Category Archives: #44

Show 794: More than a Pandemia (TEA FM)

Accelerated by a virus, we have suddenly found ourselves in a possible future. The existen-tial threat appears as if through a magnifying glass, allowing us to perceive the state of the world with increased clarity. With astonishment, we have seen political taboos and unques-tioned assumptions falling by the wayside, allowing our institutions to take action. All of a sudden, the tried and tested arguments of interest-driven politics – economic constraints, technological barriers, unchanging behavioural patterns, individual responsibility – no long-er seem to be guiding the decision-making. Behind this is a growing awareness that the cur-rent socio-political range of actions will be insufficient to cope with future crises, which are just as threatening, but of a completely different nature.

While the world is under pressure to emerge from the coronavirus crisis as intact as possi-ble, the virus has catapulted us to a crossroads. Can we rise to the challenge of the corona-virus phenomenon with answers from yesterday? Or will we look for the answers of tomor-row which also fulfil the various challenges surrounding sustainable development?

The virus has made it clear: the future is now

Dr. Sabin Bieri, Prof. Dr. Thomas Breu, Dr. Andreas Heinimann and Prof. Dr. Peter Messerli

Show 793: Radio PANdemIK (Radio Panik)

Go home!

Stay home!

Covid 19, Wednesday 18th March 2020

Brussels is confined

Like half of humanity

Our microphones censored?

Radio silence?


Radio Panik created Radio Pandemik,

Eclectic, collective, organic

The crisis as a magnifying microphone, revealing

The voices of the even more precarious are raised

Sounds intermingle, shift, step aside.

Patchwork weave shows,

And crucial viral themes: police repression, prison, feminist movements, mask making, death, Italy, the shock generation .

More than 45 episodes, of which we offer you some fragments…

Show 792: Bouncing Off – 2020 – by René Uijlenhoet (Radio Worm/Klangendum)

Bouncing Off – 2020 – by René Uijlenhoet

The composers Christine Cornwell and Jago Thornton bounce off on their musical ideas and on what bats might hear while flying inside a room or a chapel. They even muse on the secret afterlife of sound-waves and on the working of their musical brain.
Their introspection  – during an interview – are set into a retro-SciFi sound-scape, depicting the creative human brain as a giant nervous clockwork.

René Uijlenhoet studied composition with Ton Bruynèl. He works as a composer, performer, museum installation builder, teacher, researcher and expert in the field of electronic music.

He taught at the HKU, worked for NEAR and published the complete tape music by pioneers Dick Raaijmakers and Jan Boerman. Since 1997 he is affiliated with the composition department of Codarts Rotterdam.

His music has been published by Donemus, by Basta and also by Peer Verlag. For the purpose of composing and teaching, he investigates new forms of sound synthesis and spectralism, the relationship ‘color’ and ‘timbre’, microtonality, spatial representation (via Ambisonics, among others), algorithmic composing strategies, live electronics in combination with acoustic instruments. , the history of electronic music and analog studio techniques, improvisation using live programming and also sonication of medical research data.

Texts and voice recording by Christine Cornwell and Jago Thornton
The music for Bouncing Off was produced and mixed in the private studio of the composer.

Produced for Worm/Klangendum 2020

Show 791: Abre Cadavre

© Barbara Kaiser

The Vienna Radia Collective – worked out the common transmission with online video sessions during the covid-19 closing and confronted with the common work in front of the monitors and the mirrored mutual reality made us think of the novel Through the Looking-Glass by Lewis Carroll. 

We used the Radia proven method of “Cadavre Exquis” to mirror and reflect our sonic ideas mutually.  Our program “Abre Cadavre” consists of small parts that went around in our collective and the last 30 seconds of each piece of the predecessor’s piece were the basis for the next one. 

Unconsciously a journey through a sonic magic land with sound, text and surprising transitions was created.

Contributions by Barbara Huber, Barbara Kaiser, Lale Rodgarkia-Dara, Karl Schönswetter and Peter Wetzelsberger.

Thanks to Alex, Feli, Martina, Susanne and Susi for their voices. 

Screenshot on

May you live in interesting times.

Show 790: Listening’s Urgency by Hardi Kurda (Radio Corax)

Listening’s Urgency
In times of contact restrictions the radio is all the more an instrument to bridge the isolation. What role does listening play in times of crisis? In his project “Listening’s Urgency” the composer and sound artist Hardi Kurda explores this question, searching for the in-between sounds of the medium and the gaps in the social order: Do we overstep the borders of legality by listening? What does illegality mean? Can illegality make noise? Is noise illegal?

For the second performance in the course of the project, Kurda asked musicians, artists and writers from different parts of the world to answer those questions. Their voices and narrations were the basis for a one hour live radio performance with a six-member radio ensemble which came together on Radio Corax on April 26 2020.
For Kurda made an edited version of the live radio performance.

Listening Urgency – live radio performance by Hardi Kurda, with: Andre Damiao, live from São Paulo; Maximilian Glass, live from Leipzig; Kamil Korolczuk, live from Berlin; Hardi Kurda, live from London; Soheil Soheili, live from Teheran; Ralf Wendt, live from Halle; and with the voices of: I-ID from Teheran, Kani Kamil from London, Peshraw Mohammed from Berlin, and Niga Salam from Slemani.

Hardi Kurda is currently stipendiary of the Radio Art Residency, an international fellowship program by Radio Corax and the Goethe-Institut.

Show 789: “Hand in Hand with a stranger” by Laura Agnusdei (radioworm/klangendum)

Laura Agnusdei is an electroacoustic composer and saxophone player from Bologna (IT), classically trained, she also holds a Master in electronic music composition by The Institute of Sonology of The Hague (NL). Her compositions feature the saxophone as the main voice within sonic landscapes that shift between melodies and textures, the song form and improvisation, fusing acoustic, digital and analog sound sources. She is actually touring presenting her new album Laurisilva, six tracks that invite the listeners to explore an imaginary landscape made from sounds growing and layering like biological organisms within a forest. This work, as well as Laura’s debut ep Night/Lights, was released by London-based label The Tapeworm. Since 2016 her music has been presented in many venues and festivals such as Rewire, Dekmantel, EYE Filmmuseum (NL), Cafè Oto (UK), Node, Macao, MAST (IT).

“Hand in Hand with a stranger” is a radio piece I composed partly during my residency at Worm Studios and partly during the Covid19 pandemic lockdown period. Inspired by the art of Lithuanian-American videomaker Jonas Mekas, its form is what we can describe as an audio-diary; a collection of personal thoughts, feelings, and small ordinary events that happened between January and March 2020, when I was touring South Italy and during my residency period in Rotterdam. Nevertheless, these sonic sketches are not presented in a chronological sequence but assembled freely to compose an intimate story where a state of displacement and loneliness triggers an intense and attentive relationship with the surrounding world.

More info on laura’s Worm-residency;

Show 788: “L’inconnu est notre forme” by Anaïs Denaux (Campus Paris)

Mixing is a collage, that’s how I understand it. Some of raw recordings, some other are made from bits and pieces of elaborate works : films, songs,radio programmes – we’re thieves, and we make something out of our larcenies. Jean-Luc Godard suggested that better then making political films we should make films politically. I try to apply the same idea to radio. I’m Anaïs Denaux, I’m a member of the groups Le Bruitagène and Asu (Association Sonore et Utopique). We make documentaries and other more creative audio pieces, we don’t believe in being impartial. We are also organising public listening sessions and the audio artist residency Utopie Sonore. We believe in collective experiment.

Here are the audio pieces I chose for this Radia programme..

Biodiversité – Biodiversity, the sound you can hear now in the background, I made to answer the call of Mixage Fou, to mix different given sounds into a 80 second piece.

The Meaning of Life, a piece I made for the second digital album by Fair Play, a compilation of pieces by cis and trans female artists – The Meaning of Life is a collage with Nostalghia, The Mirror, Solaris and Stalker by Tarkovsky, the voice of Orson Welles on BBC4, Alphaville by Godard, a few words by Vaughan Supple about Tarkovsky’s work – and says on how mankind cope with the absurd of existence, wants to understand, knows the question is vain, but still wants to reproduce.

La Tempête des géants – Tempest of the Giants, a piece I created for my girlfriend during the Yellow Vest movement and is about the aburdity of police violence.

Followed by Restez chez vous which is a short piece by Leslie Doumerc at Radio Panik, with Gaëlle Morand and me as cops telling the population to stay at home during de pandemic.

Une Certaine dose de tendresse – A Certain Dose of Tenderness – a piece I made during the evacuation of the zad of Notre-Dame-des-Landes in April 2018. The title is from the famous speech by Subcomandate Marcos which says « A certain dose of tenderness is necessary in order to walk when there is so much against you / in order to awaken when you’re so exhausted. A certain dose of tenderness is necessary in order to see, in this darkness, a small ray of light / in order to make order from shame and obligations. […] But sometimes a certain dose of tenderness is not enough and it’s necessary to add… a certain dose of bullets. »

And Stalker, the last piece, by Clémence Fermé – with La Jetée by Chris Marker, Stalker by Tarkovsky, Alphaville by Godard, Roma by Fellini, Metropolis by Fritz Lang – this piece was carried out for L’Acentrale, radio held by a large group of people to speak out for strikers, workers and social riots. 

Show 787: Post-Pop Meta-Vision by Igor Štromajer for radio x

radia season 44 – show #787 (radio x) – Post-Pop Meta-Vision by IGOR ŠTROMAJER
– playing from april 27 to may 3, 2020 –

Post-Pop Meta-Vision
Proto-Algorithmic Pseudo-Songs

by IGOR ŠTROMAJER – (2020)

“It all starts with the sound of the modem connecting…

There are seven songs, proto-algorithmic pseudo-songs. The music is all computer generated, lyrics are sung by a computer – and this is of course also the case with the Swedish moderator guiding us through the Post-Pop Meta-Vision experience…

Before each song the computer voice announces:
Låt nummer ett: ×kX‹-+Ô[ô |Ń‚xăö9
Låt nummer två: ×›lëśßwp^Ů ßc W
Låt nummer tre: -ľH°¦Y˙7y=¹^=Q _-Můě
Låt nummer fyra: éOŁs=•üVz˙ Ľ‚;z—xľ,?
Låt nummer fem: 9熰¬ý3÷ °¬ 1É ›‘i
Låt nummer sex: Hh…og“mS~ÍÖθŐZ»
Låt nummer sju: Éc Ö=ě ŢĘS÷…O‚ ü

At the very end, the computer voice quotes Marx’s 11th thesis on Feuerbach, also in Swedish: “Filosoferna har bara tolkat världen på olika sätt, men det gäller att förändra den. Karl Marx.”

I chose the Swedish language because – for me personally – the Swedish language is a synonym for the ESC, the Eurovision Song Contest. But I wanted the whole thing also to sound serious: to have the ESC touch, but inside a very serious, almost classical atmosphere. That’s why there’s not much other sound effects (besides some short beeps and gongs), so that the main focus of the listeners can be put on the music, on these seven weird, a bit dark, post-Brechtian and meta-punky songs…”

Igor Štromajer

Igor Štromajer
Igor Štromajer ( researches tactical emotional pseudo-/para-/proto-artistic actions, intimate guerrilla, and traumatic low-tech communication strategies.
He has shown his work at more than two hundred exhibitions in more than sixty countries (transmediale, ISEA, EMAF, SIGGRAPH, Ars Electronica Futurelab, V2_, IMPAKT, CYNETART, Manifesta, FILE, Stuttgarter Filmwinter, Hamburg Kunsthalle, ARCO, Banff Centre, Les Rencontres Internationales, The Wrong – New Digital Art Biennale and in numerous other galleries and museums worldwide) and received a number of awards (in Frankfurt, Moscow, Hamburg, Dresden, Belfort, Madrid, Maribor).
His projects form part of the permanent collections of the prestigious art institutions, among them Le Centre Georges Pompidou in Paris, the Museo Reina Sofía in Madrid, the Computerfinearts Net and Media Art Collection in New York, and the Maribor Art Gallery in Slovenia.
As a guest artist he lectures at universities and contemporary art institutes. Štromajer lives and works between Frankfurt am Main and Maribor / Ljubljana.

Post-Pop Meta-Vision – Proto-Algorithmic Pseudo-Songs
by Igor Štromajer
radia production: miss.gunst [GUNST + radiator x]
production date: march 2020
station: radio x, frankfurt am main (germany)
length: 28 min.
licence: (cc-by) Igor Štromajer – –

additional info:
includes radia jingles (in/out), station and program info/intro (english)

radio x & radiator x: –
GUNSTradio & radiator x: –
Igor Štromajer:

(cc-by) Igor Štromajer 2020

Show 786: Langue de paysage by Izabela Matos & Anne Laure Lejosne (JET FM)

Langue de paysage
Izabela Matos & Anne-Laure Lejosne

“Niko ne zna šta znači roditi se i živeti na ivici između dva sveta, poznavati i razumevati jedan i drugi, a ne učiniti ništa da se oni objasne među sobom i zbliže, voleti i mrzeti i jedan i drugi, kolebati se i povoditi celog veka, biti kod dva zavičaja bez ijednoga, biti svuda kod kuće i ostati zauvek stranac; ukratko: živeti razapet, ali kao žrtva i mučitelj u isto vreme.“

“No one knows what it means to be born and live on the edge between two worlds, to know and understand one and the other,
not being able to do anything that they explain one another and to get them closer, to love and hate one and other, to hesitate and lead the entire century, to be in two but without a single homeland, to be everywhere at home and remain forever a foreigner; shortly:to live crucified, but as a victim and torturer at the same time. »

Ivo ANDRIĆ 1892-1995 Travnička hronika – La Chronique de Travnik (1945)

With / Avec les voix de : Boško Vujačić, Milan Mrdović, Bojana Peković, Nikola Jeknić, Miroslav Tanović, Louis, Analia, Paole,Georgie, Martina, Giorgio, Dražen, Ilija (Anne-Laure et Izabela)
And musics from / musiques de : Sveci blago dijele (Saint sdeivide their treasures), Ženidba Milića Barjaktara (The yedding of Milić standard-bearer), Car Lazar i Carica Milica, Dertum “Eleno Kerko”, Jorge Drexler “Al otro lado del rio”, Boško Vujačić, Milan Mrdović, Bojana Peković, Nikola Jeknić, Miroslav Tanović,Joao Gilberto “Maria ninguem”, Maria Bethânia “Purificar O Subae”
Soundcloud : Anne-LaureLejosne

Show 785: We Stay Apart Because We Love Each Other. Love is Stronger than Greed. By Caroline Kraabel and London Improvisers Orchestra (Guest Slot)

Photo by Phoebe Bognár

We Stay Apart Because We Love Each Other. Love is Stronger than Greed.
London Improvisers Orchestra, ‘conducted’ by Caroline Kraabel

For over 21 years the London Improvisers Orchestra has been rehearsing and performing large-group free and conducted improvisations on the first Sunday of each month, working on a frayed shoestring and the goodwill of its illustrious improvising musicians and faithful old and new audiences. For the first time since 1998, the first Sunday of April this year will not see an LIO concert.

Because we and you are in isolation, together. This piece (WSABWLEO.LISTG.) has been devised, collected and collated by Caroline Kraabel from solicited 20-second (recommended handwash length) recordings by musicians from the London Improvisers Orchestra. Most of the segments are necessarily solos, but musicians who are in isolation together have also provided duos and (in one case) a trio. Where musicians have provided segments of a length other than 20 seconds, I have left them as sent, for a luxurious and varied handwashing experience. The pieces are joined together more or less in the order in which they were received, from 18 March-5 April of the pandemic year 2020.

Warmest thanks to all the musicians and listeners, and all LIO colleagues past and present, well and ill, living and dead.
We miss you very much and think of you with respect and love.

Credits and details about the worldwide LIO musicians who participated, with links allowing you to explore their work:

1: LIOQ by John Edwards (double bass) and Caroline Kraabel (alto sax) London UK.

2: March 22, by Steve Beresford (electronics) London UK
Here is my piece for your project.
It was played on a toy circuit-bent by Tasos Stamou. He gave it to me as a birthday present.
How’s it going?
Best, Steve

3: Adrian Northover (soprano sax) London UK

4: Adam Bohman (words and voice) London UK

5: Isolation, by Dave Jago (trombone) Southend UK
Here’s my contribution. Are you getting many in? Cheers, Dave Jago

6: Marcello Magliocchi (percussion) Bari, Italy

7: 20 Seconds for the LIO, by Susan Alcorn (pedal steel guitar) Baltimore, USA
I hope that you and your families are doing OK during this pandemic. I’m doing alright. My husband and I are both laying low – staying at home and only going out to get food, etc. once a week. A lot of free time on my hands since all my gigs are cancelled. So, doing the 20 second musical hand wash seems like a wonderful thing to do. Attached is my humble contribution.
Best always, and I miss playing with you, Susan

8: John Butcher (tenor sax) London UK
here you go

9: Short Home Improv, by Martin Vishnick (guitar) London UK
Quarantine piece – short piece!
Stay well!!
Martin Vishnick

10: Melodica Quarantine Solo, by Douglas Benford (melodica) London UK
Hi All,
I attach my quarantine piece, 20 seconds long…look fwd to hearing the whole project.
Best wishes to you and all and take care!

11: Knut Aufermann (electronics) Ürzig Germany
Thanks a lot for this invitation. Attached are two 20-second snippets from Sarah and myself. We recorded them at home last Thursday while sound-checking for a live radio broadcast, with our friend Tetsuo Kogawa in Tokio, that went out on radio stations in France, UK and US. I’ve included a picture of the setup.
Hope you are keeping well, all the best, Knut

12: Sarah Washington (electronics) Ürzig Germany

13: Kitchen Music with my Dog Mali, by Jacques and Mali Foschia (voices) Brussels Belgium
Ce fût un plaisir… n’oublies pas de créditer ma chienne Mali;)
Portez vous bien, keep safe!

14: Microsolo, by Chris Hill (clarinet) London UK
Hi Caroline, minisolo as requested. Great idea and thanks
C. Hill

15: Y se quedarán los pájaros cantando, by Daniel Cano Amaro (trumpet) London UK
Hi Caroline,
Hope you’re well.
Please find attached the short solo piece for the LIO. The title comes from a poem by Juan Ramón Jiménez entitled ‘Y se quedarán los pájaros cantando’. It could be translated as ‘And the birds will stay singing’.
Take care, Daniel Cano Amaro

16: Coronavirus, by Dave Fowler (percussion), London UK
Looking forward to being with the orchestra for real, but in the meantime, thanks & hope you’re all keeping well. We have been in quarantine for nearly 2 weeks. I don’t know how I ever had time to go to work!
Dave x

17: Sebastian Sterkowicz (acoustic guitar and rubber band) London UK
Hope you are well, and coping through this strange time okay!
Please find my solo piece attached to this email; for a change I am playing here on acoustic guitar with rubber band preparation.
Looking forward to hearing the music:)
Best, Sebastian

18: I.Kallin, by Ivor Kallin (voice, harmonium), London UK
I’ve attached my 20 seconds of virtuosic wizardry, feat. Indian harmonium and voice, and I callin’ it I.Kallin
Take care, be well and see you at the other end of this nightmare.

19: John Edwards (double bass) London UK
Better in mono x

20: April, by Sue Lynch (tenor sax) London UK
Hope it’s all going well over yonder. Our residents did an 8pm handclap for the NHS staff tonight; even if nurses didn’t hear, it was a nice morale booster to see all our neighbours again, everyone is hiding away!
Thanks for suggesting this, Sue xx

21: Olivia Moore (violin) London UK
Hi There,
Here is my 20 second violin contribution for the April Quarantine piece.
Many Thanks, Olivia Moore

22: Under the Nails, by Sylvia Hallett (violin) London UK
Special thanks to Sylvia Hallett for suggesting that the segments should be 20 seconds, the recommended duration for hand-washing, rather than 10 seconds as initially proposed! CK

23: Quarantine Piece, by Stephan Barrett (clarinet) London UK
Quarantine 20 second recording (home clarinet practice attempt!) Looking forward to hearing the combined LIO piece! SB
Postcards from the Volcano:
Littoral Transmissions:
Georges Kaplan Presents…:

24: Laura Cioffi (alto flute) Glasgow, Scotland UK
Here’s my 20 seconds’ worth!
Hoping that you are keeping well during these times.
Best wishes, Laura

25: Ten Seconds of Steel, by Mike Cooper (lap steel guitar) Rome, Italy

26: Pei Ann Yeoh (violin) Malaysia
Good to hear from you and hope you’re managing well under the circumstances. Thanks for organising a piece in these times. I’d like to participate in April’s performance – I’ve recorded something ‘short’ but it’s not 20 secs long ­– it’s surprisingly difficult to be concise! Something to work on I suppose. Please feel free to edit as you wish.
Best wishes from Malaysia! We’re on Day 13 (as of 30th March 2020) of Movement Control Order here – another 15 days to go!
Thanks, Pei

27: Idle, by Martin Clarke (alto sax) London UK
Hi guys, here’s my contribution to the lockdown release!
best wishes and I hope you’re well.
martin clarke

28: Martin Hackett (electronics) Oxford, UK

29: Handwash, by Robert Jarvis (trombone) Faversham, UK
Hi, Please find attached my ‘handwash’.
With thanks, Robert Jarvis

30: Jerry Wigens (mandolin) London UK

31: Pascal Marzan (10-string micro-tonal guitar, timer) London UK

32: Being Able to Tell if it was Good Would Make it Valid in Some Way, by Staircase Trio: Susanna Ferrar (violin, voice), Jerry Wigens (mandolin), Pascal Marzan (10-string micro-tonal guitar), recorded on their joint staircase in Stoke Newington, London.

33: Susanna Ferrar (violin, timer) London UK

34: Erzbergerstraße 31 March 2020, by Phoebe Bognár (flute, voice, plus birds, street and clock) Frankfurt, Germany
It’s a confusing time, quite honestly… I was supposed to be here for some auditions but as it turns out they are now cancelled! Making the most of things though… catching up on lots of tasks that were piling up.
And this was a lot of fun to do! This is the sounds of my neighbourhood of Obertshausen. There’s a beautiful clocktower here that I love the harmonic partials of. I usually go for walks or stick my head out the window around the hour. I wanted to do a little vocal diary entry into my flute and play on those harmonics, so here it is – with love to the LIO community!

35: Andrew Ciccone (electronics, percussion, objects), London UK
Hi! Here’s a 20-second piece at the 11th hour. It’s a sound collage of me playing otamatone, flexitone, a tape machine, a creaky hinge and some steel and concrete items.
Hope you’re well! Cheers,
Andrew Ciccone

36: Twenty Seconds on Flugelhorn, by Charlotte Keeffe (flugelhorn, voice) London UK
Hi everyone, just a quick email sending my love to you all at this surreal time.
I’m looking forward to hearing the results of this lovely idea for April’s Concert/track! Let’s keep keeping in touch; shall we do another track for May’s Concert?
Charlotte Keeffe

37: Gero Kempf (double bass) Oxford UK
So, just did my 20sec. It was inspired by Adrian´s conduction, “Hive”, signalling that I should play time. Quite a memorable event in the context of my improvisational practice here in the UK! So, that resonates even until today. In these 20sec, I’m adding in bringing my left hand fingernails suddenly closer to the lowest string played. The one reflecting time.
Best, Gero

38: Handwashsong, by Charlotte Hug (voice, running water) Zurich Switzerland
I hope you and your families are healthy and well! We are fine. I am grateful for this.
It inspired me a lot to use these micro-timeframes of a handwash to connect with the LIO and all these wonderful musicians. I miss you! All my Love and be well!

39: LIOisolation, by Crystabel Riley (percussion) London UK

40: Emily Shapiro (clarinet) London UK

41: Emil Karlssen (percussion) Leeds UK
Wonderful initiative with the LIO quarantine piece – here’s my submission. Hope you’re keeping safe. Take care, see you when all this is over.
best wishes, Emil Karlssen

42: Sutherland’s New Law, by Rowland Sutherland (flute) London UK

43: LIO Handwash, by Cath Roberts (percussion) and Tom Ward (flutes)
Looking forward to hearing the finished piece. Sending healthy vibes, Cath
Thanks for asking us – yes, Cath & I are isolating together. Here’s a short duet we just recorded for you! Tom

44: Self-isolation, by Neil Metcalfe (flute) London UK
For technical reasons, this was recorded in person by Caroline Kraabel in an isolation-appropriate manner. Travel was by bicycle. Neil unlocked the front door of the flat-block from upstairs, then Caroline placed the recorder on the bottom step and retreated back to the other side of the door. Neil played his solo segment and went back upstairs, so Caroline could come back in and collect the recording.

45: 20 Seconds for LIO, by Charlie Watkins (balloon?) London, UK
hi, here is my 20 second piece. thanks so much for doing this!

46: It’s in the Air, by Sue Lynch (tenor sax) and Adrian Northover (soprano sax) London UK

47: Mark Sanders (percussion) Birmingham UK

48: Simon Petermann (trombone) Bern, Switzerland
You might not remember me, as I played only once with the LIO and it was last November already. I am from Berne, Switzerland and I play with Cath Roberts and Dee Byrne in the band MoonMot, that’s also how I came to play with the LIO. I actually planned to come and play with you that April weekend, but now I’ll have to postpone it for a while…

49: Jackie Walduck (vibes and breath) London UK

50: Tracy Lisk (percussion) Philadelphia USA

51: Trevor Taylor (percussion) UK

52: Male Basic No. 1, by Phil Minton (whistling) London UK

53: Dee Byrne (alto sax, pedals) London UK
I was using my pedals to create an underlying texture – distorting and looping the sound of my keys opening/closing and blowing into the sax without a mouthpiece. X

54: David Ryan (clarinet) Northern Italy

55: Ed Lucas and Antony (percussion, noises) London UK
I hope you are doing well. Thanks for setting up the isolation piece on Bandcamp.
Here is my recording – it’s a duet with the other musician in my household (plus domestic machine and the open window). He’s not a LIO member because he’s only 2 months old!
all the best, Ed

56: Sounds to Wash Hands by: 20 Seconds of Something, by Jason Yarde (alto sax) Hastings UK
Good morning to you and yours!
I do hope you’re all fine and dandy this sunny weekend. Apologies for sending these so late! I actually did these as soon as I got the email, just very quickly on my phone… Too busy! I look forward to hearing everything,
All the Beats
Jason Yarde

57: Julie Kjaer (flute) and Paulo Duarte (guitar) Copenhagen, Denmark
I hope you are all doing well in spite of this whole crazy world situation! I’ve attached a 20 sec clip with Paulo and me playing (guitar + flute) I know the deadline was yesterday, and possibly it’s too late for you to receive this. No worries if you can’t use it because of that!
I also just wanted to say that I think it’s great you’re doing this!!
Here we are doing ok. Loosing work, as for many others, is a bit of a challenge.
I hope I’ll see you both in not too far a future!
Lots of love

58: Honja (Alone), by Hyelim Kim (taegum) London UK
How are you?  I hope you are doing reasonably well, considering the uncertain times we’re in. It is a shame that we won’t be performing in April. But I would like to join the collage piece that you suggested. Please find the audio file attached. Its title is Honja, which means ‘alone’ in Korea.
Thanks again. Hope to see you soon.
Kind regards,

59: Breath Clock, by Caroline Kraabel (alto sax) and clock (ticking) London UK
The first few seconds of a slightly longer piece that’s available here: