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In this episode, Erika Elizabeth plays uneasy sounds for unknown futures.

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.

The publication Magnetizdat DDR, Magnetbanduntergrund DDR 1979–1990 (2023, Verbrecher Verlag) tells the story of this magnetic counterculture. Inspired by this, we will explore the musical subversions of the late GDR in three acts over three days. Curated by Judith Behre and Florian Bräunlich

A live broadcast from Hamburg featuring GAJEK, Jan Jelinek & Frank Bretschneider. Independent music productions were banned in the GDR in terms of production, distribution, and sales. However, countless groups such as Der Demokratische Konsum, Zwitschermaschine, Schleim-Keim, and Kein Talent defied these regulations imposed by the workers' and farmers' state. They took it upon themselves to play their (mostly homemade) instruments and recorded their compositions directly onto tape: unorthodox punk met lo-fi experimental rock, stumbling electronics met grinding pop constructions, conceptual minstrelsy met infernal noise.

Since 2005, CRiSAP has pioneered new approaches to practice and theory by exploring sound and listening in relation to the environment, gender, technology, feminism, activism, conflict, text, pedagogy and voice. For Resonance Extra, CRiSAP members and friends, past and present, host a range of discussions and soundworks that cover key themes and areas of research across art, performance, symposia, publishing, curation, archives, education and more.

This episode is a conversation about how practices and philosophies of listening emerged within the context of CRiSAP and through the situated stories of each contributor.

Throughout the discussion references from art, politics and literature are drawn upon. The role of listening within education and workshop settings is also considered along with reflections on how to listen to that which we might not know to listen for.

Contributors: Angus Carlyle, Victoria Karlsson, Cathy Lane, Salomé Voegelin, Mark Peter Wright.

CRiSAP (Creative Research in Sound Arts Practice, UAL) celebrates its 20th anniversary with 20 unique episodes for Resonance Extra.

Virgilio Oliveira explores the sonic environment in collaboration with Porto's Radio Manabras, presenting an hour of sound art and field recordings.

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

In the final episode of the second season of Out From Under, we investigate a host of new releases from the underside of the Australian music scene. There’s dramatic, angular electronics on Corin’s stunning new album on Bedouin Records ; Melbourne composer Luke Howard gets remixed by Fia Fiell and Nina Buchanan; we hear from Perth minimal psych duo Erasers; we delve into releases from producers Pusha and Yunzero; we hear two tracks from a new Brisbane compilation called Aussy Bangers; plus new music from artist and curator Gail Priest, Sydney’s Call Compatible and Melbourne noise artist Beast Bones.

Hosted by Stu Buchanan, Out From Under dives deep beneath the surface of the Australian music scene, celebrating experimental and eclectic music from the far end of the world.

This episode features a takeover by Peckham clubnight The Occasional Chill Out, a look back at the best music used in exhibitions this year and music from Mary Lattimore, Sarah Davachi, Internazionale and more.

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

This episode features music by Doc Wör Mirran feat. Schnitzler, Umpio, OdNu, Michael Valentine West, Autopsia, RhaD, Mario Lino Stancati, Gabriele Gasparotti and Med Gen.

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

In this edition, Edwina Attlee’s Book of Days.

“Garlands for the working conditions that underpin everything.”

A weathervane for New Year’s Day, a reading of the opening chapter from Edwina Attlee’s debut collection—A great shaking (Tenement Press, 2024)—as read by the poet. A suite of twelve poems written to (and from) the months of a year.

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A table can be overturned and a window can be smashed. However, those who believe that the state is also a thing or a fetish that can be overturned or smashed are sophists and believers in the Word. The state is a social relationship; a certain way of people relating to one another. It can be destroyed by creating new social relationships; i.e., by people relating to one another differently.

Gustav Landauer

Attlee’s debut collection, a great shaking, is a triptych of works—a gathering of songs, days, and hours—that detail the ways in which ‘a table can be overturned,’ an idea can be tilled, an hour can turn from something germinal to a quiet object of attention, an oblique artifact, a talisman for change. 

Gustav Landauer wrote that ‘the State is not something which can be destroyed by a revolution, but is a condition’—something impacted by the weather of our moods, by the small winds of our behaviour, by way of human contact and a romance of interrelation. In these poems, Attlee antagonises our consent to be governed, our will to be moved (in terms either emotive, temporal, or meteorological) to consider our ‘condition.’ ‘I want to tell you about the time conversations started to happen / and how it was the beginning of the room,’ Attlee writes.

Caught within an architecture wherein chance and design go bet on the horses, where we lose step with the gamble of a metaphor, Attlee segues her way through these collated hours and days to distil a poetry that is not about (or of) revolution, but about conditions. Hers is a poetry about steam; about diction; about how, to depict ‘the beginning of the room,’ you need question the porousness of its boundaries.

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Attlee’s Book of Days was recorded and produced for radio by Tenement’s Dominic J. Jaeckle and Resonance’s Milo Thesiger-Meacham.

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This profoundly exciting debut explores the complicated embodiments, politics and emotions of domestic life through the prism of the turning year. Attlee draws subtly luminous images from mundane, ordinary life—“I pat her gloves with apricot foam / blow bubbles in the dusk / with liquid from the pound shop”—allowing us to see the vivid, electric power of moments to which familiarity usually blinds us. At the same time, she is always aware of the vexed inequalities of family, time, class and gender—“joy unfurls from coupledom and a shared bank account / watch out or the big horse trudges on your head.” Her writing about childrearing is painfully tender yet radical: “they pack him differently at the nursery … am I letting them snuff it out / the little yellow flame.” In this beautiful, funny and innovative book, an important new poetic voice has emerged.

Rebecca Tamás, The Guardian

Echoing the tales and mysteries that were once our way of apprehending the world, Attlee's a great shaking allows one to feel close to the earth and the rhythms that govern it. It envelops you in its world with the steady confidence of a poet in full use of her powers. Both intimate and vast, A great shaking is like a skyline touched only by trees, land, and the stillness of forgotten time.

Vanessa Onwuemezi

A great shaking is such a rich gathering: endlessly surprising, bold and inventive. ‘Book of Days’ offers a fascinating riddle and rhyme of the seasons; the ‘Nursery Songs’ are full of secrets and vibrant flashes; while the ‘Archive Songs’ are curiously alluring. All together, they show undoubtable imagination and skill.

Lavinia Singer

In mediaeval manuscripts, engravings of the steps of life from birth to death often omitted women completely. In this fascinating collection, Attlee talks to them directly, making them entirely visible as she explores the legacies of indentured labour, the toils of women and the mythologies of motherhood, all in real time: “the crows eat up the corn / the baby is back / and the women open their legs to the stove / pushing soft porridge into his mouth / like companionable silence.” This empathy and companionship are the backdrop to her own negotiations of work, family and political activity, and expose how impossibly intermingled these are.

She weighs the magical thinking of folktale and childhood against the real world to expose the gap between there and here, while continuing the ancient task of trying to find a way to make it all work. Her language is present and exact, and razor sharp: “my mother is here / laughing like a broken plate.” Throughout, there is love and wry humour: “You are the word I will use to call the cows home at night” (‘Old English love song, Traditional’). This is a deeply affecting collection; these poems come from a very genuine sense of communion with all those semi-visible individuals who labour and have always laboured for love, family and fairness. “Forgive us this standing. Forgive us in strength. / Unforgive if forgiving undoes sorrow. Do not unstep your step.

Lesley Harrison

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Edwina Attlee is the author of two pamphlets, Roasting Baby (if a leaf falls press, 2016) and the cream (Clinic, 2016). She teaches history to students of architecture in London.

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.

All day today: previous ten episodes of Trace in one long-form broadcasting 'finale' collating 9 hours 30 minutes worth of recordings from the Irish border.

Trace is a project exploring liminal space of the Irish Border between Ireland and Northern Ireland through photography and field recordings taken at almost 200 border crossings. The project aims to document open and free movement currently enjoyed on the Island of Ireland in the context of the current political negotiations. Each episode explores a different section of the border.

minusSPAMminus (SPAM 6) is a work made for radio and of spam facts, + and - regarding spam, personal stories triggered by spam in a material, non-material, historical and emotional manner, all assembled by Jasmina Al-Qaisi and Ralf Wendt with their invited friends and collaborators who decided to respond to the email they sent with the word SPAM in the subject.

This radio work arises from an invitation from Afrika Diva Collectif in Kinshasa and uses a non-linear approach to documentary, creating a circular audio collage with voices and audio accounts of daily life disturbances. We asked everyone and ourselves: how can life minus spam be? What would a life without spam look like?

Participants: Orakle Ngoy, Sara Ndele and Gina Ndaya (Afrika Diva Collectif); Claire Serres, Abir Tawakalna, Pati Sayuri, Beya Othmani, Ali, Nico and Lav (CUTRA pop feminist magazine); Henrik Nieratschker, Gustavo Mendez and Maria Karpushina (Research and Waves); Parveda Chandra Kiran, Özge Açıkkol and Seçil Yersel (odaprojesi group); Heidi Salaverria, Alexandru Udrea-Raj, Tina Klatte, Simona Constantin, Cristina Bogdan, Mriganka Madhukaillya, Sebastian Gerstengarbe, Alexander Klose, and Schnelle Musikalische Hilfe. Translations by Clara Brandt and Elsa Westreicher.

Audio collage (2021) by Jasmina Al-Qaisi and Ralf Wendt with Afrika Diva Collectif.