Narrative is in a pretty pickle without the culture of experimental theatricals tossing off their posing pouches and expressing with wild abandon but, today in the studios of Soundart Radio, almost everybody is naked! That’s because devised theatre, in the most magical of spaces - the radiophonic environment - is back! Ghosts! Witchcraft! Savoury jelly! Welcome to the future dramaturgy! May or may not involve contributions from interstellar intelligences.

by Dr Ergo Phizmiz, Lottie Depresstival Bowater, and the Soundart Radio MASSIVE

The Wind of Heaven

Hidden Valley seems to be far removed from our worlds. There, a musical encounter with Flies, Cicadas, Wombat Poo, and a little Waterfall unfolds. These characters become my Musickin—through the musicking—as the wind of heaven blows through the pipes of every critter.
Later in my studio: A contemplation re-enfolds on the affordances of identity and identitylessness.
The originary recording was made 2020, in the Budawang Mountains, southwest of Nowra, on the east-coast of Australia. This Country is the lead author of this work, and respects are paid to the Yuin people, who have been singing up these Mountains everywhen. My studio is on Gadigal Country.

• Jim Denley, December 2025

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Born in the Illawarra, Dharawal Country south of Sydney in 1957, Jim Denley has been active with experimental and improvised musicking since the 1970s.
He has performed in Australia, Europe, Japan and the US with artists such as Chris Abrahams, Clare Cooper, Keith Rowe, Joel Stern, Robbie Avenaim, Jon Rose, John Butcher, Otomo Yoshihide, Fred Frith, Phil Niblock, Trey Spruance, Clayton Thomas, Tess de Quincy, Axel Dörner, Adam Sussman, Ami Yoshida, Oren Ambarchi, Tony Buck, Ikue Mori, Sachiko M, Malcolm Goldstein, Michael Sheridan and Annette Krebs.
He is interested in what his music instinct might learn from language. From 1989 to 2009 he worked with the text/music group Machine for Making Sense, (Amanda Stewart, Stevie Wishart, Rik Rue and Chris Mann). Jim co-formed 180º with Amanda Stewart and Nick Ashwood in 2018 to continue the pursuit of text/music intra-activity. He’s been involved with the radically inclusive Splinter Orchestra since 2001.
He often records around the coves and beaches of Sydney Harbour, where for thousands of years the Dharug people would have played ngaramang (music).
His radio work Collaborations, produced by ABC Radio National won the 1989 Prix Italia for radio production.
Bloomsbury will be publishing his PhD research as the book, Towards ecological musicking: As Weather Improvisation.

Cyborg Lullaby from Gwen Sainte-Rose

« Est-ce que vous avez des enfants ? »
A cette question qui paraît anodine, celles qui ne sont pas mères peuvent apporter, chacune, une réponse et une histoire très différentes.
Gwen y répond ici à sa façon, dans ce premier geste sonore qui raconte son histoire et son rapport à la non-maternité. D’autres créations sur cette question suivront, présentant les univers singuliers de chacune autour du projet : « Celles qui ne sont pas mères ».


• • « Cyborg Lullaby » from Gwen Sainte-Rose
    (1st part of upcoming “Those who are not mothers”)

“Do you have children?”
To this seemingly innocuous question, those who are not mothers can each give a very different answer and tell a very different story.
Gwen responds in their own way, in this first sound piece that tells their story and their relationship with non-motherhood.

It’s also about what they feel on a sensory level. How they live in a binary and heterosexual system. What is “natural” or not And how they find their way in there.
Other creations on this question will follow, presenting each person’s unique universe on this theme.



Gwen Sainte-Rose is a musician, composer and sound artist. Their creations are always guided by sensitive listening.

For cello and loopstation, they composed “Collines – Racines”, two soundscapes inspired by the Forêt de Soignes and the Gaume region in South Belgium.

They produced the radio documentary “Ne pleure pas !” (Don’t cry!), about child abuse.
Now they are also exploring links between videos they made with a microscope camera, sound and music, as in « Garden ».

Production, sound design and music : Gwen Sainte-Rose
Curation : Carine Demange

Ré-affirmer le merveilleux comme une manière de ré-enchanter le réel

Les rives du Léman ont toujours fasciné des artistes, écrivain·es et penseur·euses venu·es des quatre coins du monde.
Nous faisons l’hypothèse que vivre avec nos histoires, nos légendes et nos mythes fondateurs, est une manière de nous ancrer et de nous régénérer en tant que communautés, et que la transmission culturelle est un processus qui contribue à connecter les individus et à perpétuer des groupes humains.
Aux prémices de ce projet nous avons constitué une équipe de recherche pluridisciplinaire, réunissant des artistes et des scientifiques local·es ainsi qu’international·es et leur avons proposé un temps de résidence embarquée. Nous avons pensé que cette immersion offrirait un terreau fertile pour la compréhension, la réinterprétation et la création de récits liés au Léman.

Cette résidence embarquée s’est montrée être une aventure hybride, à la fois nautique et expérimentale, scientifique et artistique. Nous l’avons destinée à la mise en commun de nos savoirs et pratiques liés aux légendes du Léman. Ce fut aussi une occasion de partager nos connaissances sur le milieu, de développer et témoigner nos attachements au lac, d’expérimenter de nouvelles manières de dialoguer avec lui et de vivre ensemble des moments conviviaux.

(documentation audio des résidences embarquées)
par Eric Desjeux
avec les voix de Jean-Baptiste Molina, Federica Tamarozzi, Christian Baumann, Dalia Mauvis, Mathilde Tinturier, Jonathan Frigeri, Emmanuelle Nizou, Antoine Schaad, Maryne Lanaro, Henry Deletra, Benoit Grison, Diederik Peeters, Paul Courlet, Luca Schöpfer, Stéphanie Pfister, Eva Zornio, Vanessa Montero.

A sound geography of the Calanques National Park, mixing sensitive knowledge, empirical and scientific.

Sound creation resulting from a workshop of listening and recording underwater sounds co-created with people concerned by psychiatry.

With the participants of Radiolà:
Fanny Ausseil, Yves Seksek, Anita Lindskog, Sylvain Vicarini, Yacine Djemli
Aurélie Darbouret, anthropologist researcher
Underwater recordings: Julie Rousse, sound artist
Recordings & Production: Jean-Baptiste Imbert

A creation with the phonograph artist Julie Rousse, anthropologist researcher Aurélie Darbouret and sound director Jean-Baptiste Imbert.

Floating listening, a project proposed by Radio Grenouille – Euphonia and supported by the Calanques National Park as part of its call for ‘Culture’ projects for the Autumn of the Calanques 2025 and labeled La Mer en Commun.

This radiophonic piece is improvised from live broadcast, dubbed and mixed across four channels in real time, with effects layered in the moment. It explores the fleeting quality of sound — how something can be summoned into being just by pressing Play. It’s about listening as a kind of magic, where the act of playback becomes the act of creation, unfolding outward like a ripple
from the centre. A quiet celebration of the ephemeral, the accidental, and the everyday wonder of tuning in.

Andrew Backhouse is one of the founders of Harrogate Community Radio and an artist in his own right. Born in East Anglia and somewhat superstitious, Andrew has lived across the UK but now happily calls Harrogate home.

Certain Secret Methods Two is a new 27 minute composition created specifically for radia. It uses tape loops, harmonium, singing bowls, sequential circuits pro one and field recordings to create a space for you to visit whenever you like. I am intrigued by the concept of dead drops, codes and ciphers and Steganography. In this recording is embedded, messages, codes and location details. Perhaps you will listen closely and figure out what it is all about?

Mykel Boyd (°1970, Kankakee,IL) makes sound recordings, conceptual artworks, photos, installations and films. By experimenting with aleatoric processes, Boyd creates work in which a fascination with the clarity of content and an uncompromising attitude towards conceptual and minimal art can be found.

This sound creation piece captures the essence of autumn in the Aragonese region of Sobrarbe. Through field recordings collected in forests, rivers, and mountain villages, it reveals the textures of a landscape in transition - the rustle of dry leaves, distant cowbells, the whisper of the wind through beech and pine trees, and the echo of footsteps on ancient stone paths. The composition invites the listener to experience the emotional and acoustic depth of the season, blending natural ambiences with subtle sound design to evoke the quiet beauty and melancholy of autumn in the Pyrenees.

Soundscapes recorded at Bielsa, Pineta and Chisagüés 23-25 october 2025.

What became of the Library of Alexandria? It seems to have fallen victim to the flames. Just like our beautiful jingle. Only remnants of it remain, because we allowed ourselves to play with fire in this programme. We were amazed at how many levels there are links between the element of fire and radio! It starts with the German word “Funkfeuer” (radio beacon) and ends with Telefunken and lightning. We enjoy the convivial warmth of the campfire and marvel at electromagnetic inventiveness.

A programme featuring sonic illusions and surprising parallel universes.

Production and recordings by Barbara Huber, Barbara Kaiser, Fabi Lux, Stefan Nussbaumer & Karl Schönswetter. Contains industrial recordings by kwandalist.

Arrangement & mixing by Karl Schönswetter.

From our Elements series. Previously released: Earth, Water and Metal.

Sur les ondes hantées du B.O.O., les fantômes prennent la parole.
Un paysage sonore où résonnent monstres, maisons hantées et autres présences invisibles.
Une proposition de Reem Saleh et Louise Siffert pour *Duuu.

On the haunted radio waves of B.O.O., ghosts speak out.
A soundscape filled with monsters, haunted houses, and other invisible presences.
A proposition by Reem Saleh and Louise Siffert for *Duuu.

Cette playlist a été diffusée à l’occasion de l’événement A Ghost Radio Camp, une soirée horrifique organisée en juillet 2025 à Duuu Radio / Folie N4, Parc de la Villette (Paris).
This playlist was broadcast during the A Ghost Radio Camp event, a horrific evening organized in July 2025 at Duuu Radio / Folie N4, Parc de la Villette (Paris).

Radia Mixage : Sampson Staples

The KunschTTurm Club was located in the Kunstturm, a 100 m² apartment, on the 22nd floor of the Tour de l’Europe in Mulhouse. Made available by its owners, the club quickly became a second studio for the Alsace branch of ∏-Node. Julia and Dinah bubbled up the closing weekend. Armed with their cristal Baschets, they pulled the plug from the heat in the bathroom for a 2 hours improvised installation/performance. Inspired by Anne Carson’s poem ‘Guillermo’s Sigh Symphony’ (2002) which was copied onto the tiled walls, ears steaming near the bath tub of sounds, the audience drifted in and out. The “souffleuses de son” captured FM radio through the pipes, read extracts from the poem, and used hydrophones and small radios to amplify the drip, drip, dripping.

This is an edit from the ∏-Node stream, during the KunschTTurm Club, Season 1-31 jan-31 july 2025

Thanks to : JPRRR for the mastering, individu and the whole KunschTTurm crew.

Radio version of the audiovisual performance

Don Giovanni is one of the archetypes of our culture, one of its founding myths. And myth is not an inert fable but an active, creative force, it nourishes, in a surprisingly circular way, the very culture that gave it life.
Over the course of four centuries, Don Giovanni has taken on - or disguised himself in - countless and extraordinarily varied forms.

With this audiovisual project, we seek to explore the recurring and often mutable archetype concealed beneath Mozart’s masterpiece, creating a performance that draws on a contemporary aesthetic and language. Mozart’s music itself undergoes metamorphosis, electronic, sampled and manipulated, from old vinyl records to acoustic renditions, serving as the foundation for literary “evocations” of Don Giovanni, from Tirso de Molina to José Saramago, from Molière to Baudelaire, Hoffmann, Kierkegaard, Byron, and many others. And, of course, the operatic libretto by Lorenzo Da Ponte.

The project includes readings, sung passages, and historical recordings of actors’ performances, a sound carousel that conjures the situations, characters, texts, and voices that have given life to the Don Giovanni myth across different historical periods, authors, and its continual metamorphoses. Whether invoking the unrepentant libertine or the punished sinner, the paradise of the senses, the complexity of human relationships, or the hell of damnation.

Paolo F. Bragaglia is an electronic composer born in an entirely analog world, who has stubbornly journeyed into our digital age. Ever fascinated by the metamorphosis of sound across genres, over the years he has expanded his interests toward the intersections between music and moving images, dance, architectural spaces, visual arts, spoken word, and theatre.

This has led to an intense career as a composer of film scores, soundtracks, and multimedia performances, alongside record production, sound art, and sound installations. He is the creator and artistic director of the electroacoustic music festival “Acusmatiq”, held for twenty years in Ancona at the Mole Vanvitelliana, and the founder and president of the Museo del Synth Marchigiano (Museum of the Marchigian Synth)

By Paolo F. Bragaglia
Damian Dombrowski, Chiara Pietroni: narrators
Ludovica Gasparri: soprano
A production of Mozartfest Würzburg
World premiere: June 21, 2019

An excerpt from a live performance at TMAG (the Tasmanian Museum and Art Gallery) for the Dark MOFO 2023 festival, by the nipaluna Hobart based Radio Art duo Sisters Akousmatica (Julia Drouhin and Phillipa Stafford).

Sisters Akousmatica has been expanding radio projects to explore the radical possibilities of transmission since 2015 within collective and feminist radio practices. From Broom Broom car to Sea Hag boat, Sisters Akousmatica navigate on the edges of ‘legitimate’ broadcast.

Sisters Akousmatica

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.

A composition imagining gestures, an anthropological archive of the body, as sound objects, predominantly through an acousmatic approach to the deconstruction and reconstruction of field/phone recordings, using the CD and CDJ as a tool or instrument for real-time manipulation, re-recording and improvisation, highlighting the musical potential of seemingly trivial real world sounds.

A sound situation extracting and trapping gestures from a socio-cultural landscape into an unpredictable set of sonic objects, continuously re-arranged and re-choreographed in time.

This radio piece is in direct relation to Milic’s expanded cinema performance INSCRIPTION, ENDURING; POTENTIAL which centers on gesture as holder of subtle cultural memory and history (the body as an anthropological and sociological archive) using found footage to practice experimental autoethnography – extracting glimpses of gestural movement from super8 home movies and interconnecting them in multi-projections.

“Gesture is the name of this intersection between life and art, act and power, general and particular, text and execution. It is a moment of life subtracted from the context of individual biography as well as a moment of art subtracted from the neutrality of aesthetics: it is pure praxis. The gesture is neither use value nor exchange value, neither biographic experience nor impersonal event: it is the other side of the commodity that lets the “crystals of this common social substance” sink into the situation.” (Giorgio Agamben)

Geanina Gypt is a leftfield music project of artist and DJ Maja Milić, fueled by a hardcore use of loops, extensive resampling, deconstruction and creating rhythms by misuse and destruction of samples or trivial sonic elements of reality, as well as the use of DJ equipment as tool for real-time manipulation of prerecorded sound (improvisation of an improvisation), mostly on tapes and CD.

She uses radio as a space for releasing music in long form or testing conceptual ideas, often intermedial (like, broadcast of images or live happenings), through her show Gypt Sessions on Berlin’s artist radio reboot.fm, and sometimes through Intruder Sessions, which is an irregular intrusion of the radio with spontaneous sets or concepts. She started to self-release tapes under Gypt Records.

Echoes of a Promenade. Presque rien, tout à côté.

Non-linear fragments from an afternoon tracing the northern coastline of Tenerife.
Casual conversations between two friends — about everything and nothing — dissolve into echoes of an impromptu jam session from later that same week. Layered throughout are scattered field recordings: wind, footsteps, passing voices, and the distant roar of La Palma’s Cumbre Vieja volcano, captured during its 2021 eruption and interwoven with snippets of local radio.

What emerges is a strangely coherent dérive — a collage of conversation, environmental textures, and informal improvisation. A radio piece that doesn’t tell a story so much as wander through one.
Echoes of a promenade. Presque rien, tout à côté.

Recorded in Tenerife, May 2025.
All music by Paskali and Gonçalo, except a short loop sampled from “Montes Caucasus” by Andreas Tilliander & Goran Kajfeš.
Edited by Gonçalo F. Cardoso, Tenerife 2025.
Pascal Van Leemput, a.k.a. Paskali Wonderful, presents his radio show Sub Culture every Friday afternoon on Radio Panik
Gonçalo F Cardoso is the founder of the label Discrepant, and presents his show Discrépances every third Saturdays of the month on Radio Panik

Echo Chamber of the Woosphere by Aja Ireland for Radio WORM
Aja Ireland is an award-winning sound and performance artist making deconstructed club and industrial techno.,This radio piece explores the evolution from the Noosphere (the 20th-century vision of a unified global consciousnes() to the fragmented, chaotic Woosphere of today.,100 years ago, scientists imagined a world where human intellect would merge into a divine, collective intelligence. But instead of enlightenment, we’ve entered a gamified reality of chaosmosis—where misinformation moves faster than light, truth bends to algorithmic influence, and quantum woo shapes belief systems.,Through an immersive sound composition, Aja sonified the Woosphere—capturing the dissonance between utopian aspiration and digital-era confusion.

Much of the material was recorded in the WORM electronic studio.