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

This episode features a guest mix by Adam Badí Donoval of Warm Winters Ltd.

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

In this episode, Cary does an Appalachian punk rock show (mostly).

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.

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

Jonathan Lees of West Yorkshire netlabel hibernate selects internet-based ambient music with contributions from guest artists.

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.

This episode is created for the September equinox, when dark and light equalize for a brief pause in the turn of the year, a short moment before the long exhale into the next season. The piece is curated and produced by Stephen Shiell and composed using original material from NSOTA scholars and friends.

With contributions from Stephen Shiell, Skye, Venetia Allen, Tim Rabjohns, Rhona Eve Clews, Michael Timmerman, Pascal Sleigh, Hannah White, Simon McClelland Morris, Chris de Sel, Carol Melo and Breathing Space Collective.

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.

60 minutes of vivid aural excitement mixed by Ian Murphy.

Kinderkonzert plays around and in a sculpture, a cubical of loden wool by artist Lucia Hepp. It is sort of an anti-resonant body sucking up the very echoey space. The glass pavilion is like a sound expander and, in contrast, the sculpture is almost reminiscent of a muffled recording studio and became a safe and protected chamber for the children who performed.

They play a composition by musician and contemporary art music composer Graham Waterhouse. Equinox, presented in the first half of the broadcast is a composition exploring contrasts and played by Graham himself on the cello. And then you hear Graham, Lucia and the children building up a prakticello, which is a very rare and special kind of cello. Graham and Lucia developed a cello score especially for this occasion using two of these square-shaped and completely foldable instruments together in unison.

The sculpture is a sort of enclosed stage for a musical dialogue between two prakticellos, pleasingly accompanied by the minds, ears and voices of children, who still have the ability to walk around the worlds of imagination and reality more easily, and are therefore able to connect invisible wonders invisible to the rest of us, and make us attentive to sounds which open windows.

They explored these sound chambers amidst a the extraordinary museum Insel Hombroich who hosted us.

Many thanks to Kinder Insel Kinder, Graham Waterhouse, Clara Schmermund for the photos, serendipity, Museum Insel Hombroich, and Resonance Extra.

A live performance developed by Graham Waterhouse and Lucia Hepp in collaboration with children and performed this weekend at Insel Hombroich.

A Sonorous Expedition presents a sound and visual, ecological and social research journey in Panama as a transformation to the environment of the Maxilla Space in London. In Panama, Ana Carolina was based in the indigenous community of Guna Yala, which encompasses rainforest and covers much of Panama’s eastern Caribbean coast; the aim was to learn from the indigenous community ecological and sustainable ways of living.

Joe and Chanelle’s audio recordings encompass ambient sounds, conversation, experimental composition and improvised instrumental response. Cassette drones, loop pedals, voice and guitar are used to echo, mimic or bend over bird calls, thunderstorms, night sounds, indistinguishable chatter, museum reverberations and urban movement. These moments captured to tape are presented in two halves as an A-side/B-side format.

Enriched by visual counterpoints for each episode, Bruna’s critical eye forms an ambiguous tonal narrative from Jake's method of stumbling into excellence. Mountain, valley, glacier, and urban horizon are presented in stereo format, to parallel the A-side/B-side format.

This program has been made on the stolen lands of the Gadigal people of the Eora Nation, we pay respect to the Elders both past and present.

Project lead and sound by Joe Wilson and Chanelle Collier. Creative direction by Bruna Volpi. Photography by Jake Terrey.

This episode is supported by Artist Profile, Higher Ground Studios and Resonance Extra.

Field Notes

Feat. FAREWELL TOUR recorded at Chicken House. Farewell Tour is a new rock band project by Joe Wilson and Chanelle Collier developed throughout 2023 and 2024, mixing field recordings and long form psych rock, with Joe on guitar and pedals and Chanelle on vocals and samples.

Side A - Lover’s Cheekbone

“I saw you standing. Long days long nights waiting on the stage and those hallowed lights. Screaming to the wild and dancing with the wind, just as it starts, it always ends. This could be the last time I see you, this will be the last time I see you. I saw you standing through the window of your apartment, saw you standing naked in your beautiful garment. Garment, yeah! All this trouble and the devil we have”. (distortion/delay)

Side B - In Defence of Submission

Notes on a Sound Art Practice: MIXTAPES

Sound is a time based medium and is therefore about time. A site specific music that incorporates field recordings. Each sound has a location in time and space, that repeats again in a kind of nietzschean time travel. Playback, delay, and looping are the eternal recurrence. It is this life, now, living in terminal diagnosis. Living with an acute awareness of the limitation in the availability of time. The here and now is filled with the presence of time and mortality, ART and DEATH.

Sound art in the medium of mixtapes: a practice combining textiles and sound. It is for those wanderers willing to make a sidestep to embrace resistance, agency, or refusal. An intentional pause for creative procrastination inspired by a Situationist spirit. It is anxiety and method, irreverent of its resources. This practice, only a labor for love, ingests, internalises, and releases. This is mechanical reproduction via cassette, which is an un-living agent, a prop, and a gift. Through cables sprawling to construct a signal chain where authority resides in the binary input and output solution. Companions consenting to a noise domain, Heavier Than A Death In The Family. A sound ambition that finds the silent friendship of grief. A Farewell Tour rock band project. – Joe Wilson

A monthly programme which blends textured audio from cassette recordings by Joe Wilson & Chanelle Collier with tonal imagery by Bruna Volpi and Jake Terrey. Sound engineering by Ollie Brown.

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 this episode: a symphony of clicks and bleeps echoing from the voltage control studio, modulated field recordings, disembodied voices, re-mixed radio samples and cassette sounds.

Through decontextualization and reconstruction, I aim to translate the environment and its natural state of disorder. Tape manipulation, tape loops and sampling techniques are used.

Juxtaposing raw, unaltered material and its modulated counterparts serves to create a dynamic interplay, inviting listeners to traverse the boundaries between real and imaginary.

Samples from: Female voice and viola, The Swamp in June, Jingles & Génériques, Radio Play Excerpt by Ulrike Haage on Eva Hesse, 180º, Jaap Vink and Recording of Shortwave Numbers Stations.

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.

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

This broadcast with artist Víctor Mazón Gardoqui is the first chapter in a project to document the Earth's windscapes. Using a network of microphones and acoustic sensors, we are creating an audio record of remote environments, starting here in Antarctica and traveling toward the North Pole. Our precise starting location is: Doumer Island, South Bay, Antarctica Latitude: 64∘52′55′′S. Longitude: 63∘35′03′′W.

Our journey begins with a long-duration night recording from the Yelcho Research Base, a Chilean scientific station. This location is of significant ecological interest, situated in a rare transition zone that offers close access to both rich marine ecosystems and the sparse terrestrial vegetation of the Antarctic Peninsula. First established in 1962, the station was inactive for sixteen years before being reactivated in 2015 to support new lines of scientific inquiry.

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

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

The first half of this episode starts with half an hour of Embla Quickbeam; Rowan Forestier-Walker who was sadly taken from us last week far too young.

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

In the late nineteenth century two facts conspired to change the face of music: the collapse of common practice tonality (which overturned the certainties underpinning the world of art music), and the invention of a revolutionary new form of memory, sound recording (which redefined and greatly empowered the world of popular music). A tidal wave of probes and experiments into new musical resources and new organisational practices ploughed through both disciplines, bringing parts of each onto shared terrain before rolling on to underpin a new aesthetics able to follow sound and its manipulations beyond the narrow confines of 'music'. This series tries analytically to trace and explain these developments, and to show how, and why, both musical and post-musical genres take the forms they do. PROBES #9 looks at some of the more oblique and extreme performance techniques applied to wind instruments and percussion.

Transcript available here:
http://rwm.macba.cat/uploads/20140919/09probestranscripteng.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

This episode features new work by HERE, Adam Majdecki-Janicki, Costis Drygianakis, Deison, nula.cc, PNÉVMMA, Oubys, SÍLENÍ, Philippe Blache, Martina Testen, Anda Volley, David Kovacs, and vÄäristymä.

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

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.