← Monday 16th February 2026 →

A continuous stream of short musical creations, each under two minutes. Miniature masterpieces interwoven and occasionally interpolated, transitioning seamlessly from the briefest to the longest – a perpetual motion of sound.

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

In this episode, Low Cloud, High Pressure, Drizzle, a new work for radio by Benedict Drew.

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

A series hosted by former synthpop attempter Clint, commuting weekly from Reno, Nevada. Visit jamesoldham.net for press, questions and complaints.

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, Dronica meets Ellen Southern for our monthly guest mix.

Singer and interdisciplinary artist, Ellen Southern, has woven together a special selection of audio spanning years of her practice, including unreleased live material from the dark-neoclassical group Dead Space Chamber Music, new collaborations and an exclusive long-form premiere, and raw vocal field recordings from her experimental solo work. The result is an intrepid journey through an audio-landscape of varying textures, dynamics and atmospheres.

Ellen Southern is a singer and visual artist from the UK, working with voice, sound and site. Southern is the vocalist in the dark neoclassical quartet Dead Space Chamber Music, also contributing visual art and experimental percussion / found sound. They released their second album, The Black Hours, in December 2021, co-releasing the vinyl with experimental independent label Avon Terror Corps in April 2022.

Southern also co-curates the independent Dark Alchemy event series, often held in unique spaces including crypts and churches, immersing audiences in the acoustics, aesthetic and atmosphere of each unique sacred space.

She has contributed to a variety of acclaimed collaborative projects, including a tour and release with Bristol noise/drone artist BURL (“a meditative séance for increasingly dark times” - Crack Magazine), appearances as part of The SeeR immersive performance collective (Dronica Festival, London, The Woodland Gathering, Cumbria, and Supersonic Festival, Birmingham), and as soloist for the acclaimed ceremonial electronic / AV work Kistvaen by Roly Porter and MFO (Mira Festival, Barcelona, and Les Garages Numériques Festival, Brussels).

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

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.

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.

This month: Richard Hames presents ‘Pop Desire part 2’ on popular formalism, phonewifey plays the final part of [name]WAVE, and Richard Hames interviews two members of Chicago based ensemble MOCREP.

Ensemble x.y is a contemporary ensemble that commissions and performs new music in a flexible and ever-changing lineup. Run without traditional roles or hierarchies, Ensemble x.y develops its thematically-charged programmes according to the taste and interest of its core players, as well as the developing working relationships between resident composers and instrumentalists.

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.

Knut Aufermann & Sarah Washington, Xentos Fray Bentos, Frauke Berg, Katharina Bihler & Stefan Scheib, DinahBird, dieb13 & Billy Roisz, Anna Friz, and Ralf Schreiber broadcast live from Ürzig, Broughton, Düsseldorf, Saarbrücken, Paris, Vienna, Santa Cruz and Cologne.

During the lockdown, a revolving group of sound artists from across Europe and the US convened live on air with a unified aim: to gather sound-pollen and transmit codified messages to kindred folk, exploring whatever was on their minds. Style guide: Anything goes.

Here we broadcast some selected live works by the CWCH Collective.

In this first episode Mello Gold:

In 1967, William Hanna and Joseph Barbera approached the Krofft Brothers to design costumes for a television show which would feature animated and live-action segments, with the whole show hosted by a bubblegum pop group of anthropomorphic characters, played by actors in fleecy costumes similar to later Sid and Marty Krofft characters such as H.R. Pufnstuf.
The Banana Splits Adventure Hour premiered on NBC on September 7, 1968.

Each show represented a meeting of the Banana Splits Club, and the wraparounds featured the adventures of the club members, who doubled as a musical quartet, meant to be reminiscent of the Beatles and the Monkees.
Unlike their human predecessors, however, the Banana Splits were bizarre, anthropomorphic animals: rhythm guitarist Drooper was a lion, lead guitarist Fleegle was a dog, keyboardist Snorky was an elephant, and drummer Bingo was a monkey.

The Banana Splits' bubblegum pop rock 'n' roll was provided by studio professionals, including Joey Levine (I Enjoy Being a Boy, It's a Good Day for a Parade), Al Kooper , Barry White (Doin' the Banana Split),and Jimmy Radcliffe provided his song (I'm Gonna Find a Cave).

Additional material features the Micro Ventures of Professor Carter and his two teenage kids, Mike and Jill, who use a shrinking machine to shrink themselves and their dune buggy to miniature size, to explore and experience the world from the perspective of an insect.
Professor Carter, Mike, and Jill change to micro-size to observe an ant colony ...Groovy!

Lepke B's blissful disregard for the sacred in life has placed him as one of the testcard knights with a totally unique approach to sound plunderphonics and visual art.

Phantom Circuit is a show of strange and wonderful sound waves - featuring music that is alien, electronic, exotic, essential.

This time, the focus is on stoner rock, or variations thereof, that explore misty night-time moods. Featuring music by Sleep, Melvins and Earth.

Come On, Come Down! explores adventurous night music for the sleepless. The series covers a broad spectrum of genres, from ambient and noise through to jazz, post-rock and contemporary classical. Each episode is thematically linked and aims to highlight a specific mood, artist or movement. Listen out for the occasional live session.

This episode is dedicated to the first Meloman M-110 music machines in the Soviet Union. Cabinets with music weighing 130 kilograms began to appear in the 60s in places where citizens would rest – cafes and restaurants, sanatoriums and cruise ships. Each jukebox held fifty seven-inch records and accordingly allowed listening to two-hundred songs.

In total, Melodiya issued about two-hundred records for Meloman - they were not sold in ordinary shops, but the music recorded on them was popular among listeners. The cost of listening to one song was only five kopecks, while the price of a seven-inch record at retail was seventy kopecks and more.

Meloman's repertoire included mostly city pop music of the 60s and 70s in the languages of commonwealth countries. However, in this episode I tried to include not the biggest hits of those years. You will hear bubblegum pop from Poland and Japan, psychedelic rock from Azerbaijan, pop chorals from Georgia, foxtrots from the GDR, as well as a lot of jazz and swing from Russia and the Lesser Caucasus.

It is believed that it was through the Meloman's speakers that Soviet citizens first heard the The Beatles' music – not the original recordings, but performed on a Hammond organ. In 1967, Keith Buckingham recorded a medley of three songs by the Liverpool 4 and this was included in the repertoire of the Soviet Jukebox and in this episode (track 11).

It can seem that the repertoire of the Meloman music machine sounds rather utopian: "I walk and sing and the street sings. The traffic light winked: ‘Go ahead!’," – Soviet pop diva Edita Piekha squints with pleasure in her schlager. It seems to have been so! Meloman's popularity waned in the late 70s, when clubs with live ensembles began to appear in big cities, personal vinyl players became available to almost every worker, and soon the rough rock of Perestroika became fashionable.

Uzbekistan-based DJ and boss of the experimental TOPOT label Eugenie Galochkin presents rare vinyl rips from the Soviet Melodia label. Melodia has released music from all around the world: from obscure Baltic electronica and free jazz from Siberia; to synth-pop from Tajikistan and academic avant-garde from Ukraine. The series will explore how national and cultural characteristics are embedded in musical language.

This episode features music by Farabi Toshiyuki Suzuki, Pete Swinton, Tomás Flórez, Henrik Meierkord & friends, Ilya-p , Gabriele Gasparotti, Mario Lino Stancati, Daniele Ciullini, 洪启乐 Hong Qile, Zuhé and Dēofol.

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.

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’. Probes 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 #3 continues to explore probes into pitch, this time through its effective obliteration through ceaseless movement, sliding tones, and radical portamenti which defy all quantisation.

Transcript available here:
http://rwm.macba.cat/uploads/20130206/03probestranscripteng.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

(Originally broadcast Thursday 7pm, repeats Sunday 7am, Tuesday 7am and Wednesday 9am)(r)

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.

This episode features music and sound works by Boom Bip & Nina Nastasia / Christian Marclay Trio / dESUS / Christian Marclay / Felix K / FINAL / The Shamen / TVO / Keith Fullerton Whitman / Bleaching Agent / Loki / CLAIR & Luke Turner / Leif Elggren / ee cummings / Oliver Coates / Evynid Kang / King Midas Sound & Fennesz / Pauline Oliveros / Phill Niblock / Greg Davis / Francisco Lopez / Kamran Sadeghi / Powerbooks For Peace / Robert Henke / Alva Noto / Megaheadphonboy / Chris Marker / Gat Decor.

An immersive psychosonic space, where sounds converse, collide and converge, featuring works, selections, edits, experiments, new music, non-music, archival objects, abstract artefacts, sound(system) and A/V art, pop, trash, noise, voice, and the associated mediums, processes and techniques that make up the ongoing audial investigations of Agents of the Culture Industry & OVT, all presented for art not profit.

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

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.