessler and Hagai Izenberg in November 2022.

A Mad Woman's Tale explores the surreal and often chaotic nature of daily life. Drawing on a range of everyday sounds, including a washing machine, a sewing instructional audio, and live radio sampling, the work invites the audience to immerse themselves in a world of familiar noises, creating their own interpretation of the piece.

Leonie Roessler is a composer and performer raised in Germany and the US, now based in The Hague, Netherlands. Leonie captures her environment with field recordings, which she uses for radio pieces, sound installations, and instrumental compositions. She runs the radio branch of Studio LOOS in The Hague. Her works have been released through Musica Dispersa (Spain/UK), and Noise á Noise (Iran) and have been physically archived in the British Library.

Radio Concrete by **Hagai Izenberg is a monthly experimental radio show focusing on live mixing and processing of field recordings together with contemporary music and soundscapes.

This episode of Third Space sees two First Light Records artists, Louis Giannamore (Barkum Deer/Kinn) and Sean Kinnear, explore themes of space, memory, and nostalgia over the course of two deeply personal mixes. In the first hour, Louis revisits his childhood holidays in the Basque Country of Southern France, trips that are soundtracked in his memory by the heavy metal music that defined his musical youth and the rich coastal soundscapes of the region.

He reinvokes the feeling of these formative moments in a curated mix of his field recordings from the Basque, interwoven with often-overlooked ambient and balladic gems from artists that are ordinarily associated with crushing drums and chugging riffs. In the second hour, Sean narrates a history of his native Salford through music and found sound, as well as exclusive unreleased sonic experiments of his own. From the sounds of textile production to the dancefloor of the White Hotel, from New Order to Machine Woman, Sean’s mix charts a nostalgia-tinged path through Salford’s story and his own.

Each month, First Light Records invites two artists to take an unplanned journey with a microphone around their city to curate an hour-long mix. Each show captures the unique atmosphere of a city from each artist's perspective, through music and found sound.

In this episode, Dani joins up for their first show and does a deep dive into the history and expansive catalog of Japanese punk, oi!, pogo, d-beat and hardcore.

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.

Heart Like a Duck parts 1, 2 and 3 were recorded live at Radio V&A, 26 February 2016. Featuring Tom Graham (voice), Adam Bushell (percussion), Keiko Kitamura (bass koto), Peter Lanceley (electric guitar, voice) and Milo Thesiger-Meacham (electronics). Text: Ed Baxter. Supported by PRS for Music Foundation.

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.