Funny Radio 4 programme that people interviewed in the first half were unaware of the LPWS being interviewed for the second half, It made "Pick Of The Week" BBC Quote "That puts the phantom driller of broadcasting house firmly in the second division".

Fishing In The Ether

Sélection Art sonore

Charo Calvo
Wild Tracks for you
11’50, autoproduction (Belgique)

La pièce mêle poésie (Wild Track de Sean Street - poète, écrivain et producteur radio de la BBC) et field recording. Ici, l’auteure voyage à travers des paysages sonores qu’elle chérit, y compris le son troublant de la ligne de front en Ukraine en 2014 qui a été enregistrée par un bon ami alors qu'il documentait la guerre.

La composition électroacoustique pour différents médias et un passé de danseuse nourrissent la pratique de Charo Calvo depuis 25 ans.

Charo Calvo_Wild tracks for you

Audio Archaeology Series Volume 3: Brest

Sheet Erosion is the third episode in a series of works based around ideas of audio archaeology and found sounds. The setting this time is the city of Brest in France.

The piece is comprised of field recordings made in early 2020 during the storms Ciara and Desmond plus a batch of found open-reel tape recordings dating from the 70s and 80s. The tapes include domestic home recordings but mostly document the recordist, Michel’s tastes in music and radio programmes of the time. Daily life bleeds into these lo-fi recordings of radio and TV shows. Captured with a mic in front of a speaker rather than directly cabled, ambiguous activities can be heard in the background; babies crying, feedback, chairs scraping and muffled conversations.

In the composition family histories and musical tastes are transposed over a more contemporary soundscape of Brest. Over-saturated tape distorts time as well as sounds. Speeds change. Chronologies become confused. Different instances in time are blended and fused. What seeps through these chronological crevices are events and incidents unmoored from linear time taking place in a chimerical non-space.

Empire Of Dampness

Renditions Of The Beat - A Resuscitation Recital

Manja Ristić/Joana Guerra/Verónica Cerrotta, Slani pejzaži

On December 22nd, 2024, in Belgrade, the capital of Serbia, students who had been blocking universities across the country for several weeks invited citizens to join them at Slavija Square. The peaceful protest was against the corrupt government and called for accountability for the 15 lives lost on November 1st, when a train station canopy in Novi Sad collapsed due to irresponsible reconstruction management.

Approximately 100,000 people, including myself, attended the protest. The event included 15 minutes of silence in memory of the victims.

For more info on the biggest student protests of the century follow >
https://www.instagram.com/studenti_u_blokadi/
...

Student Protest Belgrade 22-12-2024

End of the Line is an experimental radio play that juxtaposes found audio sourced from gay phone sex hotlines with electronically manipulated recordings of hold music from pharmacies across the USA. 

The hotline is an arguably outmoded telecommunication technology that has sculpted and mediated generations of queer desire. After obtaining a free trial to chat with “local guys” via hotline one lonely December evening, I was granted access to the explicit spoken word bios of men seeking erotic company throughout the United States, some of which seemed to be months-if not years-old. This aural landscape felt both divinatory and predicated on the ideologies of cruising; the faceless ghosts of public sex circulating in a feedback loop. This aura of unfulfilled expectation felt similar to the liminal psychogeographies that occur upon experiencing “hold music”; music created to fill a bureaucratic void and intended to ease the anxieties of waiting. 

Recorded directly from my phone, I began to document these voices while compiling snippets of hold music from CVS and Walgreens’ pharmacies throughout the nation. There were two predominant hold music compositions featured, but depending on the quality of the connection, the recordings were subject to aleatoric distortion and degeneration. These disparate audio sources delineate simultaneously purgatorial and quasi-cartographical spaces, and when in dialogue with each other, create a unique hauntological topography that addresses archival loss, queer longing, the failures of the medical industrial complex, and the occult properties of “being put on hold.”

Biography



Kamikaze Jones is an interdisciplinary artist whose work explores extended vocal technique, queer hauntologies, and ritualized erotic transcendence. Utilizing counterarchival impulse and experimental research procedures, Jones endeavors to provide both sonic and ceremonial sanctuary for the ghosts of public sex. His work across mediums has been featured by Anthology Film Archives, Black Mountain College Museum, Montez Press Radio, Wave Farm, The Poetry Project, and Onassis USA. He was a founding member of the poetry and performance collective The Anchoress Syndicate, and the host of the podcast “Pure Garbage: An Oral Examination of John Waters.” He is the current arts editor of WUSSY Magazine.

https://www.kamikazejones.com

Kamikaze Jones - End of the Line

A Hörspiel triptych of psychic melodrama, set in a London both past and present:

1. Greenwich Aggregates - 2. The Three Compasses - 3. A Blackened Emirates.

Disparate narratives coalesce in a trail of crime and misdirection stretching across the city, leading us ever closer to an unknowable truth. Everything connects, nothing is reconciled. “Only now & then, something would make me remember…”

Musical interludes courtesy of Bernard Herrmann’s Concerto Macabre.

Debuted on Radiophrenia 87.9 FM (Glasgow) - 29/08/16


Hörspiel

A London Noir

A riotous mash-up of endings, goodbyes and farewells… that refuses to be silenced.

Produced for Soundproof (ABC Radio National, Australia) and Radiophrenia (Glasgow) 2017

The End

Voice-over: Victoria Chen Wei

Narrative sound work, focusing on how the body, the mind, and technology become entangled within inter/intra-personal relationships. The piece is inspired by interviews with my brother regarding his use of GECI viruses to map neural networks, the parallels of working within a hermetic studio and laboratory, and the possibility of slipping into the voices in one’s head. The narration leads the audience through nine hallucinatory episodes within which the narrator slips in and out of consciousness, losing the ability to distinguish inside from outside, body from space, and itself from the ‘you’ it is addressing. By playing with the desire to become-with another, the machine and space, the work addresses notions of personal agency.

Aired as part of Radiophrenia 2017, Radio Space Borealis (Bergen 2018) and Wave Farm (London 2019)

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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.

Kamikaze Jones - End of the Line

Radiophrenia

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