← Saturday 14th February 2026 →

SXCL is a versatile musician from Reunion Island. Producer and disc jockey since 2017, they have been morphing their style with time to fit their eclectic taste. Going from house to progressive trance, to electro and more recently to old-school techno, their versatility brought them to play in venues like Säule, and recently at the Festival Electropicales alongside artists like Jeff Mills and Danilo Plessow.

Sensitive to the intricate textures of electronic music, SXCL masterfully merges house and techno, blurring the lines that traditionally separate them. SXCL crafts their sets with meticulous care, prioritizing the audience's journey above all else. Expect a touch of melancholy floating around.

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.

In the first hour, Gravity Waves: as preparation for her new album, some long overdue tracks from I Am Fya, some tracks from the new Xylitol & Alien Alarms albums, a couple of remixes from Nil by Noses new trains based album, and some pieces by friends of the Spirit of Gravity.

In the second hour, Spectral Transmissions: Midnight in the Haunted Karaoke. It is nighttime in the city. Tatty terraces and scattered concrete tower blocks, the detritus of a vast up-turned wheelie bin bathed in orange twilight. Around this time of year strange things happen. The ether is populated with unruly beasts.

Pipes can be heard tapping in the darkness, lightbulbs flicker, music plays on an unplugged jukebox and faint calls of distant laughter can be heard echoing in the subway. An empty karaoke booth crackles into life and the soft crooning lament drifts through the still corridors, someone has entered the building.

Contains fragments of: Stomu Yamash'ta's Red Buddha Theatre; What a way to live in modern times

With thanks to: Stephen Mallinder and antivoid alliance.

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

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: Feedback.

A monthly collection of audio experiments and listening objects with sound artist Matt Burnett from Berlin.

In this episode, Dronica meets the experimental duo Vādin, who have created a mix which journeys into obscure experimental, techno, tribal and drone.

Vādin is a shapeshifter formed through sound, a seismic energy made up of sound artists Christian Duka and Lucie Štěpánková.

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

Certified Tonk showcases improvised music as a shared act of discovery, where meaning appears without being forced, and ego drops away for creativity to take over. This series is an invitation to listen differently, stay present and let the music lead. Andrew Backhouse is an artist and radio geek based in North Yorkshire who has always loved radio and sees it as a place for exploration, not answers.

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.

Uscite Dal Mondo is a project aimed at re-enchanting the world through the exploration of slippery subjects, with the goal of fostering a dialogical relationship between reason and the irrational, the non-rational, and the supra-rational.

Radio Picnic is a mobile radio art project by zonoff which invites multi-disciplinary artists to create works inspired by the radio medium.

In this episode, a tribute to Maadim Tapes stitched together entirely from sounds drawn from the label’s forthcoming releases in February and April 2026.

Featuring compositions by Ofir Bachmutsky, Nicotine – Insoup (Zohar Shafir), Stra (Alex Sesper Cruz, Or Rimer, Dudik), and 3 Guitars (Sharon Kantor, Ariel Kleiner, Or Rimer).

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.

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.

The compilation brings together new and recent projects by composers Olivia Block (US), Cassandra Miller (CA/UK) and Andrew Hamilton (IE/UK), with Sheen’s eponymous Croon Harvest (2021–ongoing) as a central starting point.

The programme explores music in a situated and embodied state, floating on noise and quiet sounds, peeling off from the brink of silence towards a good old sing-along. In each work, the voice occupies a different space in relation to other sounds, the body, technology, or notions of memory and tradition.

The project is part of Musarc’s work with contemporary composers and the ensemble’s commitment to new music – brittle and radical, in need of projection as well as protection and advocacy. The choir was joined by musicians from the Royal College of Music and Trinity Laban Conservatoire of Music & Dance.

Instrumentalists: Cara Houghton (flute), Rowan Jones (clarinet), Michelle Hromin (bass clarinet), Andrew Hamilton (viola), Andrew Liddell (viola), Rebecca Burden (cello), Steve Potter (piano).

Sound engineering and mastering by Julian Sander.

Recorded in Resonance Extra's studios on 30th April 2022, Croon Harvest is a constellation of four experimental choral works curated by Jack Sheen for Musarc.

In this episode, Joe is joined in the studio by Dan Knight for an interview amongst track selections including John Coltrane, Rosy Parlane & Philip Glass.

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.

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

This episode focuses on found sounds that connect with us through our minds and bodies, finding moments in music to connect us with the present. Join Kayla for a journey through experimental tracks and immersive soundscapes.

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.

Roberto D'Ugo Junior is a brazilian artist-researcher dedicated to radio art. His work explores interfaces between magic, technique and art. Based on a poetic-documentary listening to everyday life, he develops an aesthetic investigation that dialogues with surrealism and musical minimalism.

One of the main features of his work is the ritualistic repetition of speech residues and fragments of field recordings. He holds a PhD in Visual Arts from the Institute of Arts at São Paulo State University. He was programme and production coordinator at Rádio Cultura FM in São Paulo. He teaches radio and sound media at the Faculdade Cásper Líbero.

Forgotten Loops’ Sketchbook, 2023-2024

Life is a beautiful glitch. A rhythmic essay on our flaws and imperfections. An infinite list of small mistakes and forgetfulness that swirl and thicken in the mind of the poet, a sound artist. Beckettian anti-resolutions that emerge like a litany during a brief meditation on everyday life. The author's poem, presented by means of a superimposition of vocal lines made up of loops with different psychological framings of the text. Simultaneities.

The irregularity of the loops used in the piece, the result of sudden gestures of improvisation on the recorded material, results in an approximation to the technical precariousness of sillon fermé, the closed groove inscribed on old acetate discs. Cuts and overlaps animate the resulting patterns. The piece is made up of three parts: parts 1 and 3, fast and essentially rhythmic. Part 2, broader, slower and cumulative; semi-discursive, punctuated by hesitations and squeaks. Voice: Anna Carl Lucchese.

Children of Science, 2021

October, 2020. São Paulo. Three friends in a public park, wearing masks. They talk about life from a safe distance. Shy walkers pass. Children appear. They get on the spinning toy. At a safe distance, they articulate the present. Figure and background. Our anguish exposed to the sun. The pile driver lacks empathy. At night, alone, I listen to what they said: imaginary friends, little magic stones, trips to the Moon and Saturn! "The most dangerous thing in the world? Jump out of a Building. Second, catch the Corona virus." Children of science, they are. Voice: Roberto D’Ugo Junior.

Fica Comovido / Be Moved By (final section), 2021-2022 (

Mr Laurentino is a street musician who used to play his harmonica on the pavement of Avenida Paulista in the city of São Paulo. One evening in 2018, I conducted a short interview with him. When asked how passers-by reacted to his work, he simply said that everyone is moved when they hear music. I hadn't seen Mr Laurentino for a long time. In this piece (2021), the phrase 'Fica comovido' (be moved by) is subjected to basic electroacoustic processing: slowdown, EQ, granular delay and exhaustive repetition.

The irregularity of the loops, the fruit of sudden gestures of improvisation, results in an approximation to the technical precariousness of sillon fermé, the closed groove inscribed on old acetate discs. Repetitions, cuts and overlaps animate 'resulting patterns'. At the end, I thank the musician, a little awkwardly, for the conversation before I leave. The 45 minutes are derived from a simple phrase said by Mr Laurentino as if he were apologising for something. This piece is neither a report nor a documentary, but a modest audio testimony and a poetic meditation on the human condition.

Members of Radia, the international group of independent cultural radio stations, explore new and forgotten ways of making radio.

Tam Lin opens this episode introducing their album bluelightnospaceflattime which comes out on Flaming Pines on June 14 2024.

We also dip into two other forthcoming releases: East by Fortresses, an EP which comes out of Sam Ashton's move from London to Portland, and an excerpt from Zippered Time, Winged Dialogue by the trio of David Birchall, Tullis Rennie and Kate Carr.

The final hour of the show is a special mix by Tam Lin of music which relates to the themes and compositional approach they took in bluelightnospaceflattime.

This is the Flaming Pines radio show featuring new releases, mixes and experiments in field recording, sound art and experimental music, hosted by Kate Carr and guests.

In this edition of Shuffle, get ready to listen to the weirdest, mind-blowing covers and drifts of All the Small Things by Blink 182. There's no order, no lists, just exclusive, overwrought fandom material. Guitarists, violinists, babies, acapella squirrels, octopuses, brainwaves, SoundCloud stars, dogs and cats,... all are welcome in Shuffle mode.

Shuffle by Agnès Pe is a formula radio programme taken to the extreme: repetitive, obscure and humorous. Each episode presents obscure covers of a single song. “Anything that spreads by imitation or spreads by bodily reproduction, like genes, or by viral infection is a meme” - (Richard Dawkins, 2013).

This month: a discussion of Sun Ra's groundbreaking use of synthesisers with writer and critic Francis Gooding.

Monthly investigations of music politics with Paul Rekret.

"Here is a mix I made last month. It is inspired by a stupid piano I found a few houses down and dragged home. Lately, I've been working on some new instruments, spawned from various marshlands around South East London, and this moss-covered electric piano was a funny addition.

So, I put together these mostly keyboard-oriented pieces; some are bits I played on the following days, some experiments with homemade robotics, but it features a few relics too, such as: Koray and Marc's remixes of some old music and one of my all time favourite rave tunes, Twisted Girl, with a hypnotic piano."

Musical sketches by ENGLAND'S COUNCIL OF LEGISLATION AND GOVERNING BODY OF HYPER REAL SIMULATIONS AND CONSTRUCTS is a monthly mix of curation, recompilation and pseudepigrapha.

Beset by all manner of mission creep, this wilderness media study concludes with readings from anonymous diaries, found in a previous episode, and a smattering of unknown lost media against an unwelcome backdrop of unsettling noise from nextdoor neighbours carrying out illegal, unlicensed, unregulated structural alterations.

Asphyxia was originally broadcast as a 22-hour single transmission by Radio Art Zone, and, as can be expected, this final hour is an implosion under the gravity.

Originally commissioned in 2022 as part of Radio Art Zone's tapestry of 22-hour radio productions, this project by Daniel R. Wilson is re-presented here in episodic form. Asphyxia hacks the antagonising systems which thwart and forestall projects (its name also acknowledges the asphyxiating atmosphere of long-form radio when made by a single person). It is a damaged would-be radio documentary exploring the Narnia of restricted access material and gatekept employment.

Btech and Eman Resu of Superfluid present sound, music, noise along with all their sources via talk, fiction and truth.

In this episode: the fifth studio session for the album Is Under Location Surfaces plus a mix keeping things 160 with footwork and noise rock.

A 16-episode bi-weekly series alternating new and unheard live sounds from Trash Panda QC with DJ selections and guests.

In this episode, a guest mix from algorithmic art hero, William Fields. Shackamaxon available in all good record stores.

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