Show 899: an SOS from Masafer Yatta (radioart106)

On 4 May 2022, the Israeli Supreme Court approved the forcible transfer of more than 2,200 Palestinian residents of Masafer Yatta (South Hebron Hills) after the military declared their area of residence as “Firing Zone 918.” In handing down this judgment, the court permitted the state to commit a war crime. 

This broadcast joins the emergency call to #SaveMasaferYatta. It is mainly compiled from local activists’ documentations of home demolitions, military assaults, Illegal Jewish settlers attacks, and new interviews.

I am Wazha Ayub Abu Sabha, 60 years old. We have been living on this land since I was born, and I got married and had a baby, and I had grandchildren and brides in law, all this land. And my husband, rest his soul,  got a cardiac arrest because he was here and did not agree to go home, then he got a cardiac arrest in the evening after he came home and we milked the goats, then he got a cardiac arrest and we called the car that came to pick us up, we returned home and he died. And we did not move from here. We built houses and wanted to rest and then they came and demolished our houses, 5 rooms, and a room on the second floor where my son wanted to entertain friends and another room that served as a warehouse, and a shed. On the first time they demolished everything. Then there were people who brought us houses and helped us, we rebuilt the houses. And we also set up a pigeon nest, a kitchen and other rooms. We were offered to move away from where we were the first time, that’s what we did but they demolished everything at once. They came the second time and destroyed everything at once the rooms and the kitchen and everything. On the third time [demolition], people helped us to set up tents. Two tents. Then suddenly in the middle of the day without any warning we saw tanks coming towards us. They moved the tents again and even the pipes – destroyed and removed from the place also a tree that was in the place. They uprooted it.

Then they destroyed everything. The legume warehouse, they took out the food for the sheep using a crane, and using a knife they opened all the food bags and covered them with earth. where shall we go? What shall we do? We sat here in the sun until they brought us the keys to the clinic where we are sitting now. The lambs and sheep were not saved either, they were also harassed. They took them out of their sheds, the lamb that gave birth, died in the morning, and our losses… we do not know how much …. And now we are in this heat, who can sit under this scorching sun?

This is our land and this is our homeland. Where shall we go? We have no other place, can’t leave and don’t want to leave.”

Recorded by Basel Al-Adaraa, Nasser Nawajah, Meira Asher and more. Speakers: Eid Hathaleen, Wazha Ayub Abu-Sabha. Interpreter and field coordinator: Hamdan Mohamad Hurani. Translation: Samia Nasser. Thanks to Sulaeman Salem Al-Adaraa, Kefah Al-Adaraa and the activists at Masafer Yatta, South Hebron Hills. Produced by Meira Asher for radioart106

Additional information: B’TSELEM #SaveMasaferYatta

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Show 898 Machines Making Machines Machines Making Machines by Philip Curach for Diffusion 107

Machines Making Machines started four years ago as a daily exercise in journalistic sonic recordings. Tracks were actualised using both analogue and digital synthesizers and a variety of effects pedals. Created as single-take improvised happenings with minimal editing and mixing done live, each track was then uploaded as a personal online record.
Recording sessions have now metamorphosised. Tracks are still created under an improvised meditative state though are now revisited and refined with a reflective consideration on the initial intent. Drawing heavily from the ability of sound to induce imagery, tracks begun to take on a Four-Act Structure akin to storytelling.
A curated merging of tracks, both old and new, this piece is best considered as a ritualistic undertaking transporting the listener. The work explores textures and tonalities of both abrasive industrial percussive sounds cogitating a claustrophobic surreality, contrasted to ethereal symphonic states of saudade.

Track list:
1. MFGS 0:27
2. DFM10 5:24
3. DFM Part I 5:42
4. MFACPTN 9:18
5. MFPNP 13:54
6. DFM_RSBT 17:20
7. GMNRSY 20:34
8. MFFDD 21:19

Turn the lights down low, and the volume up loud.

. . .

A special Thank you to Jon Panther, Sebastian Sequoiah-Grayson and Katie Ring.

. . .

Machines Making Machines Making Machines Making Machines Making Machines


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Show 897: Sleeplessly, a research of insomnia (Radio Student)


Sleeplessly, a research of insomnia.

The 3-piece soundtrack is inspired by Bukowski’s poetry. It consists of several field recordings, audio recordings and a live improvisation recording. It’s attempt is to study insomnia, unrestfullness, stagnation.

Poems interpreted:
The suicide kid
Roll the Dice
The Genius of the Crowd
(all by Charles Bukowski)

Audio sources include:
filed recording from 2019 Metaldays festival
field recording, Sava river, 2021
field recording, Soća river, 2019
field recording, Tolmunka river, 2021
field recording of the falling rain from my tent, June 2021
audio recording from exhibition: Piiril/Rajalla at Narva, Esthonia, 7.5.2022
audio recording from Neposlušno / Sound Disobedience festival, 31.3.2022
audio recording from a birthday party somewhere in Bežigrad, Ljubljana, June 2022
live recording at home, Šiška, Ljubljana, 4. 6. 2022

Makis Ananiadis is sound engineer at Radio Študent.
Has a few instruments, though he is no musician.

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Show 896: 25 Hz by Andy Kelleher Stuhl for Wave Farm

Writes Stuhl,“The age of automation – that art of worker-less factories which has industrial management crackling these days – is coming close to broadcasting,” announced Broadcasting magazine in 1954. Just as it is today, automation to radio practitioners in the 1950s was a daunting complex of threats and promises around technology, labor, and artistry. But it was also, more simply, a property of magnetic tape recording. Radio automation began as the technique of embedding “cue tones” in taped sound and configuring tape players to start or stop upon detecting them. From the ’50s into the era of syndication by satellite, almost every automation system used the same frequency for these tones: 25 Hz.

25 Hz splices together audio samples from a span of 1951 to present, casting radio automation amid characters from the sonic arts and popular culture in a historical drama. A 25 Hz “cue tone” punctuates each splice, inverting the automation system’s goal of seamlessly executing a programmed sequence. Re-sonifying those seams from within radio, the piece aims to open automation up as more than an industrial object – as a peculiar, emotionally charged, and passionately countered dream that has perhaps had something in common with avant-garde legacies in post-WWII America.”

Audio sources include:
John Cage, Imaginary Landscape No. 4 (1951)
Russell Tinkham (as voiced by Gregory Whitehead), “Automatic Station Operation” (1953)
Schafer 1200 advertisement (c. 1960)
John Cage in conversation with Morton Feldman on WBAI (1966)
Paul Schafer (as voiced by Lynn Claudy), NAB Radio Automation Workshop (1968)
Annea Lockwood in conversation with Pauline Oliveros (1972)
Annea Lockwood, Soundmap of the Hudson River (1982)
American Grafitti (1973)
Howard Broomfield, A Radio Programme about Radio (1974)
Schafer 903 demonstration at 2KA Katoomba (1975)
Lee Bailey, Drake-Chenault automation tips (1975)
TM Productions jingle package promotion (c. 1976)
Jack Miller, The WCFL Story (1979)
TM Productions beautiful music automation package promotion (c. 1976)
Dave McElhatton, KPIX news segment (1980)
Shelley Pope, “A Human Radio Station,” (c. 1980)
Phil Jones, “The Last Polka” (1992)
Christof Migone (as voiced by Jennifer Cherniak, Amos Latteier, Chris Myhr, and Gintas Tirillis), Radio Naked (1994)
“Bart Gets an Elephant” (1994)
Absolute Value of Noise (Peter Courtemanche), “Monster Audio,” 1998
Tom Petty, “The Last DJ” (2002)
Paul Schafer, NAB Engineering Achievement Award acceptance speech (2002)
Shellac, “The End of Radio” (2004)
Google Radio Automation advertisement (2009)
Anna Friz and Emmanuel Madan, The Joy Channel (2018)

Many thanks to the following sound artists who contributed 25hz tones:
Keith de Mendonca
James Staub
Andrew Madey
Ezra Teboul
CJ Eller

A special thank you to Gregory Whitehead for voicing and audio production in the reenactment of “Automatic Station Operation” (1953).

Andy Kelleher Stuhl is the 2021/2022 Wave Farm Radio Artist Fellow. He is also a PhD candidate in Communication Studies at McGill University, where his dissertation traces the cultural meaning of radio automation between 1950 and 2010. He approaches radio history as a resource for overlooked precedents that artists and critics might adapt toward intervention in present-day technological systems. Visit for more information.

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Show 0895: GASP by Christian Rønn & Helena Berglund (Radio WORM)

A rendition of what happens when you spend 6 days in Ton studio Worm while the world is burning with war, post-pandemic dystopia nightmares, weird santa´s and the bubbling spring-time vibes of Rotterdam. The piece is an attempt to combine Christian Rønn´s freeform playing-practice on keyboard-instruments (Piano, Church Organ, Rhodes & Würlitzer in combination with electronics) with Helena Berglund´s evocative performance-poetry. The duo releases music under the name “MäRK”, and while working on this piece in Ton Studio Worm, they used a “one-take-Dogma” which involved minimal editing and post-editing, partly to separate this work from their previous releases, which are all intensively edited studio-productions. (Rønn´s music on Soundcloud) (MäRK on Bandcamp) (MäRK on SPotify)

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Show 894: 30 years of Moacrealsloa (Radio Panik)

Since 1992 the a-conventional music program Moacrealsloa has been active at the Brussels Radio Panik. From the archive that counts several thousands of hours and hundreds of different participating artists, 27 minutes were distilled. In this collage the following artists are represented : Steven Stapleton (Nurse With Wound) Aloysius Suwardi, Ami Denio, Ana Homler, Arto Lindsay (DNA), Atsuko Hatano, Beatriz Ferreyra,Caroline Kraabe,Charlemagne Palestine, Charles Hayward (This Heat), Chris Speed, CM Von Hausswolff, Daniel Menche, David Lee Meyers (Arcane Device), David Moss, Detlef Weinrich, Drew McDowel (Coil) Elliott Sharp, Erik Drew Feldman (Captain Beefheart),Fred Frith (Henry Cow), Guy Klucevsek, Negativland, Renaldo & The Loaf, The Residents, JG Thirlwell (Foetus), Joëlle Léândre, Jean-Hervé Perron(Faust), Jean-Jacques Birgé (Un Drame Musical Instantané), Tomoko Sauvage,Mark Cunningham (Mars)

Hundreds of podcasts are available here :

this show on :

Picture Peter Brötzmann & Nico Bogaerts © Laurent Orseau

(WARNING for radio stations concerned by that issue : contains strong language)

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show 893; Unidentified Aerial Phenomena by Barry Whittaker (Radioworm)

Barry Whittaker

Unidentified Aerial Phenomena (2022)

Humans have a history of hurling objects into space. Rockets, satellites, animals, humans, plants, and insects have all graced the skies above the earth. Beyond the occasional launch event where objects are lobbed into the air, signals are constantly beamed into space. Messages, images, and sounds are spread across the electromagnetic spectrum, radiating outward to infinity. A gold-plated record and a Tesla with David Bowie’s “A Space Oddity” also float through the void, waiting for an audience. Who, or what, will be first to listen to our noises, and what will they hear?  This project imagines the interstellar journey of the sonic time capsules carried by objects and waves as they float across the vastness of space.    


Barry Whittaker — field recordings, synthesizers, electric guitar, bass guitar, drum machines, percussion, text

Yuka Ueda — voice

Public domain recordings sampled: 

Laughing Song (Especialidad de Risas) (Especialidade de Risos)Henry Klausen

My South Polar ExpeditionSpoken by: Lt. Ernest H. Shackleton

I am the Edison PhonographSpoken by: Thomas A. Edison

The Serenade Herbert, Victor

Nasa Apollo 11 Recordings

Produced April 2022 while in residence at WORM/Klangendum Studio.


Barry Whittaker is a multi-media artist, designer, musician, and Associate Professor of Art at the University of Toledo in Toledo, Ohio, USA. 



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Show 892: Aramesh by Lale Rodgarkia-Dara (Radio Orange 94.0)




by Lale Rodgarkia-Dara

Aramesh – attempts a literary-acoustic examination of sound and the sonic spectrum, violence and war. In partly fictionalised interviews and conversations with people currently living in Vienna on one hand and on the other hand in an electro-acoustic-literary approach in the form of a live radio play with live transmission.

The interviews, which were originally conducted in a decentralised manner in cultural associations, had to be moved to private rooms due to the pandemic. From Nov 2020 Oct 2021 interviews and the development of a composition and a live radio play had been taking place. In addition a joint collective of people of different origins and residence between Armenia, Iraq, Iran, Russia, Germany, Spain, Syria, Austria and the former Yugoslavia came into being.

Some of them conducted interviews themselves for the first time in their lives and the musicians, apart from three who already knew each other, grew into a collective music group that will continue to work in a follow-up project.

The text of the play is based on those interviews and Ursula von der Leyen’s speech “On the State of the European Union” from September 15th 2021.

A speech characterised by hegemonic ideas and sometimes almost bizarre world views. The radio play is mostly in German and in the respective languages of the interlocutors.

The radio drama was broadcasted live on Radio Helsinki 92.6 – Freies Radio Graz and Radio Orange 94.0 on the evening of October 3rd 2021. It was located on the Danube in Vienna in a concrete arena, called Kaisermühlenbucht. It is a wide area of approximately 100 m diameter
along the Danube river without any basic infrastructure. The elaborate technical set-up itself was a challenge and took the whole day and half the night. The audience had the possibility to listen on the spot or turn on their radio. Therefore, two separate mixes where produced, one for the radio-broadcast and one for the location. The live radio performance was accompanied by an exhibition and a picnic.

By October 2021 most of the citizens of the EU would deny the range of military conflicts on the fringe of our borders, let it be the war in the Ukraine that started on the 24th of February 2022, ongoing pushbacks on our borders or the failure to render assistance offshore.

Aramesh is an artistic work – in the current common sense it is placed in the artistic research field – by Lale Rodgarkia-Dara and designed in a participatory way.

The project team has included the following people (Name | Function):

Manar Aleter | Picnic design and sewing, buffet.
Wajd Abdalrahmann | Text contribution (rap)
Christina Krämer | Planning and realisation Lighting
Mohadese Siasar | live-performance, collective musical conception
Wolfgang Fuchs | live-performance, collective musical conception
JUUN performance | live-performance, collective musical conception
Abdul Hadi Hashem live-performance
Barbara Huber | Tech Support Streaming
Lenja Gathmann | Soundediting for live radio transmission
Prilfish | Sound equipment and technical support
Taguhi Torosyan | Scientific-dramaturgical research, conception,
Nadar Afsali | DJ
Sama Yaseen | Interviews
Bernadette Schausberger | Interviews
Jessica Gaspar | Graphics and print material
Angela Schausberger | Performance development Voice, live performance
Afzal Khan | Corona Checks
Stephanie Reumann | Helping Hand
Christoph Mooser | Helping Hand
Felix Theile Helping Hand
Pablo Herrasti-Fajardo Sound Technician/Preproduction
Lale Rodgarkia-Dara | Concept, text, production, live-performance,
collective musical conception
Delagha Miakhel | Initiation and Interviews
Hakam Alwan | Photodocu Interviews
Mutuz Al Kerdy | Video Production
Sahf Abdalrehmann| Exhibition in public space
Anna Karner | Official Permits, on location management
Maria Danila | Official Permits, on location management

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Show 891: EA by B2Lngr (Jet fm)

EA by B2Lngr
Live recording at home, at the bottom of the garden, in a small old litlle barn, during one week in June 2021.
With this audio material-friend (roland MC101 – piano – somasynth Ether – korg monotron – microbrut arturia – free birds and remix session livecoding (foxdot thank you Vlad ), slow tracks but some that mixes themselves, say “hello” and then leave.
Short titles, like pieces of stories ( a Code and a drama – The fall – so far – Pied sans à terre – a late sound – Ether – The hesitation waltz – 101 sonorities ), absent texts, a voice that we wait for.
Many thanks to the mastering (Yan Hart-Lemonnier), the artwork (Monajamois) and to
-> more info : or or both or poems

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Show 889: Secret Set by Milo Thesiger-Meacham (Resonance)

An audio-only version of Secret Set ( which features an original script, soundtrack and set; field recordings; video found on the SD cards of secondhand cameras; digital photography; handheld, webcam and drone footage; and CGI. Narrated by Kadence Neill.
Written for Christof Migone’s online event AND, 12 December 2021, presented by Alt Space Loop, Arraymusic, Avatar Centre, Errant Bodies Press, Fado, Radius, Resonance Extra,, Wave Farm, Western University and Zone Sound Creative.

Milo Thesiger-Meacham:

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