← Thursday 26th June 2025 →

This episode focuses on the strangest releases from the Soviet major label Melodia, which could be characterised simply as ‘Non-music’. Some records shocked me, some made me cringe — but these tracks seem to form a curious narrative on the verge of a numbing psychedelic journey.

So, within an hour you will hear reconstruction of a concert on mammoth bones, advertisement of the famous Lithuanian hoover ‘Audra’ and car fluids of Soyuzbytkhim factory, field recordings of crickets, toads and even fish singing, pioneers' signals, monologues of parrot Gosha and a patient with nonsense casual relations syndrome, and also hypnotherapy for alcoholics. Happy travelling!

Uzbekistan-based DJ and boss of the experimental TOPOT label Eugenie Galochkin presents rare vinyl rips from the Soviet Melodia label. Melodia has released music from all around the world: from obscure Baltic electronica and free jazz from Siberia; to synth-pop from Tajikistan and academic avant-garde from Ukraine. The series will explore how national and cultural characteristics are embedded in musical language.

Exploring sound discovery in the internet era with Robin Buckley AKA rkss.

In this episode, a hearty round of experimental sounds and music, and an extra-special guest mix from Berlin-based Nancy Drone.

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.

This episode is brought to you by two local compilations, Patchworks The Missing and The Spirit of Gravity’s Capture the Moment. Both are available on Bandcamp. These are followed in the second hour by the latest broadcast in a series of six shows put together by the OCRU – Omnistitions 3: Transmissions from the Wellness Room.

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

In this episode, Stanley Welch joins Joe in the studio for a live session on the piano post-Preparations at Cafe OTO on 23rd June. With an interview in-between track selections, including Fiona Apple, David Bowie & Philip Koutev Ensemble.

The radio counterpart to live intermedia event series Late Works, hosted by founder Joseph Bradley Hill. Each week a new guest joins Joe in the studio to discuss and perform their work. Expect in-depth interviews, live performances, conversations and new event experiments.

This episode is created for the June solstice, a time of long light hours in the north, and long darkness in the south, the extremes of day and night enacting their own rhythms and textures on those who inhabit the earth. The piece is curated and produced by Stephen Shiell and composed using original material from From the New School of the Anthropocene scholars.

With contributions from Stephen Shiell, Simon McClelland Morris, Chris de Sel, Clare Whistler, Rhona Eve Clews, Pascal Sleigh, Miles Irvin, Abi Andrews, Michael Timmerman, Cole Pemberton, & Hannah White.

The New School of the Anthropocene is a radical experiment in alternative education, away from marketisation and arcane specialism towards co-sensing systems change through creative practice. This is an ecological transmission of DIY ethics, non-hierarchical structures, radical networks, interconnected sensing through sound, text, voice, spoken word, human and more-than-human collaborative practice, patchwork group thinking, and radio art.

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 last episode of 2024 is a special mix from Félix Blume featuring a collage of field recordings made in Port au Prince early December 2016, Haiti. Some might remember a very special album we released in 2018, Death In Haiti; a vivid sound portrait depicting the way funerals and burials are lived in the Caribbean island of Haiti plunging the listener into a world of pain, loss and solemn celebration as each funeral comprises of its own live jazz band as well as a plethora of characters like the joker (le blaguer) who cracks jokes and tales about the recently deceased.

A beautiful document here expanded with some extra recordings featured on a recently released bonus disc edition condensed into more 43 minutes of brass bands, crying, masses, voices and field-recordings. Check Félix Blume’s Bandcamp for the ‘pay what you want’ bonus disc edition where every cent will go to the musicians struggling during very difficult times in Haiti.

A loose drift through misaligned pop, outsider electronics, folk shards, radio ghosts and accidental hymns, presented by Gonçalo F Cardoso. Visit www.discrepant.net/radio for more information.

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

In this episode, sound artist Leonel Vásquez and researcher Lisa Blackmore navigate the Bogotá River in Colombia through a more-than-human song created together with the living forces that shape the watershed’s ecosystems.

Loaded with chemicals and sewage along its course, the river is largely devoid of the fish and freshwater crustaceans that for thousands of years teemed in its waters. People have turned their backs on the water body, even though it was once the centre of collective life.

How might listening to the river’s song renew bonds of relation and reverence for water in dis-enchanted times? Guided by Leonel’s compositions, River Song, Singing Rivers is sonic immersion that attends to the Bogota rivers bogs, meanders, and flows as a living being worthy and in need of care.

Lisa Blackmore is founder-director and curator of entre—ríos, exploring continuities between bodies of water, human bodies and territories, recognising rivers as active subjects. Lisa is Senior Lecturer in Art History and Interdisciplinary Studies at the University of Essex, United Kingdom. She holds a PhD in Latin American Cultural Studies and is the author of publications like Spectacular Modernity: Dictatorship, Space and Visuality in Venezuela 1948-1958 (2017), and co-editor of Hydrocommons Cultures: Art, Pedagogy and Care Practices in the Americas (LA ESCUELA__JOURNAL, 2024) and Liquid Ecologies in Latin American and Caribbean Art (2020).

Leonel Vásquez is a Colombian sound artist exploring non-human sonic agencies: waters, trees, rocks... living and vibrant materials. Their interests include underwater noise, geo-resonances, relational listening, and vibroacoustics of planetary well-being. They have worked with the National Radio of Colombia, Ministry of Culture, and as a teacher of sound art at the University of Los Andes.

entre—ríos explores continuities between bodies of water and human bodies, recognising rivers as active subjects producing aesthetic forms and shaping memory. They believe in artistic practices as catalysts for collaborative experiments connecting us to the environment. Their practice traces hydrographies rendering borders porous, creating shared territories. They put into circulation ways of knowing and feeling bodies of water through creative methodologies and flow systems that create deltas of knowledge where arts and sciences, communities and institutions meet. Their project, **RÍO BOGOTÁ&&, connects community initiatives in one of Colombia's polluted rivers through culinary encounters and publications.

Collective Werebere focuses on communication and expressions between the human and natural world, based on the study of different bodies and their sounds. They have conducted research on resonance phenomena and subtle landscape signals. They lead the High Mountain Listening Station project, a space for contemplation and well-being practices towards the body and Sumapaz páramo territory.

A six-part series by Meira Asher and Stephen Shiell exploring the interactions between transmission, sound, activism and water. Each episode is created by a different artist or group who engage with water politics and the politics of listening through the medium of radio.

Drone Operatør's third session is a wild and interdimensional roller coaster ride through multilayered landscapes of musical styles. Christoff Riedel, a producer/dj from Leipzig and part of platform Cime hits the break after one hour for a little relaxation to admire the scenic view. His guest set ranges from vivid ambient edits to dystopian sound design cuts. #buckleup, Hashtag Kindersekt - cheers!

Monthly experimen†al kleptomaniac post digital free jazz spam channel operated by artists Tilman Hornig and Paul Barsch aka DRONE OPERATØR.

Low Noise is an eight part study on a quieter side to noise - as a music or simply as its own aesthetic. Taking form as a collage of sound works from an international roster of artists and composers, the eight hour broadcast is interspersed with esoteric field recordings, film extracts & manipulated sound effects.

alice.km trusts her instincts. In truth, the nascent DJ, producer, and songwriter has never done anything but. Her instincts got her started on the decks, defined her ethereal production style, and guided her all around the world doing what has only ever felt like a need: playing music. In 2016, her instincts led her to her first DJ gig in Brooklyn, New York, and not long after, she was playing at major venues in NYC.

Having only started producing in 2020 when the pandemic closed all events, she’s now signed to major labels, crafting her unique sound that paints pictures as well as it induces dance moves.

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.

This episode features a guest mix by Brueder Selke.

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

This episode delves into the realm of kinetic, beat-driven music, from a more textural standpoint to music that makes us want to move, journeying to the more experimental use of language in music. Expect everything from modern day computer-generated communication to glitches, mistakes, human error and computer error.

Background music: Disintegration Loop DLP 2.1 by William Basinski.

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, Chris Bohn plays tracks by Blixa Bargeld, Raimund Wong, Matthew Shipp, Lebanese sextet SANAM and more.

New music with The Wire Magazine.

This episode is a contribution by Radio Študent.

Radio Študent this time presents a sound collage To Kar Zvok Dvomu Vzame / Sound That Doubt Takes by Mrtvo Rođena Živa Lešina. MRŽL is an artistic performance that exists in the in-between spaces of poetry, music, and photography. It explores the fear of death – silenced in modern society – and how, through apathy and nihilism, one arrives at a creative process where anonymity becomes an integral part of identity. Regarding this piece, they state the following: “Radio collage is a way of processing sound. It emerged out of necessity, due to the inaccessibility of smartphones and the internet. A push-button phone, which picks up radio signals and has the function of recording radio waves, serves as both a means of retrieving audio messages and an archive. The storage space is limited to 25 minutes of audio recordings before they are transferred to a larger archive, allowing the phone’s memory to be cleared for new recordings.

The final composition is built from these recordings, using contrasts between them to reveal meanings that were previously hidden within their original contexts. The recordings range from 3 to 60 seconds in length. Each captures the most essential part of a song, an interview, or a news report. Only fragments of songs are recorded—preserving the emotions of the listening moment rather than the song itself. Similarly, in interviews, while a half-hour conversation may convey a great deal of information, it is equally important to capture the dynamics between the speakers. A ten-second clip can reveal moments of conflict and confrontation with another person’s thinking.

With news, the understanding works in reverse. Short clips of current political affairs isolate pieces of information that might otherwise be lost in the flood of daily news—seemingly less urgent yet still significant. By removing these fragments from their original context, archiving them, and reintroducing them in a new framework, the collage plays with the perceived relevance of information. What might seem trivial in one setting can carry weight in another. At the same time, it also exposes the emptiness of certain information—what in one context signifies authority, professionalism, or intelligence may, in another, reveal itself as mere empty rhetoric, a hollow interpretation of new laws and state actions.”

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.