Sonic Echoes of the Anthropocene is a sonic exploration of humanity’s impact on Earth, told through immersive field recordings and sound design. Captured in locations shaped by both nature and industry — from Castlefield’s historic canals to the sprawling landscapes of Heaton Park — this collection reveals the layered, often overlooked textures of our modern environment.

Each track invites listeners to pause and reflect on the Anthropocene: a geological age defined by human presence. From subtle city hums to the rustle of reclaimed green spaces, these echoes remind us of what we've built, what we’ve lost, and what continues to evolve in the margins.

Created as part of an artistic research project, this album blends documentary realism with creative interpretation, offering a meditative yet critical listen into the sonic footprints of our time.

Best experienced with headphones.
Recorded in Manchester, UK.
Equipment: Zoom H6 & Audio-Technica shotgun mic.

04 - The Search for Wildlife in Anthropocenic Habitats at Philips Park

01 - The Urban Growth and Its Noise at Castlefield Urban Heritage Park

02 - A Sound Mapping of Aquatic Life and Nature's Resilience at Chorlton Water Park

03 - The Clash Between Human's Leisure Activities and Nature's Soundscapes at Heaton Park

How can the visual arts shed light on the historical relationship between socialism and the natural world?

Uncovering the Socialist Anthropocene

A track from the vault from my previous incarnation, White Minus Red, which was myself + Leigh Hegg aka Lephrenic which is sadly more apt for these times than it was when it was written. What better time for anthropocene avant-pop?! Try to leave something nice behind..

A provocation to consider your legacy..

future archeology

Two landmark rulings on the urgent responsibility of states to address the climate crisis are issued—by the Inter-American Court of Human Rights in a proceeding brought by Chile and Colombia, and by the World Court in a proceeding brought by the threatened Pacific Island nation of Vanuatu. Meanwhile in the USA, the Trump regime withdraws from the Paris Agreement, removes greenhouse gases from EPA oversight, drops subsidies for solar energy—and even destroys NASA's climate-monitoring satellites! This as receding Arctic ice sheets and sea ice begin to destabilize the climate-regulating Atlantic Meridional Overturning Circulation (AMOC), melting glaciers unleash deluges from the Swiss Alps to the Himalayas of Nepal, wildfires rage from Canada to California to the Mediterranean, and ocean acidification crosses a "'planetary boundary" that portends global biosphere collapse. In Episode 290 of the CounterVortex podcast, Bill Weinberg takes an unflinching look at the long odds for humanity's future—even if we manage to avoid nuclear war. 

Listen on SoundCloud or via Patreon.

https://www.patreon.com/countervortex

Production by Chris Rywalt

We ask listeners to donate just $1 per weekly podcast via Patreon -- or $2 for our new special offer! We now have 65 subscribers. If you appreciate our work, please become Number 66!

Meanwhile, the planet is dying....

Roy Scranton returns to the podcast to discuss his new book, Impasse: Climate Change and the Limits of Progress, recently published by Stanford University Press.

Scranton describes our moment as an impasse. We struggle to narrativize and imagine our path through. The vision of our collective horizons is muddied by the sheer unknowability of what the near and distant future holds. Narratives of progress have brought us to this confluence of crises as complex global systems collapse and shift under the weight of material limits on a hotter, more chaotic world.

// Episode notes: https://www.lastborninthewilderness.com/episodes/roy-scranton-2

// Sustain + support: https://www.patreon.com/lastborninthewilderness 

// Donate: https://www.paypal.me/lastbornpodcast

390 / Impasse / Roy Scranton


Le Grand Bazar Te Questionne : l’Anthropocène (partie 1)

Retour sur un concert donné pendant le festival Easy Listening 2025 : « AnthropoScène », en compagnie d’étudiant·es du pôle Aliénor.

Programme musical

· Enzo Minarelli, "Ptyx", album Fame (2012, Pogus Productions)
· Terry Riley, "In C", enregistré en concert par l’ensemble PTYX, Grange Babel, Saint-Pierre-des-Corps, 1 mai 2022
· Maxime Mantovani, "Octuor pour cuivres", création mondiale par les étudiant·es du pôle Aliénor, sous la direction de Christophe Rostang 
· Interview d’Aurore Bruère, Antoine Jeanne, Achille Le Claire, Manon Montfort, réalisée par Jean-Baptiste Apéré au Conservatoire de Tours, le 16 octobre 2025
· Pierre et fils,  "Kornflex", album Fanfares (2022)
· John Adams, "Fearful Symetries", par l’ensemble PTYX et les étudiants du pôle Aliénor *
· Augusta Holmès, "Andromède", par le Virago Symphonic Orchestra, dirigé par Pascale Van Os [https://youtu.be/DMGu14_YVNI?si=FgCbhcKYWjQsBcNF] 
· Christine Groult, "Canal instantané", album Etincelles (Motus, 2007)
· Maxime Mantovani, "Cénorama", par l’ensemble PTYX et les étudiants du pôle Aliénor *

* enregistré en concert le 2 mai 2025, festival Easy Listening, Chapelle Saint-Libert, Tours 

*********************************************

Émission radiophonique sur les musiques contemporaines proposée par l'ensemble PTYX. 
Présentation : Jean-Baptiste Apéré
Réalisation, production, sans concession : ptyx fan club / vnrpe (c) 2025


Le Grand Bazar Te Questionne : l'Anthropocène (partie 1)

Biofonia

Acousmatic Composition - Binaural Version 
2025

Biofonia

"Sarah McDonald effortlessly segues from applying a dash of tropical swelter to thirties standards, tinkering with Thelonius Monk torch songs to a soul jazz rendition of an Amy Winehouse classic." 

Joel Shortman, Rathdowne Records.

"..deceptively laid back and self-assured, with an undercurrent of emotions waiting to sweep you by. When she sings “Rusted brandy in a diamond glass”, it’s the rust she focuses on, not the diamond. Tom Waits would approve...

..There’s a lot of nostalgic glamour associated with the ’20s and ’30’s era. Singers who choose to sing this material often end up as replicas of the sultry divas of the past, dressing up in satin gowns and pearls and stale femininity. Not Sarah McDonald. She approaches her material with a tomboyish attitude, phrasing the classic jazz and obscure torch songs that comprise her set list with a punk sensitivity and a kind of modern-day angst delivered by this beautiful, soulful chili-infused chocolate voice of hers. When she opens her mouth, she showers her audience with raw emotion. No pretense, no polished femininity, no nonsense. It helps that she’s sexy as hell when she does it; and that she’s surrounded by a killer band: Ron Romero on tenor sax, Kumar Shome on guitar, Ben Hanlon on the bass and Lewis Pierre-Humbert on the drums. As these musicians spew fire from their instruments, people get up and dance to her singing, even if she sings Monk’s “I mean you” (not the most danceable song out there)."

Nikos Fotakis, australianjazz.net

Sarah McDonald evokes cool smoky jazz club atmosphere with expressive melifluous phrasing contrasting with rhythmic dexterity.  She is a singer who has been as influenced by horn players and drummers as she has by the great vocalists. Having delved deeply into music, she draws from the greats of the history of jazz, blues and soul and selects choice standards, along with original, contemporary and more esoteric repertoire that she infuses with a soulful authenticity.

She has had a wealth of experience performing original music in various guises, playing in a range of contemporary original bands, world music ensembles and playing music for circus, theatre and film.

She also plays flute and sings in Tarab Ensemble, playing classical Arabic music:

https://www.facebook.com/thisistarab/


For bookings contact: iiiiilk.type.kind@gmail.com

Listen to leading scholars, activists and writers talk about the practice of history and reflect on the social forces that are changing our world.

Support my work on Patreon! https://www.patreon.com/countervortex

A podcast about transitions, death, the ruptures of life in between.

Eduardo Nespoli is a Brazilian composer, improviser and sound artist. His works explore the intersections between electroacoustic music, live-electronic, multimedia performances, and the creation of self-made devices.

Le Cercle des Musiques Disparues existe sous deux formes en alternance : 1) un atelier-concert bimenstriel et itinérant en Indre-et-Loire, 2) une émission radiophonique qui prolonge ce rendez-vous physique et le rend accessible partout sur la planète.
L'émission est diffusée tous les samedis à 14h10 sur Radio Campus Tours.
Avec le soutien du Conseil départemental d'Indre-et-Loire

New tracks tagged #Anthropocene