Thursday 18 July 2024, 7.30pm
- Max Syedtollan / World Service (DJ)
- Emily Bick / the WIRE
- Shortwave Collective (live)
- Death is Not the End
- Laurie Tompkins & Neil Luck (live)
Wire’s cross-form salon series returns with this event in collaboration with avant-radio label World Service. Bringing live performances, presentations and discussion mapping the spectrum of experimental radio practice today.
The event will be broadcast live by Resonance Extra. Resonance Extra is the sister station to London's acclaimed Resonance FM and streams groundbreaking radio art, sound art and innovative music globally via its website, TuneIn, Radioplayer and across the UK on DAB+ Digital Radio.
https://extra.resonance.fm/
Shortwave Collective will share their work on the Open Wave-Receiver, a simple DIY radio. Shortwave Collective is an international group of creative practitioners from various backgrounds and disciplines (sound and radio art, activism, social science, media and artistic research) brought together by an interest in feminist practices and the radio spectrum. The collective’s approach aims to create an inclusive, collaborative, tech-based learning environment, one which acknowledges and attends to gendered education gaps and one that purposefully removes potential hurdles, such as unexplained components lists that assume knowledge.
Performers and composers Neil & Laurie share a new body of work for 2 brazen voices and electronics. Conceived during an intense and remote period of cohabitation on the Isle of Wight their duo trades in strange communications, broken conversations, weird interferences, and mis-heard genre tropes.
Death Is Not The End is Luke Owen. Comprising an NTS radio show and record label, DINTE seeks to unearth and bring light to archival music and field recordings with a focus on early gospel, global folk music, soundsystem tapes and various other audio curios. Death Is Not The End's two-volume compilation release of advertisements taken from London pirate radio broadcasts in the mid 80s to early 90s were covered by The Guardian & the New Yorker, and together with multiple pirate radio-focussed mixtapes (scanning and spanning the airwaves of 80s-00s Bristol, and contemporary pirate broadcasting in New York) constitute a keen area of interest.
