A person is jogging around a burial mound, near to a standing stone circle. They run, using their phone to navigate over tombs and rocks passing inscriptions and woodland. They spot a naked woman floating in the river. Her body is creating an interference….

Sentient, a new commissioned work that ruminates on someone being on the same patch of land 12,000 years apart. 

It’s narrative is circular and the score possesses a state of slippage; from neolithic quasi-time travel, to AI and other fluid immaterial states. 

Eo has written specific new drum rhythms for this commission and has produced sounds with her voice, limbs and musical apparatus.

The drums, percussion, choral chanting and broken narrative represent the past. The synths, looped stems, field recordings and other instrumentation, present day.  

There is a spiritual dimension, which is a continuation of Eo’s research on musical lamentations and Gregorian Chants. 
Alongside this sober state, there is also a playfulness and strong emphasis on the power of an imagination.

Recorded by Eothen Stearn. Additional recording and mix by Chris White. 

Eothen Stearn is an interdisciplinary artist living in Glasgow, playing in bands NIGHTSHIFT, 2PLY and DIFFICULT. 

www.eothenstearn.com

Eothen Stearn - Sentient

Sylvia Wynter’s Maskarade (1973), uses the concept of “Reverse Time” as way of interpreting “carnival-time” and the performance of the world turned upside down. Up becomes down and forward becomes backward; the procession moving in opposing time.

Using an autobiographical approach, OHCE is a sonic procession. Field recordings and choreographic directions situate the listener within the liminal position between two places, Guyana and Scotland; using sound, memory, composition and movement to meet an echo backwards.

Ashanti Harris is a multi-disciplinary visual artist and researcher working with dance, performance and movement, alongside sculpture, film, sound and installation. With a focus on re-contextualusing historical narratives, Ashanti’s work explores the movement of people, ideas and things and the wider social implications of these movements. Her recent research subjects have included dance of the African and Caribbean diaspora in Scotland and Speculating the historical legacies of Guyanese women in Scotland in the 18th and 19th centuries. As part of her creative practice, she is co-director for Project X – a creative education programme, platforming dance and performance from the African and Caribbean diaspora; and works collaboratively as part of the collective Glasgow Open Dance School (G.O.D.S) – facilitating experimental movement workshops and research groups. Recent solo shows include: The Skeleton of a Name, Transmission Gallery, Glasgow (2019); Second Site, Civic Room, Glasgow (2019). Recent group shows include: Being Present, OGR, Torino (2020); In The Open, The Common Guild, Glasgow (2020); Alchemy Film Festival, Hawick (2020); Pre-Ramble, David Dale, Glasgow (2020); Walking Through the Shadows Eyes Open, SUBSOLO Laboratório de Arte, Sao Paolo, (2019); BLIP! as part of Annuale 2019, Broughton Place, Edinburgh, (2019); As of Yet, Many Studios, Glasgow (2019); Just Start Here, The Anatomy Rooms, Aberdeen (2019); Festival of the Not, Circa Projects, Newcastle (2019)

www.ashantiharris.com

www.projectxplatform.co.uk

Ashanti Harris - OHCE

Embodied through words, sounds and voice “From My Window: Dreams, Hopes and Disappointments” is a sound collage that explores field recordings taken from the windowsills in my house, escapes from New York City and reflections on what it means to dream through chaos.

Rena Anakwe is an interdisciplinary artist and performer working primarily with sound, visuals, and scent. Exploring intersections between traditional healing practices, spirituality and performance, she creates works focused on sensory-based, experiential interactions using creative technology. 

Currently, Rena is a 2020–21 resident of the Abrons Arts Center AIRspace performance program. She was also a 2019 ISSUE Project Room artist-in-residence, a 2019 Abrons Arts Center Sound Series commissioned artist, and a 2018 Signal Culture artist-in-residence. She has collaborated, produced, and shown work at New York City institutions including: Dia Foundation, Fridman Gallery, Knockdown Center, Lincoln Center, MoMA PS1, CultureHub, Pioneer Works, and Montez Press Radio. Most recently, under the moniker A Space for Sound, Anakwe released the first in an ongoing audio series titled “Sound Bath Mixtape vol. 1”, through the New York City-based label and collective PTP. 

Rena is based in Brooklyn, New York, by way of Nigeria and Canada.

www.aspaceforsound.com

Rena Anakwe - From My Window Hopes Dreams And Disappointments

In making Three Sweep Between, their new commission for Radiophrenia 2020, Roy Claire Potter and Kieron Piercy had meltdowns; it’s not an easy time to make work. They used a terraced house layout to build and inform their interrelated recording and writing process, which brings synthesised and manipulated sounds together with visual descriptions to reimagine a total shithole’s lost potential. 

Roy Claire Potter is an interdisciplinary artist mainly making written texts and performances. Kieron Piercy makes audio composition, improvisation and installation. Between them they have audio released by SubRosa, Chocolate Monk, FortEvilFruit, Harbinger Sound and Porta.
They are tired.

Roy Claire Potter And Kieron Piercy - Three Sweep Between

The Yard, The Room Upstairs (Still Life) is a tape work inspired by allegorical vanitas paintings. Aiming at a moving target, the piece explores the elusiveness of memory by alternating two thematically connected field recordings, each time with overdubs and treatments gradually replacing the original source.

Two memories are revisited alternately three times each. The piece starts out from two short scenes recorded on site: a yard sounded by crickets and a piano in a room. Banal yet charged with what is absent: other senses, inaudible sonic details, layers of emotion. These scenes are recreated three times: first with the original source, the second time with part of the source and the third time without the source.

Scene I: The Yard
Date: August 14, 2020, South-West Finland
Setting: An almost empty camping ground. A remnant of the welfare culture of decades past. A remote bay surrounded by forest, houses, cottages and sheds, peeling red paint. An overgrown playground and mini golf court half sunken into the soft ground covered with pine needles.

At dusk, walking across the yard. The air has a smokey quality and is filled with the rise and fall of the sounds of crickets. They are always at a distance, never near, stopping when you enter their field, then starting again a few moments after leaving it, like the wake of a boat swelling back into the sea. A mouse runs across the gravel and freezes motionless under your gaze. Faint movements in the surrounding trees in full dark green at the peak of late summer. The light scent of burning logs.

Revisit the memory of this moment over and over as it evades you, like the crickets, the wake.

Scene II: The Room Upstairs
Date: August 29, 2020, Southern Finland
Setting: A yellow house surrounded by fields. Windows in all but one direction. Afternoon sunlight. A rarely played piano in a large living room. A dishwasher humming in the adjoining kitchen. The presence of people downstairs felt but not heard. Amateur oil paintings adorning the walls. Portraits, landscapes and still lives, mostly. A book case filled to the ceiling with 70’s and 80’s bestsellers. A stuffed snake on a shelf, a cow hide rug, a hearing aid and batteries on a mahogany coffee table, a pair of large slippers. Another scene inhabited by the remnants of hobbies, leisure time, objects to fill out the measures of an afternoon that grows longer with each year.

Play along to the piano.

The piece contains samples of rehearsal recordings from another work in progress with Aino Juutilainen (cello), Johanna Kalliokulju (mezzo-soprano) and Villa Ruscica (harp).

Marja Ahti (b. 1981) is a Swedish-Finnish sound artist and composer working with field recordings, electronics, feedback, magnetic tape and digital treatments. Her work gravitates towards organic textures and intuitive tunings, assembling rough edged yet precise compositions, poetically narrative and rich in detail. Ahti has presented her music in many different contexts around Europe, in Japan and the United States. She is currently active as a duo with her partner Niko-Matti Ahti and in the artist/organizer collective Himera.

www.marjaahti.com

Marja Ahti - The Yard, The Room Upstairs (Still Life) (excerpt)

Revisiting a shared archive of recorded sounds, it, still is a patchwork of edited, processed and resampled material. Listening for small sounds and moments of intimacy, the work explores the potential of previously disregarded recordings to form new relationships.

soft tissue is a collaboration between Glasgow-based artists Feronia Wennborg and Simon Weins. Working with DIY electronics, domestic recordings and digital feedback, the duo plays within networks of lo-fi amplification, blurring the boundaries between initiated and environmental sounds. 

Recent projects include a self-titled tape release on London-based label Penultimate Press (2019), a commissioned audio-visual piece for West Den Haag, Leaks (2020), and a residency at CCA Creative Lab through AC Projects (2020).

it, still is a co-commission between Radiophrenia and Kunstradio Radiokunst for Ö1, Austria.
Visual Portfolio, Posts & Image Gallery for WordPress

Soft Tissue - It, Still

Ever and ever, forever and ever, you’ll be the one that shines in me like the morning sun. (This is an audiowork about joy and self-love and their interplay.) Ever and ever, forever and ever, you’ll be my spring, my rainbow’s end and the song I sing. (Initially envisioned as an hour long rendition of ‘forever and ever’ by Demis Roussos, the piece evolved to be a reflection on karaoke as a form of love.) Take me far beyond imagination. You’re my dream come true, my consolation. (Inspired by the philosophies of Audre Lorde, Sonya Renee Taylor, Prentis Hemphill, adrienne maree brown and doggface from instagram, along with the love songs of Roussos, Burt Bacharach and Whitney Houston, the piece evokes joy as an act of resistance to capitalism.) You’ll be my dream, my symphony, my own lover’s theme. (The piece practices self-love by singing love songs to itself. The piece remembers joyful dreams dreamt during lockdown, euphoric dreams of endless space, adventure, friendship and belonging.) Ever and ever, forever and ever, my destiny will follow you eternally.  

Tilly Alexander Hallworth aka tandsmør (she/her) is a poet, musician, sound artist and cycle instructor living and working in Glasgow.

https://tandsmor.bandcamp.com/

Tandsmør - ever and ever (forever and ever)

Time is a sliding door –  but if so, what does it mean?

“Time is a Sliding Door” is a variation of Ralph Waldo Emerson’s saying that “Reality is a Sliding Door”. As if that wasn’t tricky enough, substituting ‘reality’ with the noun ‘time’ unravels a kaleidoscope of meanings and implications that turns the ground of our presumptuous existence into a wobbly pudding. If Time is a Sliding Door, and we push it aside, what happens beyond the threshold? The act of sliding means that the other side is only slowly revealed. As well as with a thud, thunder and roll. As radio is a medium which transgresses our notion of time and space, both naturally and effortlessly, how does it come into the picture? If the door opens onto a 5th dimension, and/or still others, how could this be ‘enlistened’ into a radiophonic scape? To be honest, the author of these lines doesn’t actually know, and how could she?

As humans we continue to be tethered to time as a condition of our communication, our perception, our being. It just seemed fit to start with a speedy panorama of the “Swabian-Alemannic Fasnet”. Fasnet (or “Fastnacht”) is also called the “fifth season of the year”, and is recorded in central Europe at least since the 13th century. Its presentation of an inverted world, the parades of Jesters, Fools and Witches, the almost deafening onrush of drums, ‘Fools Cries’, trombones, trumpets and bells truly create a different time horizon.Other acoustic inhabitants of this composition are the cuckoo-clock and clocks in general, as this region of Germany is famous for its clock-makers since the 17th century. And after all, it is not just the shamans of the Northern Tunguska who believe that the cuckoo’s call presages the number of years one has left to live…

 Time is a Sliding Door sticks to the human dimension, playing with the acts of acceleration and deceleration, with the notion of journeying (we shall be travelling from the Black Forest to New Mexico and from there to Slovenia – at least), spellbound by folk tunes, with the whisperings of shortwaves captured in open and discreet places. Hidden stories keep on drifting through radio space, sites and signals keep travelling, and wherever they may go, eventually an alien molecule, touched by radio might spark off the impulse for that door to open up into the unforeseeable. Meanwhile, we’ll keep hanging around this auditory doorstep.

Credits:

Accordion: Olsen auf Aldebaran

Musical Saw: Mimosa Pale

Singers: Sanne Drouhin-Kok, Ulrike Stoehring and Lilli Moors, Fernando (guest appearing for “Adopta una planta”/Datscha Radio, Madrid).

Drums: Paddi (Patrick Guderitz), Toni Brokoli (Pascal Dinser aka Kalle Dinsko) & Junk (Thomas Jank)

Special thanks to: Global Forest e. V., Black Forest!

Gabi Schaffner works as a trans-disciplinary artist within the realms of radio art, composition and performance. Her artistic practice is determined by the methods of poetic ethnography in connection with fluxus-like mise-en-scènes, radio-making and sound art performances. Much of her work originates from journeys. Next to her radiophonic productions, Schaffner creates speculative musical genres and inserts them into music history in order to raise awareness for cultural, gender-related and/or geographical conditions.

Schaffner has been realising award-winning productions with Deutschlandfunk Kultur, radia.fm, Hessian Cultural Radio and ABC Australia. Since 2012 she maintains “Datscha Radio”, a nomadic transmission project that links the medium of radio to current ecological issues.

As a writer and translator, she has published numerous texts; most recently: “RevoltenDiaries”, in: Radio Revolten, 2019. She holds a MA in literature and ethnography and a diploma in visual communication. Gabi Schaffner lives in Berlin.

Current work:
Fazzoletto per un eternità. Performance and vinyl edition, 2020
Rapid(s)Trains: Geolocated audio walk for Open Gorey, Wexford, Ireland. 2020-2021

https://schaffnerin.net

Gabi Schaffner - Time Is A Sliding Door

Alexandra Spence – “Do jellyfish breathe?”

A reworked version of this piece has been released as the album 'a veil, the sea' as a cassette tape or download on the Mappa label. You can purchase a copy here:

https://mappa.bandcamp.com/album/a-veil-the-sea

During Sydney’s most recent lockdown I submerged* a 15 minute-long piece of cassette tape in seawater collected from a local beach. The cassette tape contained a field recording of waves, and a recording of my voice offering a (non-definitive, and non-hierarchical) list of things found in the Pacific Ocean.

I’ve been thinking about connection with bodies of water, as well as connections between bodies and water, and how we might reimagine our bodily limitations to examine the things that connect us to each other and to our surroundings. The sea has always felt like home, and having lived on both the east and west edges of the Pacific Ocean it has become a place of connection for me.

I’ve been thinking about the Pacific Ocean as a home – not only to marine creatures and sea currents – but to the obscure movements of global trade, offshore data barges, and sunken satellites deactivated and dumped from space. Vast bodies may seem infinite, but nothing is – the depths hold mysterious, beautiful, and troubling things.

…Bottlenose dolphins, ancient artefacts, Lego pieces, approximately 36 species of shark, underwater mines…

Imagining an infinite ocean has led to overfishing, floating plastic-particle gyres, lost whales (as a result of the underwater din of shipping and naval industries), and an international sense of unaccountability.

“… Do jellyfish breathe?” is a kind of sonic traversing of oceanic layers, exploring imaginary landscapes, entwining and encountering unequal forms, such as breath with wave, fish with fishing line, along the way.

*Submerging the tape in salt water is an expansion of an ongoing project in which I bury tape loops 7-second field recordings on tape loops before burying them in the earth at the location in which they were recorded. I imagine this as a collaboration of sorts — I make a recording and the physical variables of each place and location alter it. While the magnetic coating of the tape retains sonic remnants of the recorded sounds of the place, the physicality of the tape ribbon retains material remnants of the place: sand, salt, other, which, in turn, impart audibly on the recording in the form of crackles, scratches, tape-warp, and hiss.

Alexandra Spence - Do Jellyfish Breathe (excerpt)

Alias Domaines   – “Being On This Boat Is Not Revenge”

Alias Domaines is a cross-Atlantic collaboration between Sukaina Kubba and Craig Mulholland.  
Alias Domaines is a semi-fictional space where exchange occurs by proxy. 
Alias Domaines is theoretically and virtually located on a cruise ship that travels between the ports of New York City and Southampton, UK. 
Our ship is part of the Cunard Transatlantic Fleet, a real cruise ship company. 

CUNARD: The Cunard brand is a nostalgia for art-deco design and lifestyle aspirations. 
From a post-colonial perspective, art-deco functions as sugar-coating or white-washing of harsh modernist and colonialist power relations driving international capitalism.  While it inhabits a space outside national lands and laws, the Cunard is an allegory for British class relations and British colonialism.  
A cross-section of the ship reveals a microcosm and floating representation of the hierarchy of class and racial structures. 

SETTING: First Class Lounge, Deck, Cabins, Storage Unit and Connecting Spaces 

CHARACTERS: 

Beverly Valenzuela: Concierge and Aspiring Fashion Designer
John Templeton: Entertainments Manager and Pianist   

“Being on this boat, it’s not revenge”

Edouard Glissant, filmed aboard the Cunard from Martinique to France, reflecting on the terrible journey his ancestors took in the opposite direction across the Atlantic. From “Edouard Glissant: One World in Relation” directed by Manthia Diawara, 2009

ALIAS DOMAINES (2021-22) is generously supported by the Canada Council for the Arts

Alias Domaines - Being On This Boat Is Not Revenge

Asha Sheshadri – “The Last Picture Show”

The Last Picture Show is a survey of self-conscious object details lodged within the Metropolitan Museum of Art, with no expectation that they would ever be heard. The work is interspersed with dialogue from “The Last Picture Show” (1971). It was set up as an open-ended exploration, in which I documented art objects that were to be addressed, through writing and field recordings which were then cast aside. To me, this piece feels like revisiting an outdated atlas. 

Asha Sheshadri (b. 1986) moves freely between video, writing, sound, and photography. Her forms flow together to create unpredictable observations of the overlooked, while documenting personal and political networks within our collective, imperfect memory. She currently lives and works in New York. 

www.ashasheshadri.com

Asha Shedadri - The Last Picture Show

Charmaine Lee – “Mira Mirage”
“Mira Mirage” is a sound work by vocalist Charmaine Lee using electronics, voice, and microphones. 

Charmaine Lee (b. 1991) is a New York-based vocalist from Sydney, Australia. Her music is predominantly improvised, favoring a uniquely personal approach to vocal expression concerned with spontaneity, playfulness, and risk-taking. Beyond extended vocal technique, Charmaine uses amplification, feedback, and microphones to augment and distort the voice. She has performed with leading improvisers id m theft able, Ikue Mori, Sam Pluta, Tyshawn Sorey, Nate Wooley, and C. Spencer Yeh, and maintains ongoing collaborations with Conrad Tao, Victoria Shen, Zach Rowden, and Eric Wubbels. Charmaine has performed at ISSUE Project Room, the Kitchen, Roulette, The Poetry Project, and MoMA PS1, and participated in festivals including Resonant Bodies, Huddersfield Contemporary, and Ende Tymes. She has been featured in group exhibitions including The Moon Represents My Heart: Music, Memory and Belonging at the Museum of Chinese in America (2019). As a composer, Charmaine has been commissioned by the Wet Ink Ensemble (2018) and Spektral Quartet (2018). She was an Artist-in-Residence at ISSUE Project Room (2019) and a Van Lier Fellow at Roulette (2021). Charmaine is currently a member of the Editorial Board of Sound American.

https://charmainelee.com

Charmaine Lee - Mira Mirage

“Hello, my name is Christian Mirande and you’re listening to my piece made for Radiophrenia! You’ll hear field recordings, tape loops, electric piano, organ, bullroarer and some digital synthesizers, all layered into a work themed very loosely on listening to radio programs. I’ve been a radio listener all my life; it’s buoyed me, fatigued me, excited me and everywhere in between. I initially considered working with single-sideband modulation and voice for this work as the technology is at the core of radio wave transmission and reception, and its effect on sound is quite dramatic, if not a bit cliche. Ultimately, I decided on a performance, a general ribbing and sort of pastiche- a bit of a think about American radio broadcast and it’s reflection back. Public radio reports, emotional overwrought essay programs, irritating commercials, religious music, interference- all without using those actual things as source material. I hope you enjoy it! Well, I forgot, there was also fretless bass.”

Christian Mirande (b. 1986) is an experimental musician from Philadelphia. He has utilized magnetic tape, various audio synthesis methods, and instruments from the fretless bass to the iphone voice memo. His work is often characterized as textural or atmospheric. Dealing with themes such as memory, loss, and faith, this new piece is a reaction to a lifetime spent in the car with American broadcast radio. 

He has been a member of the groups Open Corner and The Flea Circus. 

https://christianmirande.bandcamp.com

https://soundcloud.com/christian-mirande

Christian Mirande - Be Strong Son

claire rousay – “from home to lowcountry”

“from home to lowcountry” documents a solo journey from my home in San Antonio to one of my favorite local bars, Lowcountry. This journey was originally documented as an unaltered field recording. Later, I decided to record an accompaniment to this field recording that included piano, organ, vocal samples, and various other electronics. The accompaniment acts as an emotional compass that guides the listener through my 36 minute journey from home’s front door to the patio bar. 

claire rousay is based in San Antonio, Texas. Her music zeroes in on personal emotions and the minutiae of everyday life — voicemails, hapatics, environmental recordings, stopwatches, whispers and conversations — exploding their significance. rousay has released music on a range of labels, most notably Astral Spirits, Second Editions, Longform Editions and American Dreams, who in 2021 released a softer focus, a collaboration with visual artist Dani Toral. rousay’s music has received acclaim from NPR, which writes that rousay “enchants the ordinary,” and Pitchfork, which calls her music “quietly devastating.” rousay has presented music at Audiograft Festival, Casa Del Lago (CDMX), Issue Project Room, Rewire Festival, and Salon De Normandy (Paris), among many others, held residencies at Rhizome DC and Elastic Arts Exposure Series, and performed with musicians such as Ken Vandermark, Ingebrigt Haker-Flaten, Jacob Wick and Theodore Cale Schafer

https://clairerousay.com/

https://clairerousay.bandcamp.com/

Claire Rousay - From Home To Lowcountry

Helena Celle – “Dreams in the Worm House”

TX: Midday and 6pm

My partner and I visited WORM in Rotterdam, courtesy of Radiophrenia. We recorded over a days worth of improvisation on an optical disc organ. I edited those recordings down to ninety-nine fragments, then wrote a computer program to represent them in a specific manner over the course of two hours. During recording, my thoughts were occupied by the following: attribution of personhood to the marginal via the radiophonic, animating the inanimate, the early work of The Residents (to whom I owe the kernel of my outlook on life), the uncharacteristically whimsical organ music of Anton LaVey released on Amarillo Records, backmasking and contemporary incidence of satanic panic, Dario Argento’s Suspiria, La Monte Young’s Dream House, and HP Lovecraft’s “Dreams in the Witch House”.

Helena Celle is a Glaswegian artist and audio engineer. She is concerned with the participatory representation of the imaginal through the organisation of sound, image and language, and currently produces an hour (or more) of original work for patrons every month. She plays guitar in the band Herbert Powell (Lost Map Records), and previously played bass guitar in the band Anxiety (La Vida Es Un Mus Records). 

https://www.patreon.com/helena_celle

Helena Celle - Dreams In The Worm House

Khadea Santi – “Deep Lake Murmurs“
Deep Lake Murmurs is a mediative speculative fiction on diaspora, water and imagined borders. Accompanied by recordings of various rivers, a soft gliding voice ascends and descends in prayer, creating a psychic vessel for spirits travelling off an imprisoning island. Taking inspiration from the African water deity Mami Wata, it brings together a resistance to post-colonial borders with layers of ancient water folklore. 

Vocals by Fiyin Fakunle.

Khadea Santi is a ceramicist and artist, exploring histories and storytelling through the use of creative workshops as a way to encourage space for self-exploration centred on lived experience. They are interested in critical autoethnography as a method that disrupts ideas on the subject/object dualism and Eurocentrism, instead self-reflecting rooted in diasporic knowledge working across various media including; writing, ceramics and film.

Khadea Santi - Deep Lake Murmurs

Kiera Mulhern

Sequelae (pft sequela
of black hole in the kitchen,
glass. A kitchen. Utensil utili
ssociated after the cow licks
her clean. Or we are born with
sin & undergo. a cleaning
process. . X consider the
reverse the viscera  lost But
of course the newborn is
already altered by the world.
It’ss created by it ,

Sadism of helplessness. Winnow  
the edible. Wasn’t it just what  
people do to each other   !    
take      Or could you be angry

Kiera Mulhern (b. 1992) is a poet and musician based in New York. Mulhern works with field recordings, various electroacoustic material, and voiced text, incubating words and verbal fragments within thick environments of sound. She is most interested in memory and where it may be situated, fragility of meaning, and basal feelings of aliveness and death.

http://kieramulhern.com

http://kieramulhern.comhttps://recitalprogram.bandcamp.com/album/de-ossibus-20

Kiera Mulhern - Wanda

https://2022.radiophrenia.scot/artist/manja-ristic/

In January 2020 I found myself in Ljubljana exploring abandoned spaces as a continuation of my obsession with listening to the Third Landscape – Gilles Clément’s concept which considers, among other things, abandoned urban landscapes or those which suffered an explicit human intervention as places good for thriving bio-diversities which are building the genetic reservoirs that an overall Ecosystem is dependant on. I instantly got hooked by the largest city project – The Sport Park Stožice. It was supposed to include sport facilities and a vast commercial area but only the public part was built, the arena and the stadium. Eighty thousand square meters of the shopping centre remained unfinished.

As often, politics and economics are inseparable, and as corruptive mechanisms become more obvious, both reveal deep submergence into necropolitics. A capital cumulation on the detriment of basic social rights leading to a radical devaluation of a human life. To cut the story short, most of the “modern” societies “background” economics can be reduced to arms sales, drugs, and human trafficking routes. Beneath them are stock value of oil and lithium, gold and diamonds. 

“Please be careful, you’ll be trespassing”, said a dear friend.

The private partner in the public-private largest investment in Slovenia since the 1970s went bankrupt in 2012. 

There were irregularities in the expenditure of EU funds, the then-Mayor pleads not guilty in the latest lawsuit investigating the case. 

“There used to be a wonderful pond, and a hilly landscape… now it’s just concrete, wherever you look, there’s concrete.”

It was a crispy January morning, I wore my army boots. The site was enormous. Several concrete terraces were covered in various surfaces, reaching as far as the eye can see. I decided to just walk.

..... (see web link for full text).....

Every time you think “That is somewhere over there. Nothing has to happen”, a child that dreamed of freedom disappears.

The composition is made around an excerpt from my Stožice abandoned construction site field recording archive. Recorded in January 2020 during the reZone residency in Ljubljana.
Poetry excerpts from the collection Stories Untold.
Mastering by La Plant Studio Belgrade.

http://manjaristic.blogspot.com/

https://manjaristic.bandcamp.com/

https://sonicmatter.bandcamp.com/
photo: Nina Pernat

‘Nothing Has To Happen, Fortress Europe’ is a co-commission between Radiophrenia and Kunstradio Radiokunst for Ö1, Austria.

Manja Ristic - Nothing Has To Happen, Fortress Europe

Marco Paltrinieri – “Untitled (an anecdote)”

Untitled (an anecdote) is a composition that tells the story of a journey away from reality and towards what could be a newfound awareness for some or perhaps madness for others. But there is no moral to be drawn here. Instead, what matters is the experience of listening itself, to be understood as an act of openness to the possible. In a world largely dominated by the immediacy of vision, I do believe in the role of other senses in bringing a renewed depth to the experience of the world itself and to our role in it.

Starting from these assumptions, Untitled (an anecdote) has a twofold nature: on the one hand it is an homage to the ability of sound to help reconsidering reality and to foster imagination and on the other, it relies on such qualities to accentuate the nuances of the story while experimenting with narrative possibilities.  

—

Written, recorded and mixed by Marco Paltrinieri 
Words by Marco Paltrinieri
Voice by Lucie Page
Mastered by Renato Grieco
Artwork by Mirko Smerdel

Marco Paltrinieri - Untitled (an anecdote)

MME dUO – “I all go rythmus”

I all go rythmus
describes a series of laconic islands
with the most diverse vegetation
of dense voice fragments
and clearings,
which we follow along a Hummingway,
fringed by
repetitive blurred and unfiltered
reflections and recordings

In “I all go rythmus”, MME dUO challenges and explores above all the crazy wilderness of gaps, over and through which to stumble, to explore what is in between, above, below and beside.

Since 2016 Cologne based Patricia Koellges and Tamara Lorenz make use of a variety of instruments and devices: DIY electroacoustics, small synths, loopers, tuning forks, e-bass, percussion and voice are thrown into the game and shape a sound in the tradition of Musique concrete, Post Punk and factual Dada that is as diverse as it is striking in it’s interplay between dissonant sounds and harmonic sequences, breaks between a-tactical accents and continuous rhythms, the supposed familiarity of spoken language, which is nevertheless alienated by fragmentation, give rise to unusual sound collages in the overall work that explores the potential for ambiguity that arises from the interweaving of a variety of disciplines, including video, sound, collage, sculpture, fashion and photography.

www.mme-duo.de

https://mmeduo.bandcamp.com

https://www.instagram.com/mme_duo/

MME DUO - I All Go Rythmus

Siobhain Ma & Rhiannon Walsh – “Journey Through the Auricle”

“Journey Through the Auricle” is a voyage through an elevator centring on exploration and internal and external discovery. Stop one consists of a commission from your ears. They have enlisted our help to clear out the clutter and clatter of what is going on upstairs. Stop two takes you to an unknown land, rich in colour and restorative light beams. While stop three nourishes your roots and provides a sound bath for the senses. Throughout this collaborative piece Siobhain channels the imagined environments through dreamlike synths, while Rhiannon uses metallic and machine-like sound and voices that are not her own.

Siobhain Ma is a sound artist who explores themes of identity, environment and (sometimes) the supernatural in her work.

Rhiannon Walsh is a sometimes audio maker, writer and Reiki practitioner. She enjoys producing content centred around the body, nature, rest and meditation – including ASMR.

Siobhain Ma & Rhiannon Walsh - Journey Through The Auricle

As part of our public engagement activities for 2023 we have worked with four diverse community groups to create a series of radio and sound works for broadcast on Radiophrenia.

‘Amina: the Muslim Women’s Resource Centre’ – Amina MWRC

Amina is Scotland’s resource centre for Muslim and BME women. Exploring their services through voice and sound, listeners are invited on an audio journey through the organisation’s work. From the perspectives of three teams – Helpline, Violence Against Women and Girls, and Employability, Adult Learning and Financial Inclusion – we hear how Amina supports and empowers vulnerable women, dismantles discriminatory sociopolitical structures, confronts cultural norms, helps to rewrite policy, challenges capitalist value systems, and amplifies the most marginalised of voices.

Recording, production and sound design by Riah Naief and Katie Revell, for Radiophrenia.

Amina – the Muslim Women’s Resource Centre empowers and supports Muslim, Black and Minority Ethnic (BME) women to create an inclusive Scotland in which they can contribute fully. We envision a world where Muslim and BME women are fulfilling their aspirations. Amina is an award-winning organisation, recognised for its pioneering and responsive approach to addressing key issues and needs of racially minoritised women and Muslim women.

The works created during these workshops will be broadcast as part of a special afternoon listening event from 3pm – 5.30pm on Thursday, 24th August.

Amina’s Helpline number is 0808 801 0301.

Amina

As part of our public engagement activities for 2023 we have worked with four diverse community groups to create a series of radio and sound works for broadcast on Radiophrenia.

‘They’ve Not Got Ears, Per Se’ is a sonic and sometimes submerged imagining of what a fish’s world sounds like, maggot eating included – and what they make of us humans above the water. As well as moving above and below a fishery’s pools, this piece also takes us between different fisher people; to hear about what fishing means to them, past prize catches (where fishes are as big as crocodiles), and what it feels like to hook a fish (and to be hooked, as a fish).

Created by Govanhill Baths Fishing Group, recorded in Summer 2023 at the Springwater Fishery, Ayr. 

Production and sound design by Ros Fraser and Flora Zajicek for Radiophrenia.

Govanhill Baths is a grassroots, activist-based organisation delivering health, wellbeing, arts, environmental and heritage projects. Govanhill Baths Fishing Group invites families, couples and individuals to meet new people, and to acquire skills in both fly and bait fishing, supported by the Scottish Federation for Coarse Angling (SFCA).

The works created during these workshops will be broadcast as part of a special afternoon listening event from 3pm – 5.30pm on Thursday, 24th August.

Govanhill Baths Fishing Group - They've Not Got Ears, Per Se

As part of our public engagement activities for 2023 we have worked with four diverse community groups to create a series of radio and sound works for broadcast on Radiophrenia.

In July 2023, Flourish House members – accompanied by visual and sound artists Eothen Stearn and Flora Zajicek – embarked on three afternoons of experimental radio workshops. Together they explored sound and memory, prompted by a theme of the four classical elements: fire, earth, water and air. Through collective listening, walking and meditating, the group created rhythms, soundscapes, poetry and stories. ‘Kicking the Can’ is a window into the workshops, meandering through our experiments and pausing to dwell on moments of remembered youth or reflections on what it means to listen and be heard. Recordings were made in the surrounding neighbourhood of Flourish House in the Woodlands area of Glasgow.

Flourish House is a mental health recovery community. We offer support to people with long-term mental illnesses, enabling them to gain a sense of well-being and to recover confidence. We encourage people to learn new skills to achieve social, financial and vocational goals, and to become active participants in the community.

The works created during these workshops will be broadcast as part of a special afternoon listening event from 3pm – 5.30pm on Thursday, 24th August.

Flourish House - Kicking The Can

As part of our public engagement activities for 2023 we have worked with four diverse community groups to create a series of radio and sound works for broadcast on Radiophrenia.

“You see things in different lights, and see people in completely different ways…”

‘We Hear You’ is an immersive soundscape of stories and real-life experiences, poetry and music, created and designed by some of the many people supported by Simon Community Scotland’s We See You project.

Recording, production and sound design by Steve Urquhart, for Radiophrenia.

We See You supports people in Glasgow city centre who use substances, and who are experiencing homelessness. It offers creative sessions, walking groups, drama workshops and psychosocial support for people in a safe, inclusive and open environment, as well as access to harm reduction interventions and treatment, 365 days a year. 

The works created during these workshops will be broadcast as part of a special afternoon listening event from 3pm – 5.30pm on Thursday, 24th August.

A full version of ‘We Hear You’ will also be aired on Saturday, 2nd September from 9.30-10.00pm.

We See You - We Hear You

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)

“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

“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

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)

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

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.

Popular tracks by Radiophrenia