← Friday 21st November 2025 →

In this episode, Zu From All Over brings her turntable into her empty bedroom to listen to 8 lengthy songs amplified by 4 reflective walls, with the best Proto-Slowcore, Post-Hardcore, Slacker Noise, and loudQUIETloud to drown out the outside world.

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.

Full lineup (GMT):

• 12-12:30pm – Kate Carr (Live Solo)

Kate Carr's work is focused on the links between sound, place and affect, and she works across composition, performance and installation. She is particularly interested in sound as a way of approaching broader processes of spatial constitution and contestation. Carr runs the sound art label Flaming Pines.

• 12:30-1pm – Steven J. Fowler and Benedict Taylor (Live Duo)

Steven J. Fowler or is a contemporary English poet, writer and avant-garde artist, and the founder of European Poetry Festival. He recorded his debut novella MUEUM in the Resonance Extra studio, which was recently broadcast as a series. Benedict Taylor is a solo violist, violinist and composer.

• 1-1:15pm – Music for Kites: Side A by Joe Wilson and Chanelle Collier

Joe Wilson and Chanelle Collier are a partnership based in Sydney. Their shared practice is generative, built around ideas and interests in relational exchange, dialogue, agency and labour. Joe and Chanelle composed this music while at the Bundanon Trust Artist Residency located on Australia's south east coast, a few hours south of Sydney. Recorded to cassette, these sounds were blasted on a sunny day in green fields, with gale force winds and lazy kangaroos, the artists flying kites.

• 1:15-1:38pm – Radiant Heretic with Yumino Seki (Live Group)

A splinter group of Spirit of Gravity, made up of Caleb Madden and various collaborators, perform an original audio piece. This particular work features Yumino Seki who is a U.K based independent dance artist, Butoh practitioner, performer, teacher and somatic movement educator & therapist.

• 1:38-1:55pm – Protest Ambient - Glasgow Rally for Trans Equality by Bobby Jewell

Bobby Jewell is an architecture writer based in Glasgow. Had a long running series on Extra called A Quieter Storm and more recently an intermittent series called Earth Tones. This piece is called consists of original music paired with recordings made in Glasgow of protests.

• 1:55-2:15pm – Milo Thesiger – Meacham (Live Group)

Milo Thesiger – Meacham is an artist based in London. His multimedia work combines text, musical composition, sound design and visual material. He is also the manager and curator of Resonance Extra, an international arts radio station.

• 2:15-2:27pm – Christie & Leonie Kill 100 Zombies in 5 Minutes by Agnès Pe

Agnès Pe is a multimedia artist interested in interventionist art practices and tactical media and disciplines outside the field of art.

• 2:27-2:45pm – The Holborn Cenotaph and Other Stories by Tony White (Live Solo)

Tony White is a British novelist, writer and editor. Best known for his novel Foxy-T (Faber, 2003), described by Toby Litt in 2006 as his 'favourite British novel from the past ten years', White has been called a 'serious, engaging voice of the modern city'.

• 2:45-3:00pm – Music for Kites: Side B by Joe Wilson and Chanelle Collier

The second part of Joe Wilson and Chanelle Collier's Music for Kites.

• 3:00-3:30pm – Chihiro Ono (Live Solo)

Born in Chiba, Japan, Chihiro Ono is a London-based Japanese sound artist and violinist specialising in chamber music, experimental music and sound art.

• 3:30-4:00pm – That Travis (Live Solo)

That Travis is a singer-songwriter originally from Hong Kong who works with their voice, sonic expressions, lyrics and visual aids.

• 4:00-4:30pm – Taylor and Luck by Neil Luck and Benedict Taylor

An unreleased album by Neil Luck and Benedict Taylor. Neil Luck is a composer, performer, and director based in London. His work often explores the pathos and interaction between live human performance and multimedia, and attempts to frame the act of music making as something curious, or weird, or useful, or spectacular in and of itself. Benedict Taylor is a solo violist, violinist and composer.

• 4:30-4:50pm – Merlin Nova (Live Solo)

Merlin Nova is London-based experimental vocalist, composer and performer.

• 4:50-5:20pm – James Oldham (Live Group)

James Oldham is a composer and performer based in London. He’s going to perform a piece with members of the ensemble from his recent large scale performance project with Klara Kofen, Dead Cast Bounce, which took place at Somerset House last year.

• 5:20-5:40pm – Plum by Angela Wai-Nok Hui

Angela Wai-Nok Hui is a percussionist and multidisciplinary artist based in the UK and Hong Kong.

• 5:40-6:30pm – Sister Punch (Live Duo)

Sister Punch is a performance and music duo founded by artists Giulio Dal Lago and Gianna T.

• 6:30-7:00pm – Trash Panda QC

Trash Panda QC is a producer, dj, and live performer currently living in Brooklyn, NY.

• 7:00-7:25pm – Miles Lukoszevieze (Live Group)

A live improvisation featuring Miles Lukoszevieze and Graeme Smith, Harry Fisher and That Travis, with bass flute, viola, harmonium and synthesisers. 

Archival recordings of a 7-hour radio event broadcast live from the Resonance Extra studios on the 29th January 2023, featuring live performances and new and exclusive audio works.

This found-sound-symphony uses mathematical proportions to build a musical framework inside which musical and radiophonic elements are seamlessly weaved together. For more information, visit Stace Constantinou's Bandcamp.

Stace's Constantinou's electroacoustic radiophonic work Trainofthoughts explores the claustrophobia experienced when commuting to work inside a small underground carriage.

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

This episode features new works by Daniele Ciullini & Le Forbici di Manitù, Gianluca Becuzzi Progettosonoro, Falter Bramnk, PNÉVMMA, Pablo Picco & H. Flora, Nerthus, Anasisana, Robert Rich, Mario Lino Stancati, Æscesi, and NoSF.

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

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Why is our life dominated by discontent, by anguish, by the fear of war, by war? In order to answer this question I have written La rabbia, not following a chronological or perhaps even a logical thread, but only my political reasons and my poetic sense. — Pier Paolo Pasolini

Written in response to producer Gastone Ferranti’s request for his comments on a set of newsreel items, the poet would respond with a montage of his own. Via the unfolding of a chrysalis of images, in La rabbia / Anger (1963), Pasolini’s lens pans over Soviet repression in Hungary; the Cuban revolution; (the utopian object of) space exploration; political imprisonment in Algeria; the liberation of the former European colonies; the election of Pope John XXIII; the prospect of revolution in Africa and the Middle East; in Europe and in Latin America... Here, we’ve a panoply of photorealist intimations of Pasolini’s ‘poetic sense.’ The death of Marilyn Monroe crests as an idea in this tidal pooling of reflections, as the poet’s line lights out for conceptual rhymes and counterpoints.  

In Viti’s translation, the weave of prose and poetry that forms La rabbia portrays the vitality of Pasolini’s work in its capacity to speak to both the specifics of his contexts, the character of our own present tense, and the ironic fact of a life lived against the gulf of discontent in its myriad forms. Here, we’ve a startling confrontation of a revolutionary struggle in stasis set in lines that crystallise a rallying call against blindness. ‘I’ll not have peace, not ever,’ he writes. A lucid acceptance of the poet’s restlessness, and a marker for Pasolini’s commitment to a solidarity with the oppressed that we find reaffirmed on every page, in La rabbia the poet charts how ‘the powerful world of capital takes an abstract painting as its brash banner’ in this unravelling of ‘crisis in the world.’

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Pasolini’s poems thrive with passion and outrage. A 20th century Dante, he grieves at inequity, feels disgusted by corruption, and wails against the evil that people do. Pasolini doesn’t render a coming paradise, but contests hate with love, meanness with generosity, and through the reality of his beautiful poems, suggests the possibility of creating a better world. – Lynne Tillman

Pasolini saw what was coming and saw the poet’s mission as an excoriation of this world to come, that has now arrived. His tremendous energy was not negative. It came from an abounding love of the world. Picturing himself like a hero from ancient days, he struggled mightily, in and against the powers arrayed against life. What he called neocapitalism already came with its own brands of neofascism. Good comrade that he was, he knew the mark of our enemies, and where to direct his rage. Here we find him in a moment when he thought the good fight might still be won. A book to give us courage. – McKenzie Wark

La rabbia remains one of Pasolini’s most singular achievements, an all-consuming expression of the restless and relentless fury that defined his work and his thinking. In an age of increasingly one-dimensional political art, this most welcome volume is an urgent reminder of its dizzying possibilities. – Dennis Lim

‘Today,’ we read in La rabbia, Pasolini’s remarkable set of poems composed in 1962 to accompany his film by that title, ‘only four thousand subscribers have televised moving images in their homes; in a year they will be in the tens of thousands.’ And then the poet corrects the line: ‘No—in their millions. Millions of candidates for the death of the soul.’ Sixty years later, in the age of TikTok and Instagram, those ‘candidates’ may well be in the billions. Indeed, what gives La rabbia its uncanny accuracy is that its vision, however exaggerated and extreme, might well characterise our own moment in history. Not only ‘in my country, my country that’s called Italy’ (Pasolini’s refrain), but all over the world, the ‘noble’ solutions of the late 1940s and ‘50s, with their UN charter, their Marshall Plan, and their call for No More Wars, now seem to have been little more than Band-Aids that left things pretty much as they were. Whether he is dealing with the failed Hungarian Revolution or the Algerian War, or with the ‘new problem [that] breaks out in the world. It is called colour,’ Pasolini sees the real enemy as normality—the normality or qualunquismo that accepts things as they are. In Cristina Viti’s excellent translation, Pasolini’s anger would be devastating, were it not for the proviso that poetry can change consciousness. It is poetry, La rabbia insists, that provides the counterweight to the darkness that surrounds us. – Marjorie Perloff

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Pier Paolo Pasolini (1922–1975) was an Italian poet, novelist, journalist, filmmaker, theorist, and dramaturg. First and foremost a poet, he is a major figure in European literature and cinematic arts. Life in Rome during the 1950s furnished the material for his first two novels, Ragazzi di vita / The Ragazzi, 1955) and Una vita violenta / A Violent Life, 1959); works whose brutal reflections of urban poverty in the city were similar in character to the depictions of Rome in his debut film, Accattone (1961). All three works dealt with the lives of thieves, prostitutes, and other denizens of a Roman underworld. Other notable novels and narrative works in translation include the unfinished novel Petrolio (published in English in Ann Goldstein’s translation by Pantheon), a work-in-progress at the time of Pasolini’s death, and La lunga strada di sabbia / The Long Road of Sand, a facsimile of writings towards a travelogue initially published in the magazine Successo.

Pasolini published numerous volumes of poetry in his lifetime, including La meglio gioventù (1954); Le ceneri di Gramsci (1957); L'usignolo della chiesa cattolica (1958); La religione del mio tempo (1961); Poesia in forma di rosa (1964); Trasumanar e organizzar (1971); and La nuova gioventù (1975). Works of poetry in English language translation include Norman MacAfee’s Poems, an anthology covering the entirety of Pasolini’s ‘official publications’ (Farrar, Strauss and Giroux, 1982); Lawrence Ferlinghetti and Francesca Valente's Roman Poems (City Lights, 1986); Jack Hirschman's anthology, In Danger (City Lights, 2010); and Thomas E. Perterson’s translation of The Divine Mimesis (Contra Mundum, 2014), amongst others.

A noted journalist and publisher, Pasolini was also a rare voice in the popular press. In 1955—in collaboration with Francesco Leonetti, Roberto Roversi and others—he edited and oversaw the publication of Officina, a periodical dedicated to new poetry in Italian (which ran for fourteen issues), and contributed a regular column to Vie Nuove from May 1960 to September 1965 (titled Dialoghi con Pasolini, or Pasolini in Dialogue, subsequently published as a collated edition in 1977 as Le belle bandiere or The Beautiful Flags). His literary works informed his cinema, and Pasolini would follow the release of Accattone in ‘61 with such noted features as Il Vangelo secondo Matteo / The Gospel According to Saint Matthew (1964); Uccellacci e Uccellini / Hawks and the Sparrows (1966); Oedipus Rex (1967); Medea (1969); Teorema / Theorem (1968); Porcile / Pigsty (1969); Il Decamerone / The Decameron (1971); and The Canterbury Tales (1972). Pasolini referred to himself as a ‘Catholic Marxist’ and often used shocking juxtapositions of idea and imagery to expose the vapidity of values in modern society. His friend, the writer Alberto Moravia, considered him “the major Italian poet” of the second half of the 20th century. Pasolini was murdered in 1975.

Cristina Viti is a translator and poet working with Italian, English and French. Her most recent publication includes Pier Paolo Pasolini’s La rabbia / Anger (Tenement Press, 2022), a co-translation of poems by Anna Gréki, The Streets of Algiers and Other Poems (Smokestack Books, 2020), and her translation of Elsa Morante’s The World Saved by Kids and Other Epics (Seagull Books, 2016), which was shortlisted for the John Florio Prize. Viti held collaborative translation workshops within the Radical Translations project run by the French and Comparative Literature departments of King’s College; Tenement’s imprint, No University Press, published an anthology of texts resulting of these workshops in 2024, An Anarchist Playbook.

Martin Esposito is a freelance language professional operating in London and Rome. His entry into voiceovers took place organically twenty years ago through the side-doors of conference interpreting and song. Martin is strictly agnostic with regard to content as his main objective is to balance two identities, languages and influences into a composite whole—an act of exposure and digestion enough to last a lifetime.

catholic Churgh is a is a two-person organisation.

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.

The Deserter was commissioned by Radio Art Zone as part of Esch2022 European Capital of Culture.

Five Folk Tales for Radio (featuring Steffan Cennydd). Voice: Steffan Cennydd. Concept, text, sound design, montage by Ed Baxter. Recording engineer: Michael Umney.

60 minutes of vivid aural excitement mixed by Ian Murphy.

This week: 'Incipient Intentions'. There are severe limits to what the sociological imagination can inform us about music. This episode marks and celebrates those limits.

"Music points to true language in the sense that content is apparent in it, but it does so at the cost of unambiguous meaning, which has migrated to the languages of intentionality. And as though Music, that most eloquent of all languages, needed consoling for the curse of ambiguity - its mythic aspect, intentions are poured into it." Theodor Adorno, 'Music and Language - A Fragment'

Monthly investigations of music politics with Paul Rekret.

This episode features recordings from our little experimental music festival hosted at Isla Ray in Deptford as part of Deptford X fringe. We had a beautiful evening with beautiful people and now you get to enjoy a best of from the eve.

Featuring performances by Lucy Havelock, Tam Lin, BAIABAIA, Zeyn Mroueh, Autojektor, and us!

We’d love to host more nights like this so if you’re listening and you’d like to come and perform with us please email us on hello@subphonics.com

Quarterly noise from SubPhonics exploring themes of collaborative sound and performance.

In this episode, computer music classics and a guest mix from returning champ Kindohm, whose album Meme Booth was released on Conditional.

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

Now: As If She Knew.

Brooklyn-based Olivia Bradley-Skill presents Lo-fi Goddesses, live sound collage and original radio artworks inspired by female-fronted post-punk bands and experimental dance music.

This episode features music by Kraftwerk, Tony Conrad, Gong, Tangerine Dream, Keith Fullerton Whitman and more.

Cosmic, transcendent sounds and exploratory electronics with f.ampism.