Just reallised that I should mention what this site is about. The reason for calling it radionoise is that all of the pieces here were created either using radios, or on a radio programme. In the former case, the sounds are either emanations from other electrical equipment, or created by the interference of two closely tuned radios in close proximity. Unless otherwise specified, no processing was performed on the received signal.
Something I was happy to notice recently is that all of my tracks are specified as 00.0 BPM. YES!!


BIO:
Composer/ musician/ curator/ writer. Recordings on Divorce/ Heavy Fog, Entr'acte, Orange Milk Records, Never Anything, Scissor Tail Editions, Notice Recordings.

Chamber and solo work performed by Esprit Orchestra, Eve Egoyan, Arraymusic, Quatuor Bozzini, Madawaska String Quartet. Electronic work commissioned by AKOUSMA Festival, appeared at the MoMA with installation piece Tentacle. Work also programmed at the Technische Universitat (Berlin), Sonic Arts Research Centre (Belfast), Musicacoustica Festival (Beijing), Soundplay Festival (Toronto). Harvestworks Festival (NYC)

Recipient of the Canadian Music Centre's 2011 Toronto Emerging Composer Award & Canadian Electroacoustic Community's Jeux De Temps Competition (2008). Awarded Canadian Music Centre's Norman Burgess Fund to create a work for solo harp for young performers with educational guidance from Lori Gemmell.

Neil Leonard is a composer, saxophonist, and transdisciplinary artist. The healing power of collaboration, collective listening, and cross-cultural dialogue is central to his work. He maintains active collaborations in Brazil, Burundi, Canada, Cuba, China, Italy, Japan, Korea, Tanzania, the UK, and across the US. His multimedia installation Matanzas Sound Map is currently on view in the East Tank at the Tate Modern and is one of the museum’s 25 featured highlights from the collection, commemorating the Tate’s 25th anniversary. His composition Notes After Lockdown (2024) for string orchestra and video was commissioned by the Morningside Music Bridge Orchestra. Leonard's multimedia works are in the collections of the Museum of Modern Art (MoMA), the Peabody Essex Museum, the Museum of Fine Arts, Boston, the Museum of Modern Art of Bahia, and include a permanent sound installation at the Hiranoya Hotel in Japan.
Recent performances include Donaueschinger Musiktage, the Venice Biennale, and the 2024 Morningside Music Bridge Emerging Artists Concert. He has collaborated with artists Magdalena Campos-Pons, Fujiko Nakaya, Phill Niblock, and Tony Oursler, and with musicians Robert Black, Joanne Brackeen, Terence Blanchard, Juan Blanco, Alvin Curran, Richard Devine, Vijay Iyer, Los Muñequitos de Matanzas, Robin Rimbaud (Scanner), Stephen Vitiello, Hal Wilner, and Amnon Wolman. 2025 LP/CD releases include: The Berklee Sessions, Scanner and Neil Leonard, Alltagsmusic; TATE TWENTY FIVE, Vinyl Factory commemorating the 25th anniversary of the Tate Modern, with Leonard's Matanzas Sound Map.

Benjamin Thigpen. Nomad, born in the United States, naturalized in France. After dropping out of conservatory, he studied literature and aesthetics and travelled extensively. He gradually returned to music though electronic composition.

He creates music for loudspeakers – as a composer and as a performing electronic musician. He composes in various European electroacoustic studios (GRM, VICC, EMS, STEIM) and gives concerts throughout the world. 

He has taught computer music at Ircam (Paris), at the University of Washington (United States), and at the Conservatorio di Cuneo (Italy); he currently teaches at Arts2, in Belgium. 

He has put out two solo CDs – "human for scale" (EMF Media 2005), "divide by zero" (Sub Rosa 2011); a third, "flux," will be released on empreintes DIGITALes in  2017. His music also appears on various compilations. 

He performs in the duo "Rust" with instrument inventor and composer Jean-François Laporte, in "Fluid Identities" with cellist Benjamin Carat, and in "Les Frères Bobine" with composer and electronic musician Stefano Bassanese.

He thinks that music is not a language but a lived visceral experience, and that it is not the art of sound but the art of the transcendence of sound.

Robert Appleton is following