Deep Wireless 18 Online Compilation Album (2024)

Neurotransmits (anagram of ‘number stations’) is an electroacoustic composition that explores the eerie and mysterious world of number stations. Featuring sounds from ‘The Buzzer’, ‘The Pip’, Lincolnshire Poacher, among others from different countries. The sounds of the number stations are woven together with the electronic hum and other electronic apparatus, evoking a sense of cold war operations. Other sounds mimic capacitors discharging such as bullets and bouncing balls.

Cláudio de Pina is a sound artist, improviser, organist and composer. He is the Titular Organist of the historical organ at the Parish of Ajuda in Lisbon and a researcher in GIMC (CESEM). He holds a DAS in contemporary organ music and a MA distinguished with the Dean’s Honour Roll 2018. Currently he is a PhD candidate and FCT fellow in the same field (ESML/FCSH). He has studied at the Gregorian Institute of Lisbon, Hot Jazz Club and in Physics Engineering (FCUL) along with further studies with Adrian Moore, Åke Parmerud, Annette Vande Gorne, Barry Truax, Gilles Gobeil, Hans Tutschku and Trevor Wishart.

Using a NASA recording of a pulsar as a starting point, String Pulse by Bekah Simms interweaves processed sounds of space with electric guitar recordings performed by Graham Banfield that are part of Simms’ personal library. There is a serendipitous synergy to these two seemingly disparate sounds – electric guitar seems to live easily amidst sometimes grainy, sometimes rumbling recordings of stars, planets, and other galactic objects. Various interpretations of “pulsar” are used throughout the short work, from the recording itself to granulation in the shape of Carl Sagan’s pulsar map to regular flashes of short, bright guitar harmonics. “String Pulse” was created as part of the Turbulent Forms workshop in 2017 with guidance from Dan Tapper.

JUNO award-winning Composer Bekah Simms hails from St. John’s, Newfoundland and is currently based in Glasgow, Scotland. Propelled equally by fascination and terror toward the universe, her work is often filtered through the personal lens of her anxiety, resulting in nervous, messy, and frequently heavy electroacoustic musical landscapes. Recent interests in just intonation and virtual instruments have resulted in increasingly lush and strange harmonic environments. Bekah’s music has been widely performed across North America and Europe and she has also been the recipient of over 35 awards, competition selections, nominations, and prizes. Bekah Simms is a Lecturer at the Royal Conservatoire of Scotland.

Entre Temps Perdus by Martín Rodríguez is part of a project that began as exploratory sessions between by Rodríguez and choreographer/dancer Corinne Crane. Together they examined the stretching of a single moment in time and creating a space between contemplation and movement. These sessions began prior to the pandemic, but gained in importance once the realities of the global health crisis took hold.

From these initial experiments, Rodríguez developed an instrument using live radio broadcasts, a theremin, and a single cymbal. Exploring time, movement, and resonance, the result is an unveiling of harmonies and textures merging sounds of a cymbal with those of radio transmission. This unconventional instrument creates music that can be described as Ambient Electroacoustics. The piece “Entre Temps Perdus” further implores the use of field recordings taken as Rodríguez observed a new-found silence emerging out of Montréal’s urban spaces during the early days of the pandemic. The piece was mixed by Martín Rodríguez and monsieur_b with mastering by Sébastien Fournier.

As a transmission and sound artist, Martín Rodríguez’s work emerges from his Chicanx upbringing along the Arizona-Mexico border. He employs performance, intervention, and installation as a process for deciphering aural histories and intertwined identities.

After recovering from surgery to remove a brain tumor, a chance encounter with a radio transmission caught in the pickup coils of his guitar transformed Rodríguez and his artistic process. Developing his practice from crisis, he examines radio as a transformative medium. Rooting his relationship with radio in healing, his artworks consider the manner in which sound and perceived sound can act as a vessel for affective transmissions. This interconnection engages radio’s ability to embody presence through space and time, allowing one to engage with sound through our corporeal and mental environment. Notably, his work has been presented by the Musée d’art contemporain Montréal (CA), Museo Universitario Arte Contemporáneo (MX), Darling Foundry (CA), Walking Festival for Sound (UK/PL), Spektrum (DE), as well as various festivals and performance venues across Canada, and the US.

Lingap n. (tagalog): compassionate care

One of the ways Kat Estacio learned to tend to and receive care from community during the pandemic was through food. She looked at the work being done by community pantries that had popped-up across the Philippines like the Maginhawa Community Pantry in Quezon City and Community Fridges in Toronto; these local and decentralized initiatives addressed food security in ways that governments (and it’s partnered community agencies) could not.

Kat started building the track with a bell/chime synth sound to spell out “Kumain k n b” (have you eaten) in Morse code. This message is usually how she and her beloveds show their care, by asking if we had eaten. She took inspiration from the time when Banana Ketchup was invented (wartime era) and used the rhythm of the Morse code as a foundation to build the piece. The notes she used are based on the tuning of the Kulintang, which is accompanied by some pads and drums. Dale then added kulintang rhythms, flute and some fat beats. Their guiding principle is 8+5: using the 8 gongs of Maguindanaon kulintang from Mindanao and 5 for the pentatonic scale of Kalinga music from Northern Luzon. Together it is 13, the number of the divine feminine, an invitation to turn towards our caring nature and to nourish ourselves and our community. A reminder that to care for each other is revolutionary, that there is strength in togetherness, and what is fed and cared for is what flourishes. Lingap was included in Nusasonic Radio, episode 5: Banana Ketchup, produced by HERESY and WSK.

Kat Estacio is a multimedia artist, musician, educator and organizer based in Tkaronto/Toronto. They create experiences centred in meaning-making and expressing emotion and story through sound and music. They are also a member of nationally acclaimed Filipinx gong artpop outfit, Pantayo.

Dale Bazar is a Kulintang musician who studied Ethnomusicology in Manila under the guidance of Kulintang master Aga Mayo Butocan. Dale is also a community organizer and culture producer.

Let Mr Punch lead you on a sound journey around an imaginary London, its bells and its ghosts. From Samuel Pepys’ birthplace off Fleet Street and across the river Thames to stare into the Great fire. Climb Pentonville hill and dance on the musical grave of “Joey” Grimaldi the clown.

Keith de Mendonca began making field recordings in 2000. His audio recordings have been aired on ABC, BBC, ORF and many other radio stations worldwide. Keith’s work has been used in the soundtracks of experimental films and has appeared on CDs.

Rutmeat says about this piece, ““I don’t really want to prescribe anything to the listener. The piece is made w contact mics, beaded belongings and a cymbal on the floor.” The piece is mixed by Oscar Vargas.

RUTMEAT is a project by Gwich’in sounder Jeneen Frei Njootli. RUTMEAT has worked with the initiative Constellations and been invited to sound from Dawson City Yukon to New York City.

Constriction by AJ Cornell issues from a confluence of episodes of Chaud pour le mont stone, a radio art programme operated by Martine H. Crispo on CKUT 90.3FM in Montreal since the early 90s. The piece centers on and branches out from an episode where Cornell used re-amped radios, accordion, the high frequency hiss of a radiator, and a tone generator (operated by Mara Fortes) fluctuating between 20 and 30 Hz. Cornell had previously conducted some tests about the limits of FM radio’s frequency response. She found that a carrier wave saturated with a low frequency tone could be used to modulate other sources, functioning like a gate of sorts capable of distorting and cutting out the secondary source. This technique (working with frequencies that fall outside of the optimal range of frequencies the FM carrier wave is capable of reproducing with a certain fidelity) has a muffling effect on the other sounds being sent through the transmission. Cornell hears it as constricting the transmission space and creating a muffled aesthetic that elicits an effort on the listening apparatus. The on-air performance with the tone generator was mixed in with elements from other improvised radio performances, some recorded with instruments, small synthesizers, resonant bowls, field recordings of rocks on a thinly iced pond, cassette tape field recording collages, and the lamentations of the metal gate outside the radio studio window.

AJ Cornell is a sound artist who transforms, arranges and transmits sonic material across radio frequencies, through live performance, and as accompaniment to moving images. Using amplified objects, field recordings, electronics, and acoustic sounds, Cornell seeks to create moments of suspended time and infinite possibility. The practice of listening and improvisation reside at the core of her solo practice. Cornell is a member of Le fruit vert, a hymnotic duo founded with Marie-Douce St-Jacques in 2011.