Show 1055: Ojú Oró, three pieces by Ajítẹnà Marco Scarassatti (Rádio Zero)

Ojú Oró, three pieces by Brazilian artist Ajítẹnà (Marco Scarassatti) featuring special partnerships offers a dive into his partilhar sound world.

The first, Ojú Oró, Strength and Sorrow, is part of the recent album Notes from a distant listening, released by Sirr-ecords label, and featuring Maya Quilolo. This work emerges as a poetic construction of lived, intuited, and imagined spaces, shaped by listening, memory, documentation, archiving, and invention. It is a journey through the layers of listening, the ways of recording, and the attempt to create a listening situation based on sonic fragments gathered from real places, recordings of improvisations, and (re)visits to a repertoire of recordings found in my personal archives—transforming the ordinary into raw material for invention.

The second sound piece is Arisca, from the yet unreleased album Beira, an improvisational album recorded and produced remotely, the result of a collaboration between singer Inés Terra, who explores a multitude of vocal sounds, and sound artist Ajítẹnà (aka Marco Scarassatti), who plays on this track the instrument he invented, called ẹlẹyẹ, or bird-trough. Beira will be released soon by the Scatter Archive and Brava labels.

At last, Txãi kamã kuru, from the album Ni yuxibū xinã rewe, by Ibã Huni Kuin, master of chant from Huni Kui indigenous amazonian people and Ajítẹnà and released by Sirr-ecords. Ni yuxibū xinã rewe which in Portuguese means Sounds of the Spirit of the Forest, emerged from an initial contact between Ajítẹnà and Ibã, in 2016 when recording the chants of Nixi Pae (Ayahuasca), in Porto Seguro, Bahia., Brazil.

Ajítẹnà Marco Scarassatti is a sound artist, composer and researcher whose work spans through unique constructed sculptures and instruments, installations and sound emblems. He is a lecturer at the Federal University of Minas Gerais – UFMG, Brazil

Show 1054: Partitura Para Um Sino Independente (Guest Slot)

===scroll down for english===

Partitura para um sino independente

E assim arranca o quotidiano. Uma subtileza feita de sons que reconhecemos, mas tantas vezes ignoramos. É só um ruído de fundo. Hoje, não há bruxas — há culpa. A voz como espelho do incómodo, da tosse, do grito. E os sinos, sempre lá. Ao longe, persistentes, como uma entidade que dita o compasso dos nossos passos. Num tempo em que ‘liberdade’ se tornou palavra frágil, sussurramos, segredamos, entoamos — e transformamo-nos na multidão que, por instantes, se faz ouvir acima dos sinos.

Foi a partir desta escuta atenta — e inquieta — que, em março de 2025, um grupo de curiosos sonoros se reuniu em Braga para um workshop de arte radiofónica, promovido pela Braga Media Arts, no âmbito de Braga 25 – Capital Portuguesa da Cultura. Sob a orientação de Sarah Washington e Knut Aufermann (Mobile Radio), nasceu uma emissão construída a partir desse fundo sonoro.

Ao pensar-se na identidade sonora de Braga — marcada por uma presença religiosa notável, que lhe valeu o epíteto de “Roma portuguesa” — chega-se sempre aos sinos. Eles habitam as torres das inúmeras igrejas da cidade, marcam o tempo, entoam melodias sagradas, convocam à oração. E parecem, por vezes, perscrutar as almas em busca de pecados. Por existirem — e por se fazerem ouvir — os sinos moldam, inevitavelmente, o nosso quotidiano.

Os sinos e os cordofones que ouvimos nesta peça foram gravados durante ensaios e apresentações do projeto artístico “Novos Ecos de Uma Paisagem Sonora”, do Grupo de Percussão da Universidade do Minho, com direção de João Dias, acompanhados à viola braguesa e cavaquinho por Luís Capela.

Conceção e gravações: Bernardo Pinheiro, Brendan Hemsworth, cátia faísco, José Costa, Líria Varne, Luís Pinto, mi, Pedro Rui, Rui Tavares, Sara Pereira, Steffi Koch, Virgínia Valente, Marta Durão.

Montagem e edição: Brendan Hemsworth

Agradecimentos: João Dias, Luís Capela, Fábio Saraiva, Filipe Abreu, Pedro Arrieche, Simão Veiga, Carlos Jerónimo, Francisco Novais e Sara Borges; Circuito Braga Media Arts / Braga 25; Rádio Universitária do Minho; Fundição de Sinos de Braga.

Score for an independent bell

And so everyday life begins. A subtlety made up of sounds that we recognise but so often ignore. It’s just background noise. Today, there are no witches — there is guilt. The voice as a mirror of discomfort, of coughing, of screaming. And the bells, always there. In the distance, persistent, like an entity dictating the pace of our steps. At a time when “freedom” has become a fragile word, we whisper, we murmur, we chant — and we become the crowd that, for a moment, makes itself heard above the bells.

It was from this attentive — and restless — listening that, in March 2025, a group of curious sound enthusiasts gathered in Braga for a radio art workshop, promoted by Braga Media Arts, as part of Braga 25 — Portuguese Capital of Culture. Under the guidance of Sarah Washington and Knut Aufermann (Mobile Radio), a broadcast was created from this soundscape.

When thinking about the sound identity of Braga — marked by a notable religious presence, which earned it the epithet ‘Portuguese Rome’ — one always comes back to bells. They inhabit the towers of the city’s countless churches, mark time, sing sacred melodies, call people to prayer. And sometimes they seem to scrutinise souls in search of sins. Because they exist — and because they make themselves heard — bells inevitably shape our daily lives.

The bells and chordophones heard in this piece were recorded during rehearsals and performances of the artistic project ‘Novos Ecos de Uma Paisagem Sonora’ (New Echoes of a Soundscape), by the Percussion Group of the University of Minho, directed by João Dias, accompanied on the Braguesa guitar and cavaquinho by Luís Capela.

Concept and recordings: Bernardo Pinheiro, Brendan Hemsworth, Cátia Faísco, José Costa, Líria Varne, Luís Pinto, Mi, Pedro Rui, Rui Tavares, Sara Pereira, Steffi Koch, Virgínia Valente, Marta Durão.

Editing and production: Brendan Hemsworth

Acknowledgements: João Dias, Luís Capela, Fábio Saraiva, Filipe Abreu, Pedro Arrieche, Simão Veiga, Carlos Jerónimo, Francisco Novais and Sara Borges; Circuito Braga Media Arts / Braga 25; Rádio Universitária do Minho; Fundição de Sinos de Braga.

Show 1053: FLOATING FIELD RESEARCH by GABI SCHAFFNER for radio x

radia season 54 – show #1053 (radio x) – FLOATING FIELD RESEARCH – by GABI SCHAFFNER
– playing from June 2 to June 8, 2025 –

FLOATING FIELD RESEARCH
in two pieces by GABI SCHAFFNER

The first piece is
Kukka Shop Overdrive (2021)
The location: A small kiosk selling flowers and eggs, next to a heavily trafficked road on the island of Lajasalo in Helsinki. The shop has been in the neighborhood for the last 20 years I was told, but egg sales occur only on Wednesdays. They are sold in trays by 40 pieces only. The weather was gritty, slush and gravel spurted from the cars in the road and form the overall backdrop of the ‘kukka’ shop conversations.
The recordings: All recordings originate either from the site of the ‘kukka’ shop at Lajasalo and another flower shop in Mäntta – and finally a private greenhouse in Taiwan.
Additional sounds derive from the frying of several eggs and a visit to a chicken shack in Ruovesi to collect more eggs.

Credits for Kukka Shop Overdrive (2021)
Field Recordings and composition: Gabi Schaffner.
Voice Taiwan: Margaret Shiu, Bamboo Curtain Studio, Taipei.
Chicken: Tyyra Jukka, Ruovesi.

The second piece is
Schweben | Floating (2023)
“Schweben” is an invitation to immerse you in a series of short narratives about body musings. The narratives have been collected on the legendary art ship MS Stubnitz, located at Hamburg harbour.
“Schweben” takes ‘float(ing)’ literally: Guests, passers-by and members of the Stubnitz staff were asked about their experiences in floating or hovering in the air…
Other bodies of water and air whirl alongside, from vitamin tablets to ship ventilators.
The piano belongs to the MS Stubnitz. We listen to it in an improvisation played by the crew’s cook, Renard.

Credits for Schweben | Floating (2023)
Stimmen/Voices: Claudia, H.W., Karim, Jann, L., Mathias, Tina.
Piano: Renard.
Fieldrecordings: Gabi Schaffner.
Other: “Ein Zimmer voller Sterne”, Schaffner, 2020.

GABI SCHAFFNER
Gabi Schaffner works as an interdisciplinary sound artist and curator. Her artistic practice is determined by the methods of poetic ethnography in connection with fluxus-like mise-en-scènes, radio-making and sound art performances. Much of her work originates from journeys. Next to her radiophonic productions, Schaffner creates speculative musical genres and inserts them into music history in order to raise awareness for cultural, gender-related and/or geographical conditions. Schaffner has been realising award-winning productions with Deutschlandfunk Kultur, radia.fm, Hessian Cultural Radio and ABC Australia. Since 2012 she maintains DATSCHA RADIO, a nomadic transmission project that links the medium of radio to current ecological issues.

Find out more about DATSCHA RADIO at www.datscharadio.de
and about GABI SCHAFFNERs projects in a broader perspective at www.schaffnerin.net

credits:
great many thanks to GABI SCHAFFNER for FLOATING FIELD RESEARCH … and we also say thank you to her artistic collaborators, contributors and donators – especially to Augustin the cat!

metadata:
FLOATING FIELD RESEARCH by GABI SCHAFFNER
radia production: miss.gunst [GUNST + radiator x]
production date: may 2025
station: radio x, frankfurt am main (germany)
length: 28 min.
licence: (cc-by-nc-nd) GABI SCHAFFNER
www.radiox.de – www.gunst.info – www.datscharadio.de – www.schaffnerin.net

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

links:
radio x & radiator x: www.radiox.de – www.radiox.de/radiator-x
GUNSTradio & radiator x: www.gunst.info – www.gunst.info/radiator
Gabi Schaffner: www.datscharadio.de – www.schaffnerin.net
radia art radio network: radia.fm

pic:
(c) Gabi Schaffner 2025

A Brief Tale: Bach in Seville (TEA FM)

In the spring of 1745, Johann Sebastian Bach, weary from years of composing and performing across Germany, embarked on an unexpected journey south. Rumors of the vibrant music and golden light of Andalusia had reached Leipzig, whispered by travelers and fellow musicians. Intrigued and seeking inspiration, Bach set his sights on Seville.

Upon arriving, the composer was struck by the city’s intoxicating mix of Moorish architecture, orange blossom-scented air, and the ever-present rhythm of flamenco echoing through cobbled streets. He was welcomed by local musicians, curious about the German master whose music, though foreign to them, stirred something familiar in their souls.

One evening, in a small courtyard lit by lanterns, Bach joined a gathering of Spanish guitarists and singers. They played bulerías and soleás, their hands moving like fire across strings and palms. Bach, fascinated, responded with improvisations on his clavichord, echoing the passionate melodies with Baroque flourishes. The music transcended language. In those moments, the sacred and the earthly met.

Before leaving Seville, Bach climbed the Giralda tower. From its heights, he gazed across the red rooftops and the Guadalquivir River, listening to the distant strum of guitars. He did not write down what he heard—but in his final compositions, there would linger a warmth, a rhythm, and a hint of Spain that no one could quite explain.

And so, though unrecorded in history, Seville left its mark on the master of counterpoint—just as his music left echoes in the alleys of Andalusia.

Based on the show “Improbach. The Intangible Infinite”
Dance–Choreography–Texts: Alba Lucera
Piano: Pierre Mancinelli

Sound Design: Chuse Fernandez

 

Show 1051: Radiopille by Vienna Radia Collective feat. Liese Schmidt

Image: Montage Liese Schmidt

The exhibition ‘Die Pfeile des Wilden Apollo’ (an exhibition of the art collections in cooperation with the Exhibit Gallery at the Academy of Fine Arts, Vienna) explores the transition from the Enlightenment to early Romanticism through the central role of music as a vehicle for spiritual experience and national mysticism: sounds of an early folk movement, Nordic drone scapes as an expression of a new national mysticism, bardic singing and the sounds of cosmic forces.

The video work magnetic fan fiction (The Case of Miss – –) by Liese Schmidt responds to four portraits of so-called ‘clairvoyants’ shown in the exhibition, who are under the influence of a mesmeristic treatment. The work weaves together medical, spiritualist and media-technological narratives into a speculative story of mental transmission, in which primarily female, childlike and colonised bodies appear as transmitters and receivers of thoughts, diagnoses and cosmic visions. In a fictional extension of this narrative, the so-called ‘radio pill’ is hacked to send a patient’s thoughts back into the past. The result is a ‘magnetic fan fiction’ that makes a paranoid inner world audible via invisible frequencies.

The ‘radio pill’ had an inspiring effect on the Vienna Radia Collective and prompted Fabi Lux and Karl H. Schönswetter to develop the idea of a radio station travelling through the body.

Radiopille

with contributions by Liese Schmidt, Fabi Lux and Karl H. Schönswetter

Show 1050: I don’t believe in computing (*Duuu Radio)

From April 24 to 26, 2025, *Duuu invited artists and musicians Corentin Canesson, Charlie Jeffery, and Julien Tiberi for a residency at *Duuu’s studio. Each day, from 4:00 to 5:00 PM, *Duuu broadcast live to share the working sessions taking place in the recording studio. For Radia Show 1050, *Duuu presents a musical piece from the final live session recorded on April 26.
This residency will result in the release of a vinyl record produced by *Duuu, scheduled to launch on June 21, 2025, at the *Duuu studio / Folie N4 Parc de la Villette, as part of the Fête de la Musique celebrations.

I don’t believe in computing, by Corentin Canesson, Charlie Jeffery and Julien Tiberi

Recorded and produced by Morgane Charles, Arthur Bécart and Sampson Staples at *Duuu studio in Paris

Links : https://duuuradio.fr

Radia Show number 1049 : shower: a call for shouts by Ada LaNerd for ∏Node

first it was a call,
then it was a fail,
thus it was a fiction,
although it was a show,
yet it was a need,
but it was a spoof,
albeit it was an effort,
so it was a part,
also it was a thing,
in the end, it is a call.

a call for shouts,
a call for action.

musical background are excerpts of [The Flood by Rrrrrose Azety / Soft and Furious](https://chezmonplaisir.bandcamp.com/album/the-flood).

Half-lady/half-lazy, Ada LaNerd is a radio hacker and a performer. She joined ∏Node in 2025 and mostly produces radio shows about politics and news of the independent social medias.

https://hackstub.eu/home/en/membres/ada-lanerd

Show 1048: Symphony for a city reclaimed (Usmaradio)



The minimalist musical composition, built from a few elements that repeat in cyclical and random patterns, serves as a dreamlike accompaniment to the transformation of the city, narrated through field recordings. It is a sonic narrative of the transition from a contemporary urban landscape to a city of the future, where nature plays a central role in our lives.

Music and Field Recordings by Giacomo Vanelli.


In April 2025, Giacomo Vanelli took part in the fourth edition of Radio Residenze, the series of artistic residencies dedicated to experimental radio and its connections with the performing arts. Hosted at Giardini Pensili in Rimini and organized by Usmaradio – Research Centre for Radiophonic Studies of University of San Marino, Vanelli developed a new work exploring the possibilities of modular synthesis and chance-driven composition. His residency culminated in a live performance broadcast on usmaradio.org, presented as part of the Armenian Genocide Remembrance Day on April 24.

More information about the Radio Residenze project is available at usmaradio.org/radio-residenze.


Giacomo Vanelli - Usmaradio - Radia.fm

Giacomo Vanelli is a musician known for his deep commitment to ambient and experimental electronic music. Vanelli is distinguished by his innovative approach to composition, where the modular synthesizer is not merely an instrument but a platform for exploring chance and self-imposed limitations. This method allows him to create complex and nuanced soundscapes that reflect a highly personal and introspective creative process.


Usmaradio – Centro di Ricerca Interdipartimentale per la Radiofonia (CRIR) / Interdepartmental Research Centre for Radio Studies, is a workplace of The School of Radio to develop an innovative radio pedagogy. Workshops, work sessions, meetings, presentations of live performance as sections of the project. Produced by UNIRSM | Università degli Studi della Repubblica di San Marino. usmaradio.org / theschoolofradio.org / unirsm.sm

Show 1046: Ghada Al Kurd for Radio With Palestine (radioart106)

Extracts of four consecutive live transmissions by Journalist Ghada Al Kurd from Dier Al Balah, Gaza,

part of  the ongoing series ‘Radio With Palestine’ produced and broadcasted by Soundcamp London.

The transmissions, co-produced with radioart106, took place on the dates 17.12.24, 31.12.24, 7.1.25, and 16.1.25. 

Ceasefire started on 19.1.25 and was broken by Israel on 18.3.25. 

Show made on day 553 of the war on Gaza.

https://acousticommons.net/listen/rwp

Show 1045 Breathing Rotations in the Imaginary Radio Station By Stephen Adams with The Music Box Project (Diffusion)


Four musicians of The Music Box Project deliver synchronised breath-length phrases to microphones, their presence doubled by the simultaneous lo-fi local broadcast diffusion of their music through the domestic radios they carry. The radios also diffusing field recordings played to air by a fifth performer, composer-producer Stephen Adams, operating the mixing desk of the Imaginary Radio Station. The installation looping in on itself when the musicians shift to using their radios to play the microphone feedback. All five artists interacting within a shared space of improvised sound-making and intense listening.

Breathing Rotations is a framework for improvising within the Imaginary Radio Station – a networked instrument-cum-sound-installation.

The installation enables a kind of live radio-making and hyper local broadcast to the performance venue and its immediate surroundings, with the performers both creating content for the station, and operating its lo-fi sound diffusion for the audience.

Breathing Rotations takes a mediative approach to the potentials of the Imaginary Radio Station. Four musicians are invited to improvise synchronised breath-length phrases to the four microphones at four corners of the room. With long pauses between phrases as the musicians move from one microphone to the next. Their sound-making and their movements are framed and potentially influenced by a fifth performer, the broadcast controller, who sits at a small mixing desk with FM transmitter, looking after the live mix as well as adding low-key field recordings and other audio files to the ‘program’ of live music-making broadcasting to the four radios which the musicians carry.

Over the course of the performance (which might last anywhere from 30 minutes to several hours), as well as rotating around the room in one direction or another (and occasionally choosing to remain at one mic for a while), the musicians gradually shift, one at a time, from playing their chosen musical instruments to playing microphone feedback with their radios, and finally to using their voices. The musicians cannot know what each other will play in each synchronised phrase. They know only what each played previously, and what they know of each other’s musical approaches and inclinations. Plus whatever may be suggested by their ways of moving between microphones, and the atmospheres created by the field recordings and that share the broadcast and acoustic space with them.

I created the Imaginary Radio Station (IRS) for Sydney-based collective The Music Box Project (TMBP), with the intention of composing a concert length work for TMBP, envisaged as built around an imaginary broadcast schedule, with opportunities to respond and incorporate material from the environments and audience members at each venue where it is installed/performed. While that concept is still in development, in March 2025 during a Bundanon artist residency with TMBP and dramaturg Nikki Heywood, an improvisation exercise I introduced proved to be particularly generative and exciting for all of us, emerging through further exploration and dialogue as a fully-formed model for a more abstract structured improvisational work, Breathing Rotations.

This program is a 28-minute radio edit and mix of a 50-minute workshop performance of that work by The Music Box Project and me, Stephen Adams, in the Dorothy Porter Studio at Bundanon to an audience of one – our collaborating dramaturg Nikki Heywood.

The opening field recording is of the sounds of dawn at Bundanon, as recorded on the verandah of the cottage next door to the studio at first waking on the morning of the performance. The final ‘field recording’ is the sounds from outside through the open studio door.

Performed by Elizabeth Jigalin (recorder, radio, voice), Naomi Johnson (flute, radio, voice), Jane Aubourg (violin, radio, voice), Joseph Lisk (trumpet, radio, voice), and Stephen Adams (live mix, field recordings and other pre-recorded material)

Concept developed by Stephen Adams for and in in dialogue with The Music Box Project and collaborating dramaturg Nikki Heywood.
Produced by Stephen Adams

https://www.linkedin.com/in/stephen-adams-1777025b/
https://www.themusicboxproject.com/