show 994: underneath the rubble my hand became a will (radioworm)

A new radiopiece made by Palestinian soundartist Dirar Kalash in the Worm studio, february/march 2024
“underneath the rubble my hand became a will”
 a description:

This piece is made up entirely from sounds collected from Palestine, and is composed from different field recordings : protests, nature, markets, city streets, and from different locations across Palestine.
Those sounds were then heavily processed and composed, as an analogical approach to the political realities of Palestine, and the spatial and temporal transformation of both the land and the people –their movements, their lives, and their deaths.

Dirar Kalash (b. 1982) is a musician and sound artist whose work spans a wide range of musical and sonic practices within a variety of instrumental, compositional and improvisational contexts. Kalash also extends his practice into inter-disciplinary theoretical research. He has produced several solo and collaborative music albums and is active as an improvising musician.

Show 993: Ís (glace) jörð (terre) eldi (feu) vindur (vent) by Barylin Tone (Jet fm).

(Picture taken by Julien Bellanger, november 2023)

Featuring Auður Ava Ólafsdóttir, Doris Abéla & Annaïck Domergue.
With sounds and some music by eauchaude (
Ís (glace) jörð (terre) eldi (feu) vindur (vent) is an imaginary soundscape based on the fantasma of Iceland, mainly made with a baritone guitar, an oniric and telluric view of this particular country, inspired by impressions from litterature, music, sound, photography. This long time fantasma has reborn by meeting the great Auður Ava Ólafsdóttir few months ago.
The reading is a chapter from the book Dyralif (La Vérité sur la Lumière) by Auður Ava Ólafsdóttir read by herself (french translation by Eric Boury, reading by Annaïck Domergue)
O2 / Sofðu unga ástin mín is a song by eauchaude.

Show 992: Resonating Sculptures by Reni Hofmüller, Radio Helsinki (Graz)


(c) Martin Gross

Resonating Sculptures

by Reni Hofmüller

If you want to find the secrets of the universe, think in terms of energy, frequency and vibration. Nikola Tesla

Sounds of electromagnetic waves, overlapping frequencies of unfathomable spaces – magical, fleeting and touching, these are the electro-poetic worlds of sound that Reni Hofmüller opens up with the antennas of her Resonating Sculptures. Radiation emissions from the natural and human-made world, the cosmos and the technological environment transformed into sounds: hissing, crackling, hissing, whistling, vibrating, clanking and clicking, humming, buzzing, vibrating and booming, voices, tones and sounds from the radio.
Since 2012, the media artist, musician, composer, organiser and activist has been working with communication spaces that are created and characterised through the use of antennas and interpreted musically and improvisationally in live sets. The sculptures are mobile, small, heavy, expansive, they reference places and spaces for which they were designed, and they each have their own history of creation. These are reflected in the forms as well as the spectrum of what they receive. Eight Resonating Sculptures have been created over the past eleven years. In April 2024, a new series of antennas based on the water systems – rivers, drinking water canals and sewage – will open in Scala, Tabakalera, San Sebastian.
As early as the end of the 19th century, Nikola Tesla picked up signals from Jupiter during his first radio experiments and interpreted them using his imagination. The Resonating Sculptures appeal to this power of imagination in the same way as the blue of the deep when diving in the sea or the noise of the radio between the transmitters that suggest a potential, a maybe, a possibly. Hofmüller: “The world opens up for me from my world of sound.”

Show 991: Verse & Chorus By Dominic J. Jaeckle & Nadia De Vries (Resonance)

Jason Shulman, ‘Lenticular Marilyn,’ © 2017

by Dominic J. Jaeckle & Nadia de Vries

Verse & Chorus
Readers, in order of appearance

Nadia de Vries;
Cíntia Gil;
Diamanda La Berge Dramm;
Mark Lanegan;
Stanley Schtinter;
Becket Flannery;
Vilde Valerie Bjerke Torset;
Matthew Shaw;
& Duke Garwood.

An exquisite corpse of an “I” played out in a multiplicity of voices, Verse & Chorus is an experimental act of collaborative reworking that quilts and collages cuts from two manuscripts (Jaeckle and de Vries) into an imagined third object. In order of appearance, the piece assembles readings from Nadia de Vries, Cíntia Gil, Diamanda La Berge Dramm, Mark Lanegan, Stanley Schtinter, Becket Flannery, and Vilde Valerie Bjerke Torset, with an accompaniment of borrowed songs and original music from Matthew Shaw, Mark Lanegan, and Duke Garwood.

Jaeckle and de Vries writings are excerpted from two collections published by Dostoyevsky Wannabe; Jaeckle’s 36 Exposures and de Vries’ I Failed to Swoon, 2021. Verse & Chorus was first broadcast on Montez Press Radio (New York), 29.01.21, and was broadcast thereafter as an element of the online programme for the 2021 edition of Rewire Festival (The Hague, Netherlands), 06.05.21.

This twitter-verse feed takes philosophy personally, mixmasters it up with best friends and late-night movie simulations. While there are encounters by the galore, and biographical instants dropped like crumbs on a forest walk, the focus here is not on the story, but the lighting, the staging, the choreography of digression. Talk about talking. In these mirrors are reflections of a lost brother, an almost date, an almost self, on the times we used to have, the blood rites we shared until we couldn’t. […] Pensive, coiled, we are dropped in the midst of a drama that will need to bury a few Russian philosophers before life can begin again. And coursing through it all this essential belief: that the right painted apple, the right sentence, the right thought: would change the world. The revolution is in the waiting room.

Mike Hoolboom, on Jaeckle’s 36 Exposures

I Failed to Swoon fails to swoon; it relays; it blurts; like someone breaking bad news to you, but about themselves and with no bedside manner, who then moves to sit somewhere else while maintaining eye contact; De Vries is a poet of barbed brevity, brutal idiom, figgety desire and delicious deadpan, like fresh white spit on a patent leather shoe; what can you do but hold up your fist of horns and believe her entirely?

Jack Underwood, on de Vries’ I Failed to Swoon

With aphorism, deep pith, and humour, Nadia de Vries delivers her sly lines and contrarian point of view with great force, making an uncomfortable music. I Failed to Swoon keeps it real. It has menace.

Peter Gizzi, on de Vries’ I Failed to Swoon

Artwork Jason Shulman, ‘Lenticular Marilyn,’ © 2017

Show 990: The Whole World Stopped for a Balloon, Kanal 103 (Skopje)

“The Whole World Stopped…” is a collaborative compilation of field recordings, a patchwork of making music and narrating, underedited ad hoc experiment, and also a celebration of friendship, a soundscape where two friends meet—Joana and Stefan, both of them colleagues at Kanal 103.

Joana is a multi-instrumentalist, though her main focus is classical guitar. She does use both classical and electric guitar throughout the recording, as well as bontempi electro-acoustic keyboard and goblet drum. Three minutes into this experimental piece, you can hear Stefan’s voice, first telling about a street scene he witnessed downtown Skopje, then reading a poem from Elizabeth Bishop (“At the Fishhouses”) and a short story from Franz Kafka (“Before the Law”). Finally, in the conclusion, a fusion of washing machine centrifuge and a mandola played with a violin bow.

The work is an undisguised communication between music and storytelling, scarcely premeditated, if at all. Most of it is recorded at Partizan Print, a studio of independent artists in Skopje, and very good friends and collaborators with Kanal 103.

Created by Joana Risteska, classic guitar master and multi-instrumentalist, and Stefan Alijevikj, fiction writer and sound seeker. You can follow their radio shows on Kanal 103 Sunday and Tuesday evenings respectively.

Show 989: Poetics of Imagination for Soundart Radio, Devon

Researchers and artists from the Schumacher College Poetics of Imagination group at Dartington Hall, sing us into the forest to meet with ancestors, beasts, to move from individual identity to a collective, merged self. There we confront life, death and rebirth, through multi-ingual mixed modalities.

The Poetics of Imagination course explores orality, story and culture, examining how we have conjured stories from the earliest times to the present day.
The course is centred around oral telling but opens to a broader spectrum of the arts, examining the work of ancient to contemporary storytellers, writers and artists. Students explore the idea that when humans imagine, they tend to imagine in story. What is trying to be told right now?

Created by Cosima von Seefried, Mimi Brown, Annabelle Simmons, Grace Wilshaw Chanter, M, Will Wilson, Isa Schoier, Flo Barshall, Sophie Craven, Lee Morell, Dan Hamner.
Produced by Alice Armstrong and Lucinda Guy at Soundart Radio, South Devon, UK. With thanks to Emma Bush.

Show 988: “Sheela-Na-Gig” by Carine Demange For Radio Campus Bruxelles

SHEELA-NA-GIG is an improvised and multiplied encounter on the banks of the Meavy river. An attempt to let the invisible invite itself and take its place in our daily practices.

Welcome to Dartmoor’s hidden rain forest, in the wooded valley of Dewerstone (Devon, England), inhabited by mossy rivers and welcoming faeries, tangled oaks and beech fruits, talking stones and spying sheeps, pagan radio fellows and Mabon cooking voices.

A idea from : Carine Demange, Gihan Marasingha, Kerry Priest & Maggi Shade
Editing : Carine Demange (Radio Campus Bruxelles)

With gratitude for the good vibes and voices of :
Alice Armstrong, Anne-Marie Bala, Premal Bhatt, George Brock, Stuart Crewes, Pauline Day, Hannah Drayson, Cat Guy, Lucinda Guy, Jess Langton, Sarah Lawrence, Mark Peacock, Roshani Ramass, the Meavy river, the sources of Plym and all Dartmoor energies and invisible inhabitants.

This creation is a collective work done in two days and broadcasted on ACCESS FM on the 17th of september 2023.
A collective radio piece produced during Dartmoor radio residential with Stellaria Media and supported by FUTURES on air project. Many thanks to them and to Soundart Radio.

Show 987: Bruit Confus & CCDM – Improv Sequence | Radio Grenouille

Bruit Confus & CCDM – Improv Sequence

Bruit Confus on Radio Grenouille (88.8 Marseille, FR) founded in 2018 by Billy Guidoni explores deviant and extreme music in all of its forms: noise rock, harsh noise, psychedelia, math rock, experimental, industrial, post-hardcore, free rock, no wave, post-punk, black metal etc. The CCDM (Collectif de Contre-déterminisme Magique) created in 2019 by Peter Hart, also a host on BC, organizes regular free improvisation concerts in randomized ensembles with more or less 90 musicians from the Marseille underground scene.

These two agents of chaos grew up together and continue to inspire one another. In each episode of BC, the presenters engage in a short sound improvisation of around three minutes (called the Improv Sequence) with musical instruments or objects found at home or on site.
Over the past seven seasons, they have developed their unique sound during this collective ritual that has become a kind of project of its own.

Recently, Radio Grenouille’s technician, Alex Papi Simonini, searched the archives to make a sound collage of the greatest moments from the Improv Sequence. This special episode gives a glimpse of an ever-evolving creative dialogue.

Bruit Confus & CCDM – Séquences Impro

Bruits Confus sur Radio Grenouille (88.8 Marseille, FR) fondé en 2018 par Billy Guidoni explore  la musique déviante et extrême dans toutes ses formes : noise rock, harsh noise, psyché, math rock, expé, indus, post-hardcore, free rock, no wave, post-punk, black metal etc. Le CCDM (Collectif de Contre-déterminisme Magique) créé en 2019 par Peter Hart, également animateur sur BC, organise régulièrement des concerts d’improvisation libre en ensemble aléatoire, il regroupe plus ou moins 90 musiciens de la scène underground marseillaise.

Ces deux agents du chaos ont grandi ensemble et continuent de s’inspirer l’un l’autre. Dans chaque épisode de BC, les animateurs proposent une courte improvisation sonore d’environ trois minutes (appelée la Séquence Impro) avec des instruments de musique ou des objets qu’ils trouvent chez eux ou sur place.
Au cours des sept saisons, ils ont développé leur propre son lors de ce rituel collectif qui est devenu une sorte de projet à part.
Récemment, le technicien de Radio Grenouille, Alex Papi Simonini, a creusé dans les archives pour faire un collage sonore des meilleurs moments de la Séquence Impro. Cette émission spéciale donne un aperçu d’un dialogue créatif en constante évolution.

Show 986: Five Sonic Spaces – Gardens for dreamers with awaken minds by Rita Silva (for Rádio Zero)

This piece proposes a sonic journey through the depths of the unconscious mind. Patterns repeat, evolve, mutate and dissipate into other shapes, just like a dream where you can wander freely without ever knowing exactly where you are, when it begins or ends – just a blank space to be filled in the void.

Rita Silva (PT, 1993) is a Portuguese composer and multi-instrumentalist with a focus in analog synthesizers and algorithmic composition.
Part of this year’s roster of Shape +, a renowned european platform for innovative music and art.

Rita released in 2022 her debut album “the inflationary epoch“, which resulted in several media mentions and positive feedback. She has played in venues and festivals such as Out.FEST, Zigurfest, ZDB, GnrATION, Paard, Madeira DIG, The Grey Space In The Middle, among others.

Currently, her research is focused on the use of recursive melodic patterns that can manipulate the listener’s cognitive processes, where the boundaries between sound, space and time are intertwined in a psychoacoustic cosmos.

Show 985: A los cuatro vientos by Félix Blume (Guestslot, Radio Campus Paris)

“Nature is an aeolian harp, a musical instrument whose tones are the re-echo of higher strings within us.” – Novalis

In ancient civilizations, the god of wind (Eole, Aiolos, Aeolus) has an important place. He manifests himself through aeolian harps built for him. In his piece “A los cuatro vientos”, French sound artist and sound engineer Félix Blume presents wind sounds being played in four different places of America, recorded between 2011 and 2014. In one case only it is an aeolian harp (Chile), built with the purpose of interacting with the wind. In other cases, there are power posts of low and high voltage (California, Chile, Mexico) or posts of an old ski lift (Bolivia). The electrical wires are the ropes; posts and steel structures are the resonant body; tubes are the organ… Are these modern buildings the aeolian harps of our times?

For Radia, Félix Blume remixes the recordings used for “A los cuatro vientos” in order to present a new, continuous 28-minute sound work under the same name.

As R. Murray Schafer comments in “The Soundscape”, the installation of electricity in the houses at the beginning of the nineteenth century changed the rural soundscape with the high voltage power lines. Dr Philip Dickinson from the “Research Institute of Sound and Vibrations” mentions the case of a woman who attempted suicide because she continually heard a sound inaudible to others. After several tests, they discovered that some power lines resonated and produced sound between 30 and 40 Hertz. This same sound has been recorded in other places, depending on temperature, humidity and wind.

Félix Blume is a sound artist and sound engineer. He currently works and lives between Mexico, Brazil and France.

He uses sound as a basic material in sound pieces, videos, actions and installations. His process is often collaborative, working with communities and using public space as the context within which he explores and presents his works. His practice involves an extended understanding of listening, as a way to encourage the awareness of the imperceptible and as an act of encounter with others. His work incorporates the sounds of different beings and species, from the buzzing of a bee, the steps of a turtle or the chirp of a cricket, as well as human dialogues both with natural and urban contexts. He is interested in myths and their contemporary interpretation, in what voices can tell beyond words.