Show 868: LoFi Manifesto by Vienna Radia Collective

Muffins by julia, photo by marianne

For this recording we have dedicated ourselves to the Lo-Fi Manifesto, which provided the basis for a live recording and jam session. The LofiDogma was published by a Swiss cultural foundation and is inspired by the Danish film “Dogma95”.

Nine articles severely restrict the use of technology in music recording and create the charme of home-recorded music. We have adapted the manifesto, shortened it to 8 articles and explicitly allowed a synth. The rules are:

  • The piece must be recorded in one day.
  • All musicians and instruments must be in the same room.
  • A maximum of ten mixer channels may be used.
  • All channels must be mixed together into two channels during the recording.
  • Only equalisers and compressors may be used to influence the sound, synth is allowed!
  • Only one effects device may be used in the mix.
  • Nothing may be cut, added or corrected afterwards.
  • A result must be published.

What you will hear was recorded on the 31st of October 2021 at the Sendeschluss in Vienna.


Barbara Huber (noseflute, violin, xylophone and flute)
Marian Potocar (Bass and Electric Guitar)
Karl Schönswetter (Drummachine and Synth)

Idea & Research:

Peter Wetzelsberger (

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Show 866: An acoustic wander through chruches by Freho & Akamatsu for Jet fm.

A train station, a place in the middle of the village, a church, a supermarket, an abandoned building, a park, a beach… Both artists Freho and Akamatsu propose an original sound creation to rediscover the areas of our daily lives. Recorders in hands, they capture the atmosphere and what it inspires to them, figuring a very personal and poetic lecture of it. So turn up your headphones and enjoy.

Recordings : Église Sainte-Croix, Nantes, France.

Additional text “La Religion” : Le Prophète – Khalil Gibran

Release date : 10 octobre 2021

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Show 865: Laments by Mara Genschel for Radio Helsinki

In 2008/2009 – I was in my late twenties but felt like in late puberty – I worked on a collection of fixed sound pieces that I would describe as precisely composed „field poems“. These LAMENTS (as a half-ironic reference to Monteverdis famous Lamento d’Arianna) are based on somewhat classical field recording material (daily life, urban soundscapes, noise) and on the other hand extremely private, spoken and often sobbed confessions I would nowadays assume to be evidence of a mental crisis combined with a devastating love story.

Technically these pieces are produced quite Low Tech – I would compare this way of cutting sound material with handwritten poems: drafted, crossed out, marked. Further, the evidence of time (13 years!) is very clear: sounds like „digital camera“, acoustic phone messages, UKW radio etc. must already seem historical, even nostalgic nowadays. I recorded most of it with a MINI DISC PLAYER and OKMs (Originalkopf-Mikrofon).

To whom these mixtures of tears and glitches, glitches and tears appear to be too private, selfmade or embarressing, I suggest to listen to them as simple love songs. Their approximate titles might be as follows:


WARNING: Please be careful with headphones at 09:18-12:30

Current projects:

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Show 864: Loss in Translation by Lucia Scazzocchio and Sasha Edye-Lindner for Resonance FM

Loss in Translation
Drawn from the research of Social Distance, Digital Congregation: British Ritual Innovation under COVID-19 at Manchester University, England, ‘Loss in Translation’ is a montage piece interweaving the voices of funeral and death care professionals across faiths and people who have lost loved ones during the pandemic from interviews recorded remotely during the UK’s tough winter lockdown restrictions of 2021. This is a sociological piece reflecting on how important religious and non- religious rituals are and the potentially long-term trauma incurred when they are taken away. We discover the initiation of a ‘standing stone,’ erected as a memorial for this time when death has been so present in many people’s lives.
Researched by Paulina Kolata and produced by Lucia Scazzocchio (Social Broadcasts) and Sasha Edye-Lindner. With thanks to contributors Toby Angel, Tim Ashton, Peter Gaskin, Louise Winter, Waheed Khan, Lisa Wilkinson, Rachel Meyer, Shoayb Bux, Miri Lawrence and Perry Meyer.
‘Loss in Translation’ was a runner up in this year’s Prix Archives de la Parole category at the Phonurgia Nova awards.
Lucia Scazzocchio (Social Broadcasts, UK)
As a sound artist, radio producer, community facilitator and educator, Lucia Scazzocchio has been nurturing and curating diverse and disparate stories and conversations that weave individual personal narratives as a way to help us better understand the wider social context. She calls this ‘Social Broadcasting’. Driven by creating engaging participatory radio and audio experiences that she ‘audioscapes’ into imaginative on and off-line broadcast initiatives and formats, Social Broadcasting represents the versatility of audio as an evolving social and artistic medium.

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Show 863: Papradiste by Mnemonic45 (for Kanal 103)


More than a year ago he moved from his native town of Bitola to the mountain village of Papradiste. He made his home there as a host of the mountain hut, a former school building in a now almost abandoned village.

This audio collage is a heartfelt homage to the beautiful village of Papradiste:

the winter loneliness, the birds in early springtime, unexpected encounters and spontaneous music collaborations… in the heart of the mountain different worlds coexist in harmony.

Mnemonic45 (Goce Gligurovski) is a musician and sound artist from Macedonia.

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Show 862: Confusion, Reflection, Joy, a radio drama in Sonata Form (Soundart Radio)

Three movements, each exploring our location at Dartington Hall as somewhere where time slips between different years, decades, centuries. In August, when musicians gather for the Summer School, as you wander around the medley of medieval and modernist buildings different musics seep out of every door and window. The musicians and audiences bring and share memories of their visits here over the years, and make new ones.

Participants in the Summer School’s Radio Drama course, run by Soundart Radio, walked, listened and collected. Their studio was the whole of the Dartington Estate, their script was words found on gravestones amongst the ancient yew trees, and their scores were signs around the buildings. Many fragments were then pulled together into three movements. Confusion explores the problems of collective music making in a Covid wary environment. Reflection provides space to mourn and remember. Finally, Joy brings together old memories and new music with attempts at happiness.

Dartington Summer School began in 1948 and has only been cancelled once, in 2020. The planned events would have coincided with Beethoven’s 250th anniversary, and a new work, “Joy” was commissioned for choir and string quartet. In 2021, amongst sudden changes, partial closures and socially distanced outdoor music, Joy was rehearsed and performed for the first time. Snippets of Joy, by John Barber and Hazel Gould, pop up here, as well as many other half formed performances, captured whilst wandering around the site.
Special thanks to Sara Mohr-Pietsch.


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Show 861: Change de FA(r)CE by Mathilde Lacroix for Radio Campus Bruxelles

Stop/Play. Change de fréquences… !

Pile ou face ? Et si on jouait à ça pour changer nos perceptions du monde ? Et si on capturait l’extérieur, on le transformait et on le réécoutait un peu plus à notre oreille, depuis l’intérieur ? Je suis sûre que mon bébé serait tout heureux…

C’est ça le secret de la « Fermentation authentique », garantie «depuis des générations» !
On a un autre secret : « On a du pain sur la planche ! »

Encore une dernière chose et après Stop/Play :
………« Ecoute……. »

Mathilde Lacroix est basée à Bruxelles. Après des études de traduction et de documentaire sonore, elle étudie la musique électroacoustique.
Elle explore les paysages mentaux et physiques, vivants et abandonnés, qui ouvrent à d’autres manières de percevoir et ressentir le monde. Elle s’intéresse à la transformation, aux matières à pétrir, organiques, à la (dé)composition des sons, des mots, des hasards. Concrètes ou abstraites, avec des instruments acoustiques ou virtuelles, dans l’air ou ailleurs, ces matières cherchent à s’émanciper d’une forme définie et à trouver une poésie entre les formes.
Elle collabore régulièrement avec la photographe belge Nathalie Hannecart et l’artiste Aurélie Bay pour explorer trois regards, trois formes, trois joyeuses combinaisons (Les terribles ténébres). Elles ont également exploré la thématique des traces et de l’érosion à travers l’industrie minière et sidérurgique, aux côtés de la graveuse Weronika Siupka (
Kierunek Gruba). Elle a accompagné musicalement le film de Miléna Trivier « Le Murmure des lieux qui nous habitent », et a collaboré à plusieurs reprises avec Maxime Coton, en questionnant la place de la poésie dans la mixité des formes. A travers le projet Living Pages, elle a fait la rencontre du peintre Jamil Mehdaoui.

Création sonore : Mathilde Lacroix
Compositions sacrées : Camille Lacroix
Avec la voix de Franck Seng, comme Youtubeur pétrisseur.
Avec la complicité et le jeu de Shakira & Beyoncé, les chat.x, et le soutien de Xiri Tara Noir dans cette lente fermentation.
Merci à Carine Demange pour son invitation, son écoute et ses bons échanges.

Stop/Play. Change frequencies, change your mind !

Aids of tails ? What about playing this to change perceptions of the world ? What about record outside, transform it and ear it more confortable from inside, with a new perception ? My baby would be very happy.

This is the secret of authentic fermentation, guaranteed since several generations !

We also have an other secret : We have a lot to do. In french, we say :
« We have a lot of bread to cook ».

Last thing before to really Stop/Play :

…………….« Listen…. »

Mathilde Lacroix is staying in Brussels. After learning translation and sound documentary, she’s studying electroacoustic music.
She’s exploring mental and physical soundscapes, alive or deserted, and try to open other perceptions to feel the world, and translate it with combinaison of poetical forms. She likes transformation, kneading and organical matter. She likes to decompose sounds, words, coincidences. Concret or abstract, with acoustic or virtual instruments, in the air or somewhere else, there is not permanent definition.
She collaborates with photograph Nathalie Hannecart and Aurélie Bay to explore three regards, three forms, three happy combinaisons (Les terribles ténébres). They also worked with engraver Weronika Siupka on the thematic of coal and steel industry. She also composed soundstrack of Miléna Trivier ‘s movie « Le Murmure des lieux qui nous habitent », and collaborates several times with Maxime Coton, exploring the place/space of poetry mixing different forms. Through project Living Pages, she meets of pinter Jamil Mehdaoui.

Sound creation : Mathilde Lacroix
Sacral compositions : Camille Lacroix
With the voice of Franck Seng as youtuber carrying kneading.
With the complicity and actoring of Shakira & Beyoncé, and the support of Xiri Tara Noir in this long fermentation.
Thanks to Carine Demange to invite me in Radia, for her good listening and exchanges.

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Show 860: Invisible Choreography (Radio Grenouille | Euphonia)

A creation from the residence of Radio Grenouille | Euphonia at the University of Toulon: Mer Invisible.

The starting point is a series of “sound” dances proposed by the dance students: voices, body percussion, slides, steps,…
Then, the microphones recorded the dancers’ movements at different heights (micro contact, ambient stereo microphone and proximity stereo microphone).

The selected extracts were played in the multimedia creation software of Pure Data.
A random and mastered arrangement that follows rhythmic intentions so that this sound piece can be danced again.

A composition of movements based on a choreographic sound writing.
An invisible choreography.

Directed by : Jean-Baptiste Imbert & Guillaume Brevet


Le point de départ est une suite de danses « sonores » proposées par les étudiantes en danse : voix, percussions corporelles, glissements, pas, …
Puis, les micros ont enregistré les mouvements des danseuses à différentes hauteur (micro contact, micro stéréo d’ambiance et micro stéréo de proximité).
Les extraits sélectionnés ont été joués dans le logiciel de création multimédia de Pure Data.

Un agencement hasardeux et maitrisé qui suit des intentions rythmiques afin que cette pièce sonore puisse à être dansée à nouveau.

Une composition de mouvements à partir d’une écriture chorégraphique sonore.
Une chorégraphie invisible.

Réalisation : Jean-Baptiste Imbert & Guillaume Brevet

Création issue de la résidence de Radio Grenouille-Euphonia à l’UTLN, Mer Invisible, soutenue par l’Université de Toulon et la DRAC PACA pour favoriser la rencontre des artistes, des œuvres et des étudiants au cours d’une résidence de création artistique.

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Show 859: The Desire Of My Heart by Manja Ristić (RadioZero)

Where does it come from?
The impulse, plucking my neural plexus, leaving behind open doors for the algorithm of consciousness to inscribe the new path. Memories compressed in cells’ membranes, wriggle, dissolve, combust and ripen. Nothing remains in your name* until paths are cleared and psyche’s sediment is purged.

The Desire of My Heart is a collection of intimate interventions extracted from my daily life and observations of my immediate environment from the perspective of transcendental attuning. On the trace of early 20th century esoteric practices of automatic painting and writing, I build a meta narrative in three stages, using field recordings, sonification and improvisation on amplified objects, exploring and manipulating basic frequencies from electrical fields.

Instruments used –
thick jar with the ice cubes
broken radio receiver inside the thick jar with the ice cubes
home fan
radio receiver tuning to a FM scale (excerpts from HRT3 programme about WWII)
wheelchair wheel salvaged from shallow waters in the Adriatic, played with wooden sea debris, electrical coffee mixer, soft xylophone stick and a pine cone
radio receiver placed on the wheelchair wheel
cardboard tube rubbed against a window
kitchen sink
stones rubbed with the soft xylophone stick
baby megaphone toy

field recordings –
Porec marina, ventilation behind the restaurant in the park (June 2021)
hydrophone and field recorder buried in the stranded sediments of a dry Posidonia oceanica algae, Dobre vode bay, Silba island (July 2021)
St. Marco’s Cathedral church bells, Korcula town (December 2020)

instrumental excerpt from the Depression for the Bass Clarinet graphic score, interpretation Vasa Vuckovic (April 2018)

All sounds gathered, played and edited by Manja Ristić contact mic & hydrophone built by Jez riley French Mastering La Plant Studio Belgrade
August 2021

*from the poem by Liu Xiaobo – You Wait For Me With Dust

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Show 858: Toxic Temple by Anna Lerchbaumer and Kilian Jörg (Ö1 Kunstradio, guest slot)

Depleted soil, over-asi: dic seas, polluted atmospheres.
People are haunted by what they have suppressed. They can no longer escape the toxic.

In their long-term art project “Toxic Temple”, Anna Lerchbaumer and Kilian Jörg, approach the beauty of oil streaks, the grandeur of techno scrap, the sublimeness of radioactivity and the tran: scen: dence of extinction.

Building on their previous research for their project “Toxic Temple”, the two young artists acoustically and poetically explore the connections between spiritu: ality and tox: isi: ty.
Toxic Temple by Anna Lerchbaumer and Kilian Jörg

The piece in its whole length can be heard on

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