Following the 3-month occupation in the vast halls of the Bermondsey-based Biscuit Factory's V22 Summer Club - Radeq's new place of occupation presents a unique opportunity.

Radeq is an on-going radio project, a relentless expression of creativity and open-mindedness within the realms of broadcast. Born from a background of radio, sound engineering, audio technology, art and music, radeq formed in June to realize a pop-up radio station within the huge ex-Biscuit Factory's V22 Summer Club: a 54-day event hosting artist-led exhibitions, installations, performances, films and workshops.

It was here that SoundFjord, the UK's only sound-devoted art gallery, erected SOUND // SPACE, a pop-up record store and community hub, and it was also here that Soundfjord and Radeq became friends, and so, an invitation from Helen Frossi of SoundFjord came about for radeq to relocate to their Tottenham Gallery on the closure of the Summer Club.

From the 6th - 31st August 2012, radeq is very pleased to present A Month Long Radio Exhibition.


27th - 31st August 2012


'The Summer of '12' radio experiment starts at sunrise (6.06am) in London on Monday the 27th of August and does not stop broadcasting live from sun-lit land until 120 hours later.

As the sun sets in London we'll switch from our studio here in London to a geniusly place microphone in None Gallery, Dunedin, New Zealand to capture the sun rise and the day's soundscape. Then, as the sun sets in NZ the stream switches back to London's sunrise..this continues until London's sunset on Friday 31st at 19.48.

During this epic sun-salute, listeners can expect to hear sounds related to the sun and the Summer of 2012 from sound artists, musicians, performers and other earth-bound creatures.



Monday - Friday, sunrise - midday:

Live ambient sounds from a microphone outside Cafe OTO, Dalston, London.

Monday - Friday, midday-1pm:

Clair Urbahn presents UNCOOL

Five 1hr radio shows presenting the highlights from a very unique free festival held in Poschiavo, Switzerland in late June 2012. UNCOOL bought The Sun Ra Arkestra under the direction of Marshall Allen to the alps to perform the soundtrack to two separate but very related plays ‘Oedipus’ and ‘Akhenaten’ over a series of four nights. Other elements to the festival include a breathtaking performance from Michael Ray and other Arkestra members overlooking beautiful blue lakes, a 3am bonfire, an opportunity to learn about an alternate future where money no longer exists, and live music from Peter Geiger, Olaff Rupp and more all outside in the village piazza. During this series you’ll hear sounscapes from the alps, interviews with the performers and festival organisers and live recordings of the shows.

Monday - Friday, sunset - sunrise

Sally McIntyre presents A LIVE BROADCAST FROM None Gallery in Dunedin, New Zealand

Comprised primarily of this live-streamed audible revelation in real-time of the everyday sound-worlds around None Gallery, allowing audiences in Tottenham, as well as those online, to listen in to the site specific sounds and silences of the urban threshold spaces of Dunedin artist-run culture,
this transmission will also include live performances by local artists and improvisors working with sound, space and radio, as well as a
special broadcast tribute, on the 60th anniversary of the premiere performance of John Cage's three-movement composition 4' 33", staged
by senior New Zealand conceptual artist, Adrian Hall. As John Cage said of its original performance by David Tudor on August 29, 1952:
"They missed the point. There’s no such thing as silence. What they thought was silence, because they didn’t know how to listen, was full
of accidental sounds. You could hear the wind stirring outside during the first movement. During the second, raindrops began pattering the
roof, and during the third the people themselves made all kinds of interesting sounds as they talked or walked out."

Occupant-run and self-funded, None is one part studio building and one part art project space. Since 2003 None has had an ever changing
occupation of the 10+ studio spaces and has enjoyed a routinely chaotic approach to management all along the way. This is important,
as None occupies the role of a place where projects can be allowed to happen unmediated and at any time, as None has never had any
obligations as a gallery that must be open days... Simply, None is first and foremost a studio collective, and after that, None is a
platform for projects and events of the sporadic and the experimental, the things that simply do not happen if there is nowhere to do them.

sally ann mcintyre is a transmission artist, curator and writer working out of dunedin, new zealand. she hosts the mini FM station radio cegeste 104.5FM as a solar or battery-powered, exploratory, nomadic platform for site-specific radio art projects, focusing on the airwaves as a revelatory medium for aspects of sited materiality, through an ongoing series of projects and programmes. recent radio cegeste projects have been thematised around concerns such as museology, the sonification of extinct species, memory and memorials, the haunted materiality of absent presence, old buildings and other historic sites, bird migration and electromagnetism, the complex idea of 'dead air', the recorded and transmitted history of birdsong (sometimes also as a sonification of a New Zealand nationalism), and the possibility of an ecology of the radio that doesn't represent unstable systems as functioning in eternal homeostasis.

Description of work with field recording
working with small-radius, site-responsive transmission, location audio recording becomes a key element in the development of a 'plein air' radiophonics which works in-situ with the material (sonic and electromagnetic, architectural and social) elements of a site. radio programmes have been staged in locales which lend themselves toward re-iteratation of and reflection on the bounded nature of mini FM transmission itself, such as biosecure ecosanctuaries, islands, public transport, shopping malls, private gardens, stairwells, gallery spaces, and unstable earthquake-zoned buildings. commonly, explorations of the productive tension between a systematic cataloguing of archival elements, via mapping exercises and the collection and playback of sound libraries, and their deliberate destabilisation through the performative fragility of live transmission. an interest in the history of environmental sound in radio, including the use of 78rpm field recordings and valve shortwave, works in tandem with a focus on phonography as live and temporally situated, a tendency to take field recording back to the field, airwaves dissipating into the air, rather than reify them in the studio.




SEYMOUR WRIGHT / saxophones
“Saxophonist Seymour Wright has emerged as the most important saxophonist of his generation. . . [He] shows a command of the saxophone which in contrast to most ‘non-idiomatic’ playing – cynically translated as ‘make your saxophone sound like anything other than a saxophone’ – has deep roots in a tradition of playing that goes back to Frankie Trumbauer, Coleman Hawkins and Willie Smith.” - Brian Morton

DAICHI YOSHIKAWA / objects, electronics
Daichi Yoshikawa is one of the most interesting young improvising musician currently based in London. Using a variety of inverted, diverted and reinvented electronic and acoustic devices he strikes a constantly evolving balance between harsh atonal feedback and elegant high-frequency constructions.

PAUL ABBOT / drums



DAICHI YOSHIKAWA / objects, electronics
Daichi Yoshikawa is one of the most interesting young improvising musician currently based in London. Using a variety of inverted, diverted and reinvented electronic and acoustic devices he strikes a constantly evolving balance between harsh atonal feedback and elegant high-frequency constructions.

ROBERTO MOZZACHIODI / electronics Using a set-up of lo-fi electronics and feedback circuits Mozzachiodi is capable of conjuring both dense waves of immersive noise and more elusive scraps of electronic filigree.



My working practice deals with temporality, memory and narrative through sound, performance and installation. I am interested in people’s discarded memories and the function of archiving. Found objects, photographs and recordings feature in my work investigating notions of the artefact and implied narrative. Experimentation is fundamental, and my practice is often informed by scientific or archaeological protocol.

What I'll be broadcasting:
An improvised sound collage made by live sampling from found tapes via walkmans. The tapes selected will relate to summer in some way.

5 - 6PM

SUSAN SUPERCHARGED presents Sunshine Sugar Dagger:

Susan Supercharged presents her sonic ANOMIE on the RADEQ radiowaves. This episode called" Sunshine Sugar Dagger" channels all things Sunny and Bright, at least in her own eyes and ears. Join us for a live performance by Clapton Fox, a sonic art piece specifically commissioned for Sunshine Sugar Dagger by sound Artist Kevin Logan, Tottemham local Rachel Robb from Stolen Records pops in with her record of the week and Harry Howard (Crime and the City Solution, Birthday Party, These Immortal Souls) talks about his band, Harry Howard and the Near Death Experience. live from Melbourne Australia



ALEX CHARLES presents I Know What you Did This Summer

Alex Charles is a musician and visual artist based in the West Midlands. His current work explores the sound textures of every day items, combined with the clean sine waves of bells and singing

'I Know What I Did This Summer' is an hour long piece collaged out of recordings made exclusively during Summer 2012. Amongst the items sampled are a violin case, a bass drum, a cymbal, a small synth, a singing bowl, various bells, and even human hair.


SEBASTIANE HEGARTY presents Winnall Moors: Four Walks Around a Year - SUMMER

winnall moors: four walks around a year \ 2012 \ 4 x 25:00
Based on field-recordings made over 18 months the winnall moors sound walk project was made with the support of Hampshire Wildlife Trust. Recording over such an extended period of time allows the temporal and seasonal patterns of the landscape to become apparent. The project was concerned with the entire and complex sound environment of this urban reserve, including not only aspects of the wildlife, but the scientific observation and working of the landscape, the 'exterior' sounds which drift across the moors and the abstract qualities of certain sounds (using contacts/hydrophones). Each walk is 25 minutes long, reflecting the time it takes to walk around the circuit of the moors.

Opening with dawn of summer solstice in 2010, the walk accompanies the listener over the reed beds and out into the working landscape of the northern moors. Through this acoustic trespass, admittance is provided to an area of the moors, normally off limits to even the most robustly booted public foot. In this farmed landscape, volunteers meet under the shelter of a barns corrugated roof, whilst outside rain pours down from blocked gutters. The sound (or noise if you prefer) of work is an inherent part of the moors soundscape: this is a maintained environment and has been so for hundreds of years. The spatial percussion of hammers arriving simultaneously distant and close, as clips are driven into wooden posts, opens up a sound field, which remains in perpetual flux. It is perhaps fittingly ironic that the sound of people fencing in space, should conjure up notions of place as emergent and impermanent: ‘Acoustic space has no favoured focus. It’s a sphere without fixed boundaries, a space made by the thing itself, not space containing the thing. It’s not pictorial space, boxed-in, but dynamic, always in flux, creating its own dimensions moment by moment’ (Edmund Carpenter, Eskimo. 1959).

The intermittent and abrasive electrical static of grasshoppers produce points and clusters of noise, like pins on an empty map. This noise will fade with autumn, but reappear next year. A tree branch split and fallen over a wooden fence however, introduces a transient creak, which was there last summer, but, with the removal of the branch, has now disappeared completely from the present field of sound. The use of contact microphones not only uncovers the field beneath the threshold of audition, allowing us to hear the insides of trees or the delicate gnaw of wasp mandibles on a wooden fence, it also brings into presence the ghost of sounds now no longer here.

The summer sound walk ends with the roll of a river’s tongue and an electrical cloud* of Pipistrelles (‘cloud’ being the collective noun for bats in flight).


MARCUS BEUTER presents Robert

robert is a radio sound art work of 2006 but so far unreleased.
After the attacks in september 2001 I traveled across the USA to do interviews about
the question What is tomorrow? and relating questions to the terror attacks. In
February 2002 I went to the Finyl Vinyl, a small second hand record shop downtown
Manhattan, New York. Talking to Robert, the owner, we decided to do an interview. I
just asked two questions: What is tomorrow? and Where have you been on
September 11th? Sitting behind his desk Robert starts telling me his story. About the
future, hope. And his personal story of that day in September 2001.
Radio waves recorded by an old tube radio carry and cross the story, breaking it up,
split it. They have been cut, looped, carefully processed.
The bassline is built by using a techno-software back from the nineties and slow the
sound very much down.
Length: 27:48 minutes
Composed and produced by Marcus Beuter

Marcus Beuter
Marcus Beuter was born in 1968 in Wuppertal, Germany.
Since 2001 autodidactive sound artist and composer of electro acoustic
Journeys through Europe, Iran, Pakistan, Laos, Vietnam, India,
Indonesia, Gambia, Senegal, USA, Georgia, Armenia.
Working hereby on an own archive of field recordings.
In 2003 co-founder of the record label fragmentrecordings with
following cd releases.
Since 2005 augmented sound installations, partly in cooperation with
sculptors and visual artists, compositions of electroacoustic music,
Since 2008 live-performance of improvised electronic music based on own
field recordings.
Member of Cooperativa Neue Musik, DEGEM, Trio TATUNTAT, Trio Beuter,
Höger, Schwieger also as the Ensemble Theatrum Somnium Medusae. Works
with filmmakers and directors.


Adern X presents Summer Twilight Autumn Dawn

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Adern X is a sound artist whose main focus is the manipulation of samples taken from various sources for the exploration of the laptop's manipulative abilities to (de)forming an outer sound able to communicate something (art has a meaning only for who create and who listen, not a meaning "per se").
He use the same ideas for his artwork productions, used as cover for the xevor releases. He creates images experimenting with chromatic fields influenced by expressionism, using pre-existing materials such as pictures, words or everithing else and layering them to make meanings collide.

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Concept Buildings (2009 - XeVoR)
Polaroid (2011 - XeVoR)
Ink Spots called Words (2012 - XeVoR)

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title: Summer Twilight, Autumn Dawn
length: approx. 37 min
description: When summer ends there's a distinct sense of a loss. It's a matter of time: time fading, time coming. Memory is juxtaposed to expectation as the acceptance of time is brought by change.
technical info: the track is based around three distinct development lines (a bunch of loops, some field recordings and layered samples) as a form of dialectic between memory, time and change.


ResonanceFM HOUR

A selection of summer associate prerecorded audio from the world's first art radio station - ResonanceFM 104.4.

Established by London Musicians’ Collective, tt started broadcasting on May 1st 2002. Its brief? To provide a radical alternative to the universal formulae of mainstream broadcasting. Resonance 104.4 fm features programmes made by musicians, artists and critics who represent the diversity of London’s arts scenes, with regular weekly contributions from nearly two hundred musicians, artists, thinkers, critics, activists and instigators; plus numerous unique broadcasts by artists on the weekday “Clear Spot”.




I am going to design/build a device which has a number of light sensors.
There will also be about 3 or 4 microphones surrounding the device.
These components will be placed outside of my apartment under a tree (or another location if I decide to change it after studying how it all works)
The idea is that, each microphone will be used to record 4 (if 4 microphones) different loop samples throughout a period of time. These samples will be looped where the volume, and maybe some other parameters, will be controlled by specific light sensors. Also depending on the values coming in, the system will start to record new loop samples, so the overall soundscape will continuously evolve.
By placing it under a tree, the sun's movements, wind direction and speed, and a few other factors will cause light to pierce through the tree's leaves differently throughout time, causing the sensors to read changing values. So the soundscape generated will be indicative of the current light levels penetrating through a tree to the ground.


John Scott presents F.M.G live

F.M.G began life in Swindon, as a side project for John Scott back in 2004. A chance to experiment with drum machines, toy keyboards and guitar pedals on an old 4 track machine soon developed into fully formed compositions. Over the course of two years, multiple cassettes were filled with drone landscapes and intense walls of noise. Since then John has performed around the UK and parts of Europe with an ever changing set up.

John's interpretation of the sun/summer 2012 brief will be an hour long improvised piece, based around chopped up field recordings taken during the recent Supernormal festival in Oxfordshire.


raxil4 / VÆL present 'Solar Dynamics'

Astronomers at Stanford University recorded acoustical pressure waves in the Sun by carefully tracking movements on its surface with the Michelson Doppler Imager on the SOHO spacecraft. Acoustical waves bounce from one side of the Sun to the other in about two hours, causing its surface to oscillate. These sound waves are normally at frequencies too low for the human ear to hear, so the scientists have sped up the waves 42,000 times and compressed 40 days of vibrations into a few seconds...

In their first collaboration, raxil4 / VÆL, will create an improvised, experimental, dronescape with live accompaniment drawing from these recordings and other source material gathered from NASA.

raxil4 is sound and sculptural artist Andrew Page.
His dark brooding dronescapes combine analog and digital sound sources, including field recordings, detuned radios, computers, turntables, CD & mp3 players, tape recorders, 8-bit gameboys, handmade electronic devices, broken vintage equipment and handmade sculptural instruments (made from mainly found materials such as hospital crutches, driftwood and bones reclaimed from the River Thames).
His works have been broadcast on terrestrial and internet radio, been featured on film soundtracks and have been exhibited in art galleries, in the United Kingdom, Europe, America and Canada.
He has collaborated with musicians, poets, performance artists, sound artists and visual artists. He has performed many improvised concerts solo, duo, trio or as part of a large scale ensemble. Occassionally he sings with a Blues band.

VÆL is audio/visual artist Ross S. Fury.
Having previously recorded under the moniker R.S.Seizure, Fury spent 5 years living in Hong Kong where he worked on various projects. Two cassettes were released on US label Rainbow Bridge Recordings along with various self-released CDR's.
He was half of ambient doom duo Black Reign, whose "Session One" cd is available through Cold Spring records.
Since returning to London he has formed the VÆLIUM collective, releasing a split 12" with TCH (long term collaborator Timothy C. Holehouse).
He resides in Shoreditch with his Kat. Currently, a film project is in the works.





A selection of summer themed sounds from the vast audio banks of the Free Music Archive. Collated by David van Dokkum.

The Free Music Archive is an interactive library of high-quality, legal audio downloads. The Free Music Archive is directed by WFMU, the most renowned freeform radio station in America. Radio has always offered the public free access to new music. The Free Music Archive is a continuation of that purpose, designed for the age of the internet.


LUBA DIDUCH presents Environmental Remix

This work is an audio piece based on underwater recordings that I made when I submerged a hydrophone into the Bow River in Banff National Park, Canada. In this work I explore the idea of a digital ear in the form of a microphone that records the turbulence and vibration that affects every living thing. From the smallest atom to the largest galaxy, everything in the universe has a specific frequency of vibration.Environmental Remix is a work that embraces the minute subtle sounds as well the large chaotic ones that are found beneath in the underwater environment of the Bow River — and remixes their vibrations into an immersive soundscape.

Luba Diduch Biography
Born in Montreal, Canada, I am a visual/sound artist working with Human Computer Interaction currently living in Calgary. I received a Bachelor of Fine Arts Degree from Concordia University in Montreal in 1984 and a Master of Fine Arts from the University of Calgary in 2008 and I am pursuing a PhD in Visual Art/Media Art Practice at the Bath School of Art and Design in Bath, England. I have exhibited my work in Canada, the United States, Ireland, England, Italy, Sweden and France and have recently participated in artist residencies at the Banff New Media Institute in Banff Canada. I recently presented my research at Mix: A Conference Exploring Transmedia Writing and Digital Creativity at Corsham Campus in Corsham UK. I am currently working on a project titled Touchpoints that involves distributed authorship and the exhibition of co-creative works. In addition, I am an instructor in the New Media Production and Design at SAIT Polytechnic in Calgary Canada.

Artist Statement
As an artist, I am interested in collaborative research tools and environments such as the ones that can be found in the field of Human Computer Interface and how they are combined with art disciplines such as sound art, integrated media, collaboration and performance. Art making has become increasingly complex due to the integration of new technologies. Cross-disciplinary research methods have emerged in contemporary art practice, demanding a wider range of knowledge. Digital and interactive mediums have converged with traditional practices in design, video production, art and music. My PhD research explores the ways in which the artworks that I create expand beyond their initial iterations into new spaces.



Shelley Parker will perform a live set exploring cyclical sonic patterns and structures, minimal bass and found sounds including radio frequencies and processed field recordings. As a London based artist working with performance and installation, her practice explores the experiential potential of sound through the manipulation of technology and the study of structure and material. Live audio feeds, bass frequencies and manipulated found sounds are recurring themes within her performance and installation work. She is currently artist in residence at Space Gallery where she is contributing towards the 2012 Permacultures Residency Programme

Her recent sound installation work includes Bird Cage presented at the De La Warr Pavilion as part of the John Cage Hayward touring exhibition Every Day is a Good Day, Cast at the Cast Courts, Victoria & Albert Museum and Boiler House as part of the Cornelius Cardew retrospective. She has performed live at the De la Warr Pavilion, Bold Tendencies 5, The White Building (Space Studios), Frieze Art Fair, MSPS New Music Festival US, Barbican, Flat Time House, NoiseFloor Festival, New Lexicons of Dark, Ill FM, Whitstable Biennial, Noise = Noise, Five Years Gallery & The Old Vic Tunnels. Her DJ debut was at the art inspired club night Nerd with Seb Patane and she has since performed DJ sets at Tate Britain, ICA and the Kinetica Museum as well as club venues with the Haywire roster alongside Andrew Weatherall, Radioactive Man and Magda including Fabric, The End and Bloc Festival. She has also produced remixes for Filter Feeder, Ensemble Adapter, Party Trash & Posthuman. As an output for her more experimental music projects she runs the label & events programme Structure exploring aspects of found sound, noise and the legacy of British bass music.


VAL PHOENIX presents Odd Girl Out , Summer special

The My Summer special will feature a selection of summer- and sun-themed music mixed with field recordings from this volatile season.

Val Phoenix is a writer-filmmaker-radio fiend who specialises in women and creativity. For more info, please visit:



CJMANN presents In The Shadow of The Sun

In the shadow of the sun is the third part of an ongoing series of works by audio and visual artist cjmann. The piece documents the ideas and experiments that arose following a week spent walking the coastal path in Cornwall during May 2012.

The audio was recorded and mixed between 11/06/2012 and 20/06/2012 and is built from recordings of a number of improvised sessions using bowed cymbals, prayer bowls, cello, voice, plastic bottle, bamboo whistle and autoharp. The recordings from the sessions were then subjected to digital sound processing to form the final audio piece.

The accompanying video and images are built from film clips and photographs taken during the week in Cornwall.

More information can be found at

A link to the video is here

Based in Cambridge, UK cjmann is a musician, producer and visual artist. Over the last 30 years he has made music with bands ranging in style from rock through to techno, folk, noise and industrial ambient. He has had over 30 releases for labels such as Sabres of Paradise, Emissions Audio Output and Iris Light, has had music used for the BBC, and runs the prods in the dark and silent place labels which are an outlet for his own work and that of other likeminded souls.

In recent years the has begun exhibiting his acrylic paintings, and has started producing abstract video works which focus on the blurring of memory and perception over time.

For information on his current activities (Sol-de-muerte, Vapour, Landscapes) please see the prods in the dark website (

About the series
The audio for each part in the series is created from a series of improvisations and field recordings collated over a limited period of time.

These are then digitally manipulated into a single piece. Where visual elements are included they also are obtained in the same period and reflect the environment that inspired piece.

Future planned works
conversations - To be built from a series of recordings of conversations, and vocalising.
cello improvisations - A piece made from a recent set of cello improvisations. The cello is rarely played traditionally but is hit, scraped and generally abused. The results have then been layered and processed.


MARTIJN COMES presents Music for Infinite Spaces and Beyond live from Netherlands

M. Comes is a Dutch musician/composer who is specialized in new media, sound design and electro-acoustic composition.
He graduated at the academy for Digital Communications in 2004 with a thesis on live stage performance with the aid of digital media and studied Composition at the Conservatory of Amsterdam (2010). He wrote diverse works based on research in popular music, contemporary music and classical music combining elements of various aesthetic, composition techniques and sound design in four releases: "Dominion" (2008), "Lostitude" (2008), "Den Haag" (2009) and his current work "Those who know do not speak | Those who speak do not know" (2012). Part of this work was edited and remastered for Thomas Mohr his "Resonance" film, released in 2010, which was curated by the Netherlands Institute for Media Art (NiMK) and part of the Best Of selection of that years Ars Electronica festival. He is also the curating producer of two national radioshows in the Netherlands, "Kraak Helder" and "Inventions for Radio", both featured on the Concertzender. Both programs focus on promoting innovative electroacoustics and broadcast-art.
He conceives his art as a continuous research into the different relationships between mind, matter, idea, culture and form. He is a member of the artist collective Panospria.

music: +



John Chantler and Carina Thorén perform an hour long improvised piece for two reed organs. A hypnotic, hazy cloud of overtones and resonant chords for the summer.

For further information on this please email

SoundFjord is a gallery, research unit and venue dedicated to the Sonic Arts.

Radeq has been set up by James Dunn and Clair Urbahn.