Radiophrenia 2015 Live-to-Air Performances

Radiophrenia 2019 Production Commissions

Radiophrenia 2015 broadcast excerpts

Radiophrenia 2016 Production Commissions

Radiophrenia 2017 Production Commissions

Elizabeth Veldon & Mary Knox present ‘A Shorter History of Radio’ – This piece discusses the history of radio as a medium both for entertainment and as a tool for the propagation of propaganda. The piece is for two players and will feature texts drawing on both literary and academic representations of radio, electronic music and the sounds of radio itself. 
An excerpt from a live-to-air performance commissioned as part of Radiophrenia, a week-long radio art station broadcasting from Glasgow’s Centre for Contemporary Arts in April 2015.
www.radiophrenia.scot


Elizabeth Veldon & Mary Knox - A Shorter History of Radio (excerpt)

A series of sound poems performed as part of Radiophrenia, a week-long radio art station broadcasting from Glasgow’s Centre for Contemporary Arts in April 2015.
www.radiophrenia.scot


Nichola Scrutton - Sonnets (excerpt)

A live-to-air performance commissioned as part of Radiophrenia, a week-long radio art station broadcasting from Glasgow’s Centre for Contemporary Arts in April 2015.
www.radiophrenia.scot

Kathryn Elkin (featuring Emer Tumilty on violin and Neil Bickerton on crisps) presents ‘Mud Nostalgia Fantasy Cantata’ – A series of mis-rememberings, embellished by both good and bad renditions of classical hits. “When you have had a life full of loneliness and pain, then find your one and only true love, only to lose them again, then grieve and cry yourself to death in an ocean of hopeless, helpless agony, this is the perfect musical accompaniment.”


Kathryn Elkin - Mud Nostalgia Fantasy Cantata (excerpt)

A live-to-air performance commissioned as part of Radiophrenia, a week-long radio art station broadcasting from Glasgow’s Centre for Contemporary Arts in April 2015.
www.radiophrenia.scot
‘The Balderwick Codex’ by Jim Colquhoun and Jamie McNeill – “A New Statistical Account of the Parish of Balderwick and Environs. Including: a Sucking Bog, an Importunate Erection, a Dead Dad, Fish Slaughter, Two Pricks and a Man, a Worthy Man, in Happy Mood, Conversing with a Fly.”

Jim Colquhoun & Jamie McNeil - The Balderwick Codex (excerpt)

‘A Hidden Quiet Pocket’ is a dialogue between a masseuse and her rich client. The client has a nice little apartment in the city centre and she needs some advice about how much rent she could possibly charge for it. The masseuse is more than happy to provide help. This performance also features Barry Burns.

A live-to-air performance commissioned as part of Radiophrenia, a week-long radio art station broadcasting from Glasgow’s Centre for Contemporary Arts in April 2015.
www.radiophrenia.scot


Shelly Nadashi - A Hidden Quiet Pocket (excerpt)

As part of the Radiophrenia 'live-to-air' series Felix Kubin presents ‘Paralektronoia’ – Paralektronoia examines the correlation between electricity and paranormality. In his lecture performance – which is based on his 2004 radio play for WDR broadcast – Felix Kubin introduces a subjective choice of pervasive concepts of different realities using audio examples that range from interviews and live music, excerpts from radio plays, to sound experiments. In order to track down “Paralektronoia”, he collected inventors and musicians who research the effects of invisible oscillations on the psyche using systematical field studies and radiophone experiments.
Listen to your inner voices. Your radio is listening, too.
Featuring interviews with a.o. Alvin Lucier, Carl Michael von Hausswolff, Lionel Marchetti, Asmus Tietchens and Mika Vainio, as well as diverse scientists.
Radiophrenia was a week-long radio art station broadcasting from Glasgow’s Centre for Contemporary Arts in April 2015.
www.radiophrenia.scot


Felix Kubin - Paralektronoia (excerpt)

Back in 2012, I wanted to acquire a reel-to-reel machine suitable for editing tape with. Various online forums mentioned people acquiring machines from hospitals when on-site hospital radio was the norm. Taking a shot in the dark, I sent an e-mail to every hospital in Glasgow. To my surprise, Southern General Hospital replied saying that they had two Otari-MTR 10 machines along with 30 or so tapes. Presented here is a mosaic of sounds from those tapes ranging from everything between radio plays, ads for discotheques, interviews with patients, news reports and excerpts of popular tunes from the day

Biography

Thomas Leyland-Collins is a sound/installation artist based in Glasgow, Scotland. Since 2012 he has hosted several mini-FM Transmitter workshops based on the teachings of experimental radio artist Tetsuo Kogawa. Over the past few years he has been involved with creating the soundtrack for local artists short films. Some of his field recordings are featured on the album A Silent Swaying Breath (Audio Gourmet Netlabel). Alongside creating his own instruments and assorted microphones, his work ranges from using found sounds to creating installations which react with and engage the audience within a space utilising radio and various micro-controllers. 

Thomas Leyland Collins - Cornucopia (excerpt)

In the 1950s and 60s a scientific report compiled by the record industry stated that teenagers, due to their very short attention span, were unable to listen to a piece of music that lasted more than 2 minutes 50 seconds. This is perhaps one of the reasons that rock’n’roll and pop songs from that period only last around 2 minutes 35. In 1967 Sylvie Vartan sung the song “2 minutes 35 de bonheur” (‘ 2 Minutes 35 of pleasure‘). With this in mind we decided to make life - and listening to music - easier for the ageing adolescents of yesteryear. We sampled hits from the 1960s and 1970S, some are easy to recognise, others not. We then played these loops on radios and ghettoblasters in different places around Paris. Whilst the loops were being played DinahBird, in the manner of a radio continuity announcer, filled in the pauses and described what she saw going on around her. We call them : Pop Field Recordings.

Biography

Jean-Philippe Renoult is a writer, radio producer and sound artist. DinahBird is a radio artist living and working in Paris and London.

Links

http://www.radio1001.org/

Dinah Bird & Jean-Philippe Renoult - 2min 35 (excerpt)

Vikki Morton - Yugawara Station

Mein Name Gisela DK9JE

I’ve been doing quite a lot of research into ham radio and recently stumbled across a couple of SSTV images featuring a woman called Gisela, call sign DK9JE. After a little more investigation, I found this post on a forum:

Hallo Gerd, Du wirst es wohl nicht glauben, aber manchmal schaue ich zu, was Theo so am PC macht. Das ist eine gute Sache, denn dann geht er nicht so oft in den Keller zum Bier trinken hi. vy 73 Gisela DK9JE

Eintrag vom: 01-Feb-2005

Eingetragen von: Gisela Linder DK9JE

It says ‘hello Gerd – you won’t believe it but I’m sometimes watching what Theo gets up to on the PC. Its good, because then he doesn’t go down to the cellar so often to drink beer.’

Mein Name Gisela DK9JE is an experimental radio play featuring the character Gisela, a YL living in Berlin. The play will be made up of a mix of narrated text (spoken by myself) and SSTV sound signals and images. Gisela DK9JE is a middle--‐aged woman whose husband, OM Theo, is more interested in his hobby (and beer) than in interacting with his wife. As her relationship with OM Theo fades, she whiles her time away communicating with ham radio antenna she finds erected throughout the city.

If she can talk to the antenna, the physical forms housing her husband’s voice, then maybe there’s still hope for reconciliation. The piece is a combination of fiction and reality. Gisela’s story is (partially) concocted, but the dialogue she has with the antenna is essentially the sound of B/W sketches and detailed observations of real ham radio aerials around Berlin, converted into bitmap images and transcoded into SSTV sound signals.

Biography

Catriona Shaw is a Scottish artist and musician who grew up on the Orkney Islands and is now based in Berlin. She has been in a number of bands including Queen of Japan, Club le Bomb / Miss le Bomb, Hektor & Rositha and has exhibited and performed internationally. She is also involved in a number of education projects, including the 2--‐year art education project ‘Kombiticket’ at the NGBK, Berlin and gooeyTEAM.

Links

http://www.misslebomb.net



Catriona Shaw - Gisela Dkj9e (excerpt)

Radiophrenia ident 26.WAV

“Where are you really from?” and other questions we hate.

The first in a series of projects from new collective Sister. Through the use of interviews, poetry and music they will explore what it means to grow up mixed race in Glasgow and the struggle to form a cohesive identity with no solid community. This performance provides an introduction to their work and to a subject which is very seldom explored within the context of Glasgow.
This piece is inspired by Wole Soyinka’s ‘Telephone Conversation’ and the work of Nayyirah Waheed.

Glaswegian duo Cassie Ezeji and Siobhain Ma make up `Sister`, a creative collective who explore the experiences and challenges facing mixed race Scottish women. Ezeji and Ma are childhood friends and share respective backgrounds in music and sound art. `Sister` sees the pair turn their attention to their experiences growing up mixed race in Glasgow. Their work focuses on microaggressions encountered by biracial women along with questions of identity and establishing a connection with their respective fatherlands (Nigeria, Hong Kong, Ireland and Scotland) from a distance.

Sister - Hotline - live from the CCA 11 - 09 - 2016

Noise, our voices become noise, our names become noise, inaudible, unheard, filtered out.
In response to deep pedagogical mysogyny, the piece serves as a ritual, a mantra, a magical spell, presenting 1464 names, female names, invisible names, to the concert hall. Composers who are “simply not there” are here, we “cannot rewrite history”, we are not the ones rewriting herstory.

To listen to these many many women, please go to manymanywomen.com

Amble Skuse writes interactive live technology pieces. After studying at Dartington College of Arts (now University College Falmouth) and Bath Spa University she began writing for performers, finding ways of incorporating live electronics into the performance. She is interested in ways in which the past and the future come together and merge to create the now. Amble works with spoken word, languages, poetry and sound to relate a sense of location, time and identity through her pieces.

Amble is a International Creative Entrepreneurs Fellow, a BBC Performing Arts Fund Music Fellow and runs her own producing house Remembered / Imagined with Judith Walsh.

www.ambleskuse.net

Amble Skuse - Balancing Act

The diurnal anxiety of constant travel transforms dream logic into dream logistics. Vast apartments filled with mutated memories require urgent night-time packing and transport via all means of motor, machine, or mammal. Absurd dimensional incompatibilities produce carry-on bags which contain whole items of furniture. A radiophonic meditation on the containment and escape of material stuff, moved by land sea and night air, embedded in complex, half-imagined wireless communication channels and signal relays.

Anna Friz began broadcasting on campus/community radio CiTR Vancouver in 1993. Since then she has created audio art and radiophonic works for extensive international broadcast, installation, or performance in more than 25 countries, where radio is the source, subject, and medium of the work. Anna is Assistant Professor of Sound in the Film and Digital Media Department of University of California, Santa Cruz, a steering member of the artist collective Skálar | Sound Art | Experimental Music based in East Iceland, and a long time affiliate artist of Wave Farm (formerly free103point9) in Acra, New York.

nicelittlestatic.com

Anna Friz - How To Pack A Whale

Diacoustics
Transmission : 10th September, 12:00 and repeated at 18:00

The experience of sound can at times be a form silence, not so much for the ears, but for the mind. If we close our eyes to focus purely on listening, the outside world as we are used to knowing it gradually fades from consciousness and ultimately disappears. We forget ourselves: the room is no longer there; we are no longer there – even the sound is no longer there. For a moment the mind is still, all that remains is an experiencing of sound.

All that remains is a “listening” suspended in nothing.

The piece features excerpts from archive interviews and recordings of Alan Watts, Delia Derbyshire, Antony Gormley, Denis Smalley, AL Kennedy, Francis Dhomont, Eliane Radigue, John N. Gray, and Daniel Cioccoloni. It references the forms, ideas, and sounds of some of the seminal works in the radiophonic/acousmatic tradition (Inventions for radio – Delia Derbyshire, Sous le regard d’un soleil noir – Francis Dhomont, Névé – Denis Smalley), as well as Francis Poulenc’s chorale O Magnum Mysterium.

Composed, recorded, and engineered by: Daniel Cioccoloni
Additional sounds: Giovani Tancredi, E-Cor Ensemble
Additional field recordings: Felix Blume

Diacoustics was conceived as a project to explore the possibilities offered by sound as a raw material, and our experiences of it as listeners. Over time it has become the main focus of my production in sound, bringing together my research in music, field recording, spoken word, and those abstract, hard-to-define sonic experiences that lie somewhere in between.

Work from the project has been featured in a number of exhibitions (Manifestations, 2nd Recursion), radio programs (Sound Introversion Radio, Radiophrenia), and was awarded 3rd place at the Oxford/Sennheiser Electronic Music Prize (OSEMP) 2014.

Diacoustics - The Emptiness Of Sound

Humble Music (Los Angeles) is a tape work focused on a performance given in the basement gallery of the 356 Mission space, Los Angeles.
The genesis of this piece comes from a 90 minute tape made with James Rushford, Judith Hamann and Manuel Lima, in preparation for a concert the following night (of which James and Judith both had parts) to announce the opening of my ‘Marble on the Rot’ exhibition. We took in the acoustic potential of the building, and chose the basement gallery to make some test recordings using a walkman with external mic. There was no audience present.

The piece collages the most interesting passages from that session, and adds overdubs taken from alternately placed –and oft cleaner– recording sources also in use at that time, piercing the gauze of tape hiss and adding a greater dynamic sense to the composition. The domestic disruption that starts the piece was present on the cassette prior to recording, and felt aesthetically in step enough to warrant inclusion.

Graham Lambkin: voice, tapes, cello, objects. James Rushford: voice, objects. Judith Hamann: voice, cello. Manuel Lima: voice, flutes plus the pre-recorded sounds of (friend and neighbor) José Pérez.

Graham Lambkin is a multidisciplinary artist based in Upstate New York, who first came to prominence in the early 90′s through the formation of his music group The Shadow Ring. Combining a D.I.Y. post-punk ethic with folk music, cracked electronics, and surreal wordplay, The Shadow Ring created a unique hybrid sound that set them apart from their peers and continues to show as an influence today.
Following the dissolution of The Shadow Ring Lambkin embarked on a series of striking and highly original solo releases, including Salmon Run (2007) and Amateur Doubles (2012), a critically acclaimed trilogy with experimental tape musician Jason Lescalleet: The Breadwinner (2007), Air Supply (2010) and Photographs (2013), and Making A (2013) a collaboration with renowned table-top guitarist and founding member of the AMM group, Keith Rowe. His latest release, Schwarze Riesenfalter sees Lambkin paired with Wandelweiser composer Michael Pisaro in a musical reimagining for the texts of Georg Trakl. Lambkin is currently due to release his fifth solo LP Community (Kye) this October, and is working on a collaborative project with Tokyo-based conceptual artist Taku Unami for 2017.

Graham Lambkin - Humble Music (Los Angeles)

Prior to the Internet, I grew up on a Scottish island, feeling deprived of many a thing. Popular radio was broadcast on both AM and FM, but due to harsh weather conditions, inconvenient landscapes and general far-awayness, signals often experienced interference or were limited. At midnight, the music I listened to on the crackly but more reliable AM would be interrupted half-way through by a jolly male voice, repeating a warning that broadcasting on this frequency would, due to a government decision, be phased out altogether to be replaced by better, more modern FM. Night after night, I lay in contorted positions in my bed, holding onto a wire aerial so I could receive and cling onto a mangled FM signal, all in a desperate battle to preserve my grasp on the here and now of mainstream pop and contemporary late night chatter.

This is an experimental narrative that attempts to re-enact my experience as a radio listener, and consolidate two opposing characters: the slick hiss of FM and the dull thud of AM. Aerial Holding Hands will be aired as a split broadcast with a different channel on the FM broadcast and the Internet webstream. Two separate pieces, each 27 minutes long, one no better than the other. They can be played simultaneously, or individually, depending on your listening circumstances at the time.

Written and produced by Catriona Shaw except ‘Transmission’, written by Joy Division (Curtis; Morris; Hook; Sumner)
Co-production by Fred Bigo Shaw.
Recorded in The Padded Cell, Berlin, Germany and Le Chantier, Louverné, France in 2016.

Catriona Shaw grew up on the Orkney Islands and studied art in Edinburgh, Munich and Berlin. Her multidisciplinary practice combines drawing, performance, music and participation, as well as a number of collaborations including the band Queen of Japan, and art collectives Club le Bomb and gooeyTEAM. She has performed and exhibited in diverse international venues and festivals.

www.misslebomb.net
www.gooey.de

Catriona Shaw - Aerial Holding Hands - Stereo Split

What You See is the third sound work Dinah & Jean-Philippe have made inspired by aerial disappearances and crashes. In June 2016 during a residency in Kilpisjarvi, Northern Finland, they came across the crash site of a WWII German Junker bomber plane, brought down in the midst of the bleak Arctic landscape in 1942. Over seventy years later remnants of the aircraft are cleary visible, possible wing parts, piping and rusty metal are fused and fossiled into the stony lunar landscape, like a decaying dinosaur carcus, or perhaps a forgotten memorial to those who perished. The recordings in this piece were made almost entirely on site.

DinahBird and Jean-Philippe Renoult are sound and radio artists based in Paris. They often work together making radio works, installations and soundtracks.
Recent works include Take Flight, a composed soundscape starring planes, drones and frequencies, made for ABC’s Creative Audio Unit and A.V.I.O.N, a sister installation inspired by the parallel world of aircraft navigation systems. DinahBird’s radio relay record A Box of 78s is having a rest after it’s 18 month trip around the world. Jean-Philippe’s audio graffitti project, TagAudioLoops was last seen and heard at Waverly train station…

bird-renoult.net

What You See

Dinah Bird & Jean-Philippe Renoult - What You See

Part of my continuing exploration of a ‘distended’ abstraction rooted in everyday activities, Arena On Energy On Tape is a drifting, layered composition woven from field recordings, appropriated and altered sounds, discrete performance, and time stolen back from work.

Referencing a found motivational tape, and the BBC2 arts strand (and it’s Eno title music, appropriated previously in my 2003 video Arena) the piece is a soup of binaural immediacy, approximate noise, elusive periodicy, and mangled guitar and natural forces, all filtered through saturated tape loops, and a cannibalised Leslie cabinet.

Stuart Gurden is an artist working primarily with sound and video, he is drawn to the tensions between creativity, technological evolution, and the processes of cultural recuperation. He graduated from Glasgow School of Art’s MFA in 2000, and has exhibited across the UK and abroad, receiving various awards including the Scottish Arts Council Film & Video Award. He was short-listed for the 2012 Margaret Tait Artist’s Film Award.

soundcloud.com/stuartgurden

Arena On Energy On Tape

Stuart Gurden - Arena On Energy On Tape

The Edible Pet by Zoë Irvine and her son Logan, with contributions from family and friends in Edinburgh, Cornwall and SW. France. A story that crosses continents, travels from pet keeping to dining table, taking in some back garden ethics, pet psychology, trans-species music making, dramatic mishaps, life, death and recipes.

There are some scenes of a graphic nature, this programme contains meat and may not be suitable for vegans or vegetarians.

Featuring in order of appearance: Daniel Manson, Rab Lendrum, Chloë Manson, Gilberte Manson, Juno Neil, Rebecca Palmer, Eva & Nicole, Logan Young, Alexia Allen, Doreen Young, Jill Lendrum, Michelle Davitt, Pauline Wilson, Morris Young, Robert Young, Geraldine Brenner, Osvanira Alves & Jane Hunter.

Extracts from A Household Book for Africa by E.G. Bradley read by Michelle Davitt.
Extracts from humane animal harvest video with Alexia Allen by Paul Wheaton. https://richsoil.com/raising-chickens.jsp
Bird calls by Elise Rouanet & Aimé Souyri from ‘Charmeurs d’Oiseaux’

Original music by Zoë Irvine & The Galloanserae Experimental Ensemble.
Additional songs Le Poulette Grise – Alan Mills ; Poullette – Béatrice Maillet; Ain’t Nobody Here but us Chickens – Louis Jordan.

With love to Grandma and in memory of Jackie.

Zoë Irvine is an artist primarily working with sound. Her involvement with Bill Furlong’s Audio Arts Magazine from 1994 – 2007 as a sound editor sparked a lifelong interest in the idea conversation and voice as potential artefacts in themselves. As a field recordist, Irvine has a particular love of soundscapes in which distance and space become perceptible.

zoeirvine.net
soundcloud.com/zebraphone
listenrecordcreate.blogspot.co.uk

Zoe Irvine - The Edible Pet

Embracing and updating the Radiophonic tradition, Sarah Angliss presents a spatialised sound poem inspired by The Signalman, Charles Dickens’ ghost tale for the industrial age. In this fractured retelling, Angliss plays with psychoacoustics and liminal sounds to conjure spectral resonances, ghostly cries and the gloom and dampness of a deep railway cutting. As sounds and music unfold, an isolated signalman becomes all too aware of a future horror he can do nothing to undo. This piece is created in collaboration with vocal artist Colin Uttley. For maximum spatial effect, please listen with headphones.

Voiceover artists: Colin Uttley (adult) and Nicholas Gowing (child).

Sarah Angliss is a composer, musical automatist and sound historian. Her work combines acoustic and robotic instruments with Max, electronics, found sounds and field recordings. Sarah’s work explores the uncanny properties of technology, revealing resonances between European folklore and early notions of electricity and sound. A prolific live performer, Sarah also works in theatre, creating distinctive sounds which blur the boundaries between sound design and musical composition. Her theatre sounds have most recently been heard in The Old Vic, London, where she evoked the overwhelming clamour of modernity in O’Neill’s Expressionist masterpiece The Hairy Ape (directed by Richard Jones).

www.sarahangliss.com

Sarah Angliss - Signalman

While planning to meet for a 24hrs. radiophrenia session, we managed to relaunch, yet again, our elemental theme, with which we are engaged during 2017-2018, namely, the Israeli colonisation and occupation of Palestine for 69, 70 years respectively.
We discuss Maya’s new piece “18 Songs” for Choir and ensemble in the Arabic language, a language which is officially excluded by the Israeli State, of which its texture is systematically used to distance, separate and scare the Israeli population although being the mother tongue of half of its’ citizens. “I innocently believe that through the work of music, choir members in Israel will get the chance to initiate and embrace the Arabic language, a Semitic sister of their own language… “ Meira’s “The Last shall be First” Sound-Text act, together with artist Eran Sachs, has just returned from its 2nd trial at HearSay Audio festival in Ireland. “Dissecting Fanon’s words on our Israeli Colonial bloody sound altar is another ambiguous issue to explore…”
We play parts of the projects, discuss them, and knead together some specific materials from them.

Featuring the voices and sounds of Daphne Banai – Machsom Watch, Tamer Masalha, Tamara Nasser, Bat-Kol Choir, Eran Sachs, Anat Pick, Faye Shapiro

Thanks: The Radiophrenia team, Guy Hirschfeld, Liam Evans, Jeff Zorilla.

Meira Asher & Maya Dunietz - Spawning in the name of

In this piece I have recorded as many people as possible within a certain period of time. Wherever I went I asked people to say “here” in their own mother language. Each person was asked to say this word only once, and only in cases of perfect bi- or tri-lingualism did I allow them to say it in additional languages. I have edited all of these single-word samples chronologically in the exact order in which they were recorded. All recordings were made between August 12th and October 30th, 2017 in Vicobarone (IT), Milano (IT), Marseille (FR), Porto (PT), Marseille (FR), Taipei (TW), Bologna (IT) and Lyon (FR).

People, microphones and languages move, at least in relation to each other. Their movement is somehow unpredictable and free as a beautiful dance. Whilst scanning the territory I experienced how linguistic and geographical landscapes intersect in complex ways and how every territory is constantly transversed in multiple directions by so many living beings.

Each of these recordings of a single word is evidence of an individual being in a specific place at a specific moment in time although we may not know the actual details of who, where and when. People come and go and are found in unexpected places, each one of them with her/his own biography and memory. The microphone has its own schedule, its own agenda, and opens a window towards the future and the not here. Languages moreover, travel with people, sometimes the same person carries two, three or more. Languages are not bound to a specific location or to a specific person as they migrate from place to place and from mouth to mouth.

In triangulating languages, individuals and the microphone we obtain precise coordinates of pure existence but we may not be able to infer proper locations. Nevertheless all these coordinates draw a path, a road, a corrugated and fascinating itinerary worthy of travelling over and over again with our ears and imagination. Consider this piece a travelogue, or a meditation on voice in relative space and have a nice trip.

Thanks to Pedro Rocha, Mark Vernon, Camera Chao.

Alessandro Bosetti - Location Series #1

Lisa and Rose have a shared interest in making visible process activities. Also in the intangible connections, hidden layers, and emergent materials of the compositional process. This, as yet untitled, work exists as a series of movable parts; all of which form the most expanded conception of its material and immaterial elements but not all of which need to surface in any given iteration of the work. These include – scored elements both notated and instructional, objects, songs by other artists, online video, a decibel meter, conversations between collaborators.

Iteration 1 for RadioPhrenia, 2017.

Series of six semi-improvised studies for cello, amplified mangle, and voice, in linear sequence with processed youtube audio ARCHIVE_ 10 Years Ago Today Britney Shaves Heads And Gets Tattooed! by X17Online Video [For all the latest Celebrity Gossip, Entertainment News and the best Paparazzi Photos and Video]. Pitch material for cello generated by application of various filtering exercises to Nick Cave and The Bad Seeds Hallelujah. Objects in performance of mangle include chalk, sugar, USB drives, tampons. Other performance instructions, for both instruments, derived from Fleetway Foldaway Wringer instructions for use. Conversations during the making process reflected on intangible experiences of everyday anxiety, fear and despair, and by contrast the ways we have to represent or articulate them; Britney’s instagram account; ASMR, slime and hydraulic press videos on youtube; does Lisa’s dad have any tools that we can crush things with; Rihanna ‘Diamonds’; an interview with Robert Wyatt that Rose heard (Late Junction?); Anne Griffiths Codiaeum Variegatum; recent/various reading on vulnerability, sadness, sickness and hysteria in relation to empowerment and resistance; whether to record our voices.

Lisa Busby & Rose Dagul - Untitled for cello, mangle, youtube & voice

Julia Drouhin and Phillipa Stafford, as Sisters Akousmatica, investigate mysterious radio broadcasts known as “the Silent Key”.

Radio: drag the dial across frequencies at any given time, any given place and you will hear a cacophony of sounds. Static, pops and crackles, whistles, the tap, tap tap of the world and the universe going about its electromagnetic business. In between those sounds are stations: broadcasts that are music, news, chatter, cryptic messages and espionage. Stretching out around the world in a network of terrestrial communication, bouncing off the heaviside and landing back again to be collected by radio-listeners – in cars and in kitchens. Sisters Akousmatica are always listening – seeking out the strange broadcasts destined for…? Well, who knows. NM, SK begins to examine some of the recordings they have made in their quest to research “the silent key” – a series of broadcast messages that they discovered in the winter of 2017.

Sisters Akousmatica - NMSK

“So…s… so what we’re seeing here is that there are things you can’t immediately control… you can’t control the motivations and the actions… but what we are seeing them seek to control is the physical space around this as much as they can… there are people as we’ve been speaking to…who are locked in… into other locations… they are now clearing the space around it and they’re… controlling what they can… they can’t control what’s in the mind.”

Edited quotes from panelist Hugh Riminton, Studio 10 News, Network Ten, Australia, 15/12/14

Radio Presenter: Fletcher Mathers

Thanks to: Ronan Breslin at La Chunky Studios & Pete Dowling.

Jess Worrall & Rob Kennedy - The 3 Ring Circus Comes to Town

A radio performance based on Carl Sandburg’s Four Preludes to the Playthings of the Wind, with vocalist Laura Wiens.

Gregory Whitehead - Nothing like Us Ever Was

Eliane was my step-mother. She died last year from Alzheimers. In this piece I’d like to explore radio’s potential to evoke memory, disorientation and memory loss. Using her favorite songs on tape. And other memories. Sounds. Texts. Hers, mine. Ours.
sandstorm of memory/effacement/mental landscapes/details/temporal slide/bribes/cut-up method/erasing/éclats/sandstorm of details/memory landscapes/temporal cut-up/bits of landscape/erasing method/snipets of memory
Asking: In the end, is there anything to remember at all?

With the voices of François Cau, Isabelle Hainaud Griffiths, Eliane Ravanat, Gilbert Ravanat and Isabelle Stragliati.

noearnosound.net

Isabelle Stragliatti - Nothing here now but - a tribute to Eliane

Jason Lescalleet assembles recordings to create a narrative meditation on the passage of time and our perception thereof.

Jason Lescalleet - Sketching An Arc

The Funnel is inspired by a visit to the Port Talbot steel works in Wales, various occult writings, the art of alchemy, European medieval and early renaissance music.
Now available to buy on vinyl at:
https://akashicrecords1.bandcamp.com/album/the-funnel

Wojciech Rusin - The Funnel (excerpt)

Legend of the Necessary Dreamer is an ambient novella, a multi-sensory essay, an excavation of the historic Palácio Pombal, a work of impatience and death. Maria Fusco reads the whole book, acting as an ear and a mouth, creating embodied entanglements, paying close attention.

mariafusco.net

Maria Fusco - Legend Of The Necessary Dreamer

Commissioned by Radiophrenia & National Library Scotland (Sounds of Scotland)

Full doric mode is a voyage into a little heard sound archive of Doric speaking voices from 2006/7. This sound doc weaves together the archive material with contemporary reflections. The past and present intermingle through the medium of recorded conversation. The archive takes us into rural life in times gone by, farming, school days, home and working life, the contemporary conversations look back at the making of the archive and the power of oral history and folklore more generally as well as reflecting on the dialect itself and the situation today.

zoerirvine.net

Zoe Irvine - Full Doric Mode

Hexagon Heart is a sound poem/musical story of Marjorie Van Halteren’s emigration to France in 1992 and what has become of her heart.

Marjorie Van Halteren - HEXAGON HEART

Thinking about how people are like ships. We carry heavy loads, we come and go, we have names, people can be each other’s ships and of course ships go under.

Sadder/weirder domain and less pop as our last record was.
Lamentations and anger.

A work that mixes the more traditional ‘song’ format with recordings of conversations and field recordings that delve into the collective and separate experiences of two friends and artists.

A celebration of the relationship and working methods of artists and friends Alicia Matthews and Cass Ezeji. Using a selection of archive and new recordings (including Whats App voice notes, past rehearsal sessions, new studio work and downtime at the baths) the women candidly illustrate a long-standing friendship and creative working bond. Together they explore shared and separate life experiences and journeys; using laughter, chatting and singing together as healing forces.

www.facebook.com/ladiesaspimps

LAPS - Ships

Migration is a necessity, both for wildlife and humans. Ecological processes operate in cycles and are the stimulus for migration. War, famine and destitution mean people must move in order to survive. Despite the necessity for migration there is a contrast in perceptions between the wonder of a “natural” animal migration and that of people. In the UK, immigration is deeply politicised and used to deflect away from the shortcomings of an inept Tory government and to progress a right-wing, white-supremacist agenda. A disassociation between people and the environment and differing perceptions of occurrences which exist in parallel are the focus of this new piece by A. Whyte and Louise Wilson.
awhyteartist.wordpress.com 
www.liminal.co.nf

Allan Whyte & Louise Wilson - Obligate

The work I have devised is a 19 minute sound piece that explores the tensions often experienced through extensive use of social media, hand held devices and digital dissemination of information.
I used screen captures of my online journeys while researching this composition as moving images to create scores from. The sonic narrative of these works echo the jarring imagery that was produced as a result of my low concentration span and complicity within the distractions of the web.

Inspiration for the sounds featured within the composition include: monitor refresh rates, loading and buffering rates, the speed at which information is sent and received, malfunctions, scrolling rates, 140 character limitations and push notifications. I reimagined these elements sonically to form the tonal palette of the piece.

Alicia Mathews - Click Bait

“Strange things stumble through the mirrors, they pulled a clock out of the river – it was oblivious. I loved those sisters; my shirt is stained with tears. At the factory, the Witches run the lathes. Ex-detectives loiter, not knowing who they are. Lacking time travel mechanisms, they attend funerals and take notes. No one notices. They are invisible. The characters converge upon a point in space.
The house.
Where it all started.
The birth of it.
The birth of them.
The beginning.”

VILE PLUMAGE - THE AMNESIAC EXPERIENCES THE VORTEX AS IF SHE WERE AN EEL [V02]

Line Clean 9-6 was a co-commission between Radiophrenia and Resonance Extra as part of Strands, supported by Jerwood Charitable Foundation.

Line Clean 9 – 6 is composed around a series of abstract, rhythmic recordings made on shift at work (in the cellar of a pub), household objects (bins, bikes and cookers) and snippets of found sound recorded on a phone. Using a process of layering and splicing plus augmenting with ‘traditional’ instruments, he aims to draw out the beauty and musicality in everyday sound exploiting the harmonic and structural qualities inherent in everything we hear. The resulting collage combines, water pumps, beer kegs, bin lids, sound checks, bouzouki, clarinet, MS20, cowbells, choral polyphony, pipes and whistles.

www.oliverpitt.co.uk

Oliver Pitt - Line Clean 9 - 6

If I were to tell you how I arrived here, I would have to explain the voicemails. The voicemails have been in the back of my mind for some time. They had accumulated over several years, in fits and starts. A waxing and waning of words spoken into the void. For months, I watched them arrive but I did not listen to them. When I eventually did hear the messages, certain things were immediately clear. The condition of his lungs was deteriorating. His breathing was laboured. The messages had never been easy to follow. They were often slurred, because of the drink. But now when he spoke his words were interrupted by coughing fits, more and more so as time went on. By groans and gasps. Belly-speech. Gurgles of outflow.

In The Absent Body, Drew Leder writes that the healthy body is ‘transparent’. In illness, the body loses its transparency by ‘dys-appearing’. In a state of dysfunction, it appears. When I read this, something about the idea of the loss of transparency seems familiar to me. The pregnant body is not transparent, but it’s not dysfunctional either. In fact, the cis female body is perpetually troubling this idea of transparency in health. I am not the first person to point out that the question of the body’s transparency is not as simple as it seems.

Breathless is a co-commission between Radiophrenia and Kunstradio Radiokunst for Ö1, Austria.

I try to listen to the groans and gasps between the words as sounds in all their electronically-mediated materiality, perhaps I am being evasive. I am finding it hard to breathe as I listen: the body impinges, despite myself. And they call this ‘reduced’ listening. The absent body, on the other side of the voicemails, of the radio. For something so absent, it weighs heavily. Dissipated, dys-appearing.

Hannah Ellul - Breathless

A radioplay by the X-Static Tics (Henk Bakker and Lukas Simonis)

The story is set in the year 2222. Dead Henk, a living corpse brought to life from a previous century (he died in 2121) is forced to be interviewed about his attempt to stabilize the world by introducing people to art. Was it due to his efforts that there are no more wars in 2222, that everyone has made peace? There are no more conflicts. Weapon manufacturers only make space ships. part of humanity is migrating to other solar systems although that is not really necessary; the earth is clean, pollution has been banned. The curiosity about dead Henk is great because with the disappearance of traumatic and conflict situations all forms of art are wiped out. Only the music has survived this genocide on the uncomfortable; after all, you must have something to listen to.

A live version of ‘the day of the great tit’ will be performed as part of an outside broadcast at Platform at 3pm on Saturday, 18th May.

The Xstatic Tics - Day Of The Great Tit

Hermits wear boxes of Kleenex on their feet instead of shoes and keep plastic trolls in the sofa, birds bring them bread, they count their days with potatoes, they live inside their own grave, naked and hairy or wear woven coats of camel hair.

Glass Enclosed is a co-commission between Radiophrenia and Kunstradio Radiokunst for Ö1, Austria.

Glass Enclosed is an epic, solitary incantation performed by one voice. Its points of departure are the ‘Ancrene Wisse’ and ‘Speculum Inclusorum’ – instructional texts on how to be alone written for recluses, anchorites and hermits in the 13th/15th centuries. Glass Enclosed combines myth, testimonial and trope into a placeless, cocophanous soliloquy spoken from beyond.

Kari Robertson - Glass Enclosed

Radiophrenia is a temporary art radio station – an exploration into current trends in sound and transmission arts. Broadcasting live from Glasgow’s Centre for Contemporary Arts, the station aims to promote radio as an art form, encouraging challenging and radical new approaches to the medium. The broadcast schedule will include live shows, pre-recorded features and a series of ‘live-to-air’performances. The majority of the programme will be made up from selections submitted to an international open call for sound and radio works.

Broadcasting across Glasgow on 87.9fm, and online at www.radiophrenia.scot 

Supported by Creative Scotland.

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