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Show 1091: Tiny Sounds Around Us by Radio Študent
Show 1091: Tiny Sounds Around Us by Radio Študent
Silence is never actually silent. Even in a recording studio at a radio station, there is a multitude of quiet sounds, constantly present, unintentionally produced, often unnoticed, which nevertheless make up the basic sonic environment we work out of.
By using the studio itself as an instrument, and its various noisy technological inhabitants as collaborators, this piece brings out the ambient voices which underlie all of the shows, jingles and tracks we produce on a daily basis. Condenser and contact microphones collect the hums of equipment, ticking of clocks, clacking of keyboards, etc, which are then passed through routine processes of effect chains in audio production software, as if they were any human voice or musical instrument.
In turning our attention to these tiny sounds around us, we are acknowledging and exploring the inextricable sonic nature of the studio itself from the audio products we craft within it. As Eno said, “Recording is not the same as reproducing – it’s producing something that couldn’t exist any other way” – sounds are brought into the studio and leave there in another form, with its presence imprinted; the studio has its own life, activity and agency, which co-authors the works made in it. Therefore, we can say that its voices are not necessarily annoying contingencies to be removed; rather, we can see them as intrinsic qualities, fundamental to the objects we produce, like a sonic DNA, or a distinguishing leitmotif, to be worked with rather than against.
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Oliver Wagner (2002) is a sound, lighting, and stage technician, programmer and electrical engineer, based in Ljubljana, Slovenia. He works at the community radio station Radio Študent as a member of both the audio technical and IT teams; in addition to routine broadcast and production studio work, he manages infrastructural development projects and performs advanced technical tasks. He regularly provides technical support for lighting, sound and stage at concerts, intermedia art performances, cabaret and theater events in alternative venues. In 2024, he co-authored one transmission of the open radio investigative platform RADAR, as well as one for radia.fm (#997). Additionally, he collaborated creatively and technically in the production of the RAD+ART 15 and 16 events in 2024 and 2025, respectively, at Cirkulacija2, Ljubljana.
Robbie Hopper (1991) is a musician, biologist, audio technician, curator and sound artist who lives in Ljubljana but hails from Scotland. As a sound researcher and collaborator in the performing arts, they have completed artistic residencies at PIF Camp (Slovenia, 2023), Kino Šiška (Slovenia, 2024), the National Center for Dance in Bucharest (CNDB, 2024), the Independent Dance Stage in Talinn (STL, 2024) and the University of Applied Arts Vienna (dieAngewandte, 2025). They are an active member of experimental electronic collective Clockwork Voltage as an artist, of the culturo-artistic association Anarhiv as a workshop facilitator, and of Radio Študent as a broadcast/production technician and co-curator of the open radio investigative platform RADAR.
Show 1090: Startalk by Corey De’Juan Sherrard Jr. for Wave Farm
Startalk is an audio/visual radio art piece depicting a network and history of seven independent Black radio stations in the US through paint, chalk, and sound. This work was informed by an ever-expanding audio/visual system that converts absolute locations into frequencies based on prompts centering Black music and autonomous Black spaces/entities. The audio component for Startalk was first broadcasted on Wave Farm’sWGXC 90.7 FM in July 2025, and the visual component first showed at Sanman Studios in November 2025.
Corey De’Juan Sherrard Jr. engineers a developing system for composing songs and generating objects that respond to the deficit of black post-capitalist propaganda within a world culture. He is a School for Poetic Computation alum and graduated from the University of Houston with a BS in Digital Media in 2020. Sherrard has exhibited visual and sound works at Sanman Studios, Sabine Street Studios, Cleve Carney Museum of Art, Basket Books and Art, and the George Washington Carver Museum and Cultural Center and has performed at Contemporary Art Museum St. Louis, DiverseWorks, and Blaffer Art Museum. He was a recipient of the 2023 Jones Artist Award. He is a resident DJ and media manager at internet radio station Ice House Radio, spins jazz on his weekly radio show STEAM at KTRU-LP 96.1 FM, and is a member of experimental music group Essex Moor.
Show 1089 : MOUVEMENT De PANIK (Radio Panik)
MOUVEMENTS de PANIK
« Une onde est la propagation au cours du temps d’une perturbation produisant sur son passage une variation réversible des propriétés physiques locales du milieu.
Elle se déplace avec une vitesse déterminée qui dépend des caractéristiques du milieu de propagation »Transmissions de digressions
Digressions en transmissions
Naviguer entre les émissions, naviguer entre les sons, naviguer entre les voix
Telles des ondines voguant sur les ondes.Mouvement de foules
Mouvement des corps
Mouvement des sons
Modulations sous tensions
Vibrations, altérations, révolutions et rotations
Pour sentir le monde vaciller et osciller
Pour sublimer en hertz les ersatz de nos résistances en perpétuelles modulations.
Elle se déplace avec une vitesse déterminée qui dépend des caractéristiques du milieu de propagation »Transmissions de digressions
Digressions en transmissions
Naviguer entre les émissions, naviguer entre les sons, naviguer entre les voix
Telles des ondines voguant sur les ondes.Mouvement de foules
Mouvement des corps
Mouvement des sons
Modulations sous tensions
Vibrations, altérations, révolutions et rotations
Pour sentir le monde vaciller et osciller
Pour sublimer en hertz les ersatz de nos résistances en perpétuelles modulations.
Cet épisode est un collage d’extraits d’émissions réalisées durant la programmation transversale « Mouvements de Panik» qui s’est déroulée du 17 novembre au 18 décembre 2026 sur les ondes de la Radio.
A ces extraits ont été ajoutés des sons et des fields recordings personnels enregistrés lors de mes voyages proches ou lointains.
https://www.radiopanik.org/topiks/thematiques/mouvements/
Un collage d’ondes collectives désorganisé et mis en sons par Madame Patate
https://madamepatate.com/
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« A wave is the propagation over time of a disturbance that produces a reversible variation in the local physical properties of the medium as it passes through it.
It travels at a specific speed that depends on the characteristics of the medium through which it propagates. »
Transmissions of digressions
Digressions in transmissions
Navigating between broadcasts, navigating between sounds, navigating between voices
Like water sprites gliding across the waves.
Movement of crowds
Movement of bodies
Movement of sounds
Modulations under tension
Vibrations, alterations, revolutions and rotations
To feel the world wobble and sway
To sublimate in hertz the ersatz of our resistance in perpetual modulations.
This episode is a collage of excerpts from programmes produced during Radio Panik’s cross-disciplinary programming « Mouvement de Panik » which took place from 17 November to 18 December 2026.
Sounds and personal field recordings made during my travels near and far have been added to these excerpts.
https://www.radiopanik.org/topiks/thematiques/mouvements/
A collage of collective waves disorganised and set to music by Madame Patate
https://madamepatate.com/
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Show 1088: Statue Of Liberty Live By Ed Baxter (Resonance)
Thousands of Radia fans have been asking what Ed Baxter has been doing since leaving Resonance after 23 years. Here is the answer. Statue of Liberty is an experimental big band featuring Otti Albietz (guitar, voice), Matt Armstrong (bass), Ted Barrow (electronics), Ed Baxter (concept, hand signals), Kit Bula-Edge (percussion), Toby Bula-Edge (saxophone), Adam Bushell (vibraphone), Fritz Catlin (drums), Helen Dodaki (voice), Stuart Griffiths (saxophone), Julian Juliano (percussion), Kitty McCarron (voice), Jude Montague (keyboards), Anthony Moore (electronics) and Tullis Rennie (trombone).
Engineer: Theo Passingham. This excerpt from its inaugural performance comprises El Derecho De Vivir En Paz (Victor Jara); Left Bank Two (Robert Dale); Love in Outer Space (Sun Ra); and Now O Now I Needs Must Part (John Dowland).
Thanks to XMTR Festival and Sono-Electro without whom this would not have happened.
Show 1087: Pins by Richard Foster (for RadioWorm)
PINS is a game for all anonymous egos, everywhere, made through repositioning and reproducing old dreams and documents. PINS is a game that rejects the word “practice”, a ponderous barrage balloon of a word, one with a thin skin that can be undone with a pin prick, revealing an awful lot of hot air. Leave it for the doctors and lawyers. Or call it “praccy”. PINS favours the word “process”. Process can mean the slow deconstructing of making art. Process also means something that can be tracked. It means repeated and unglamourous toil, uncertainty, silence, private actions with no hope of public validation, multiple failures and misunderstandings, and – eventually – something or other. In the 1960s you could enact “death by Process”. There is rarely a plan, just an idea. Chance, whim, accident and other people play a role in the end result.
What does Richard think about PINS?
Richard often feels between worlds. He remembers the congealed boredom of the analogue industrial past. He is often wary of the earnest, yet fly-by-night present with its assumed importances and digital fevers. Like Syd Barrett, he is “much obliged” to contemporary life for regularly “making it clear that he’s not here”. Richard realises that being between these worlds is both his natural state and his opportunity to act. Between 1840 and 2023 he spent an incalculable amount of time looking out of bedroom windows, or sitting in pubs listening to builders, plumbers and middle managers telling him what real art is. Now he wants to bring those worlds he saw together, somehow. He feels he has a lot to do, even if his work may not make much sense.
Back in 2004, Richard painted out all the images he didn’t like in hundreds of 12” record covers. Only those that momentarily interested him stayed. The record covers are still more interesting than Richard’s actions. They are now under the spare bed. One day he may photocopy them. Now for the RULES, and ILLUSTRATIONS: both here and at the Museum of Photocopies.
Mix & Edit by Lukas Simonis
Text & voice by Richard Foster
Production by Ash Kilmartin
a RadioWORM/Dr Klangendum/Concertzender production
This is nr 4 of a series of pins, you want more pins? check; Concertzender.nl
Show 1086: La Couleur des Rêves by Izabela Matos (for Jet FM)
https://archive.org/details/radia_s56_n1086_jetfm_LaCouleurDesReves-by-IzabelaMatost
La Couleur Des Rêves est un documentaire sur le parcours d’une créatrice textile Jacqueline Vrbica (1933-2024) mais aussi sur une femme et artiste engagée. Son travail est basé sur la “décréation”: découdre pour transcender dans une énergie créatrice.
“Sublimer une douleur permanente en quelqu’un qui veut contredire tout cela dans une explosion de joie et d’espoir.” La rencontre entre les deux artistes Izabela Matos et Jacqueline Vrbica était forte, délicate et onirique.
En décembre 2025 à l’occasion de l’exposition qui mettait à l’honneur le travail de Jacqueline à St Marc (44, France), Izabela Matoš a décidé d’ouvrir une nouvelle fenêtre pour son amie disparue en lui rendant hommage avec cette création sonore.
Avec les témoignages de: Laurent Vrbica, Stéphanie Triscos, Catherine Gaucher et Fabienne Swiatly.
Idées, montage, réalisation, voix, musique, bruitage, field recordings par Izabela Matoš
Izabela Matos est artiste, plasticienne, créatrice sonore et musicienne. Tout ce qu’elle touche devient art avec une évidence déconcertante. Elle vit à Saint-Nazaire.
Show 1085: When We Bow Down Our Heads by John Roach (Radia edit, Rádio Zero)
This 27 minute radio version of When We Bow Down Our Heads was created by John Roach specifically for radia.fm. The work celebrates the resonance of wind and its promiscuous and borderless nature by combining 10 years of spatialized field recordings, live intervention of performers Wolf Robert Stratmann (double bass) and Inbal Hever (voice), and fragments of interviews that provide contextual turbulence. Two voices are heard in this edit, the interdisciplinary artist and composer Raven Chacon and the Geophysical Scientist Joonsuk Kang.
A graphic score that places the various field recordings temporally, and guided Strattman and Hever’s performance, can be found here:
John Roach is an interdisciplinary artist with a particular interest in sound and multisensory experience who builds environments that blur the line between what we see and what we hear. His work moves fluidly between intermedia installation, radio transmission, performance, object-making, and image-making. It is guided by a playful embrace of uncertainty – something that is often fully activated through collaboration. Many projects focus on themes related to ecological systems, biodiversity, and climate, such as the installation Scorched Honey Archive about the complex interconnections between humans and pollinators that was exhibited at NARS and BioBAT galleries in Brooklyn, NY.
Show 1084: “Silver Epiphany” by Irrflug (Mark Kanak), featuring Jarboe and Blixa Bargeld (for Radio Helsinki)
“Silver Epiphany” by Irrflug (Mark Kanak), featuring Jarboe and Blixa Bargeld
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It is a combination of texts taken from the 2023 book Lügendetektor/Lie Detector and new texts from a work called “Silver”.
Credits:
Voice: Blixa Bargeld
Voice: Jarboe
Musik, sounddesign, noise, chaos: Irrflug (Mark Kanak)
Credits:
Voice: Blixa Bargeld
Voice: Jarboe
Musik, sounddesign, noise, chaos: Irrflug (Mark Kanak)
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An undulating journey into the cosmos, featuring shattering, incessant and metallic soundscapes. Drawn from Mark Kanak’s 2023 book “Lie Detector” as well as 2025’s “Silver” (by Irrflug), much of the material moves in the silver and grey register, where surfaces hint at coherence without actually achieving it; a slow treading to an inevitable end. The voices of Blixa Bargeld and Jarboe interact in what is almost cold contempt while the piece revolves around questions of falsehoods and truth, what is not really known or can be, and the “epiphany” moment of realizing that in the end, the world wants to deceive and be deceived…and always will be.
Listen:
Show 1083: Music Is Murder by Martin Djorlev (Kanal103)
Мартин Џорлев – Музиката е отепувачка
This episode captures the closing moments of Kanal 103’s marathon broadcast marking 81 years of Macedonian Radio, on 28.12.2025.
After more than 15 hours on air and a never-ending closing live session, the scheduled program slowly dissolved into an open situation. Recorded around 4am, as the night tipped into morning, the studio shifted into a different mode. Using the station computer, Martin Djorlev began mixing live from multiple internet sources, navigating streams, fragments, and digital noise in real time.
What emerged was an unplanned deep drone / ambient mix, imperfect, glitchy, unbalanced, marked by signal cracks and bleed from an old mixer worn down by years of use. Slow and immersive, the sound hovers somewhere between exhaustion and focus. A live navigation through online audio, shaped by the moment, the hour, and the accumulated energy of the broadcast.
Martin Djorlev is a central figure in the new Macedonian music scene. Active across projects, genres, and formats, he plays almost nightly, releases constantly, and moves between live performance, composition, and experimentation. This set reflects that momentum, created without preparation, without pause, as if there were no tomorrow.
Some of his recent music:
https://zhivotni.bandcamp.com/album/-
https://ubijdedo.bandcamp.com/album/-
https://stotrojka.bandcamp.com/album/–10
Recorded live at Kanal 103, Skopje.
End of broadcast, beginning of another space.