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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 Red Stars Over Tokyo, Durán Vázquez & Kloob, Ashtoreth & Forestaal, Joel Gilardini, Mario Lino Stancati, Nerthus and more.

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

A retrospective of the Radia network’s epochal (and on-going) radio art series.

This episode explores the politics, challenges and excitement of recording in cities. It features interviews with US ethnographer Benjamin Tausig and Australian artist and radio producer Camilla Hannan. Ben discusses his new book Bangkok is Ringing, the ways sound can help us think about politics and his field work in Thailand. Camilla describes a recent trip to Papua New Guinea, discusses the relationship between sound art and radio, and outlines her techniques and approaches to recording.

Featuring work by Jacqueline George, Benjamin Tausig, Simon James, Camilla Hannan, D Bayne and Sun Wei.

The Field Recording Show is a programme exploring the soundscape, recording, listening and composing hosted by Kate Carr and Luca Nasciuti.

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

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.

This episode was created for the Winter Solstice of 2024, a time of extreme dark or light in either direction, a hunkering down in the wet earth or a baking out in the hot sun. The piece is composed by Stephen Shiell using original material from NSOTA scholars.

With contributions from Stephen Shiell, Rhona Eve Clews, Chris de Sel,** Sk.ye, **Lu(Lu)Lu, Blanc Sceol (Stephen Shiell & Hannah White), Clare Whistler, Michael Timmerman, and Simon McClelland Morris.

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.

This episode delves into the visceral intersection of sound art, performance, and extractive politics with Bolivian artist and researcher Guely Morató Loredo, director of the Sonandes.org platform. Her latest work, Rare Earths, takes the form of a performative dinner where guests are invited to gather around an edible landscape that evokes the actual extraction in the Andean Altiplano and the Lithium Triangle (Bolivia, Chile, Argentina).

Using transducers embedded in the table to transmit infrasound and a multichannel soundscape composed of field recordings from the territory, Guely Morató transforms the act of eating into a ritual of confrontation. The work not only documents resource exploitation but seeks to re-tune the participants' bodies to the invisible forces and cycles of sacrifice of the land, making the abstract violence of global supply chains tactile, audible, and tasteable. Guely Morató's trajectory, anchored in the direction of Sonandes since 2014, underpins this exploration of deep listening as a political act.

For Morato, listening is a form of resistance against the logic of acceleration and individualism by demanding unhurried attention—an embodied stance that cultivates empathy with the "other," whether that is a person, a community, or the territory itself. In this conversation, we explore how Rare Earths functions as an open score that can be reimagined in other contexts of ecological sacrifice, utilizing the gathering around the table as a rare space where hierarchies soften and solidarity can emerge from the simple, radical act of sitting down, eating, and truly hearing one another.

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

Although Mitamine Lab has been a little slow and absent lately, that doesn't mean we've vanished or ceased operations. Instead, we continue to be active, advancing with fresh concepts and initiatives. According to modern author and philosopher Yuval Noah Harari, "music is a form of manifestation, evolution, and resistance." We are thrilled to share our belief in the transformative and resilient power of sound with you today.

We have chosen to incorporate into our performance Mexican axolotls — the fascinating, incredibly rare and elusive amphibians known for their remarkable capacity to regenerate limbs and tissues. We're embracing rarity, resiliency, and the underground vibe, just like these amazing creatures.

To add even more significance to this episode, we've included some promos we've received recently, along with hidden gems we've discovered through ninaprotocol.com. We're returning with a rarer, more underground, and more enthusiastic energy than ever before.

The background image is a painting by Chucho Reyes, one of the most original artistic personalities of 20th-century Mexican visual arts. Antique dealer, decorator, set designer, he was recognized by figures such as Luis Barragán, Mathias Goeritz, Juan Soriano, Paul Westheim, Octavio Paz, and many others, as well as Picasso and Chagall, who admired the inventive strength and the vividness of his painting.

Mitamine Lab is a culture laboratory based in Mexico City which blends sound archives with contemporary music and literature.

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 #13 tracks the recovery and reassignment of ancient and folk instruments in unfamiliar contexts.

Transcript available here:
http://rwm.macba.cat/uploads/20150706/Probes13_eng.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(r)

Sound collage, record spinning, havering, ear wonk and general head scratch with Dylan Nyoukis of the Chocolate Monk label.

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

This episode features music made by Naviar's community inspired by Tanaka Hiroaki’s poem “whenever we meet / it’s raining / green walnuts”.

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.

Ilan Barkani is a multidisciplinary artist, composer, improviser and teacher, living and working in Jerusalem, a founding member of the artist collective Sedek, and a member of the interdisciplinary collaborative ensemble Ptilia.

"A geography of sound [...] is the geography of encounters, misses, happenstance and events: invisible trajectories and configurations between people and things, unfolding in the dimension of the actual while formlessly forming the dimensions of its possibility" – Salomé Voegelin, The Political Possibility of Sound

In this piece, called halls (joining), Barkani continues his exploration of combining field recordings and minimal/reductionist instrumentals, to compose and perform imagined, semi-coincidental, (what Voegelin calls) “impossible territories”.

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 features music and field recordings capturing the sounds of Berlin and Mexico City, courtesy of Jana Irmert and Mabe Fratti.

In the first hour, Jana probes the intrigue of Berlin's streets and experimental music scene. Using cutting edge recording technologies, she offers us an unconventional angle on the city's soundscape, from the electronic signals surging through power boxes and neon signs to the subtle movements under the ice covering the Spree River.

In the second hour, Guatemalan cellist and composer Mabe Fratti takes us across Mexico City. Her mix features a selection of tracks from artists living and working in the city, combined with recordings of the everyday music that floods its streets: parents and children singing together, musicians improvising in bars and on street corners, and taxi drivers cranking up the radio to share their favourite songs.

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, Cary plays a hodge podge of Halloween songs.

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.

Dreamscape 1994 is a plunderphonics type radio show recorded using a box of rave tapes, found tapes and home recordings. Improvised and mixed live with no overdubs on three tape recorders, expect to hear experimental, noise, sound art and new age music.