SoundStage 27

Soundmarks: cast your ears over Radio Lento’s soniferous summerscape and Lawrence Northall’s soni-ferrous reflections. If you don’t know the score by now, we’ll say it again: everything is better with headphones

Lawrence Northall – Echoes

The sound piece Echoesformed part of an installation & temporary exhibition exploring the history & archaeology of Kent’s coastal sound mirrors, as part of the Ramsgate Festival of Sound. The piece is created from field recordings taken within the face of Fan Bay’s recently excavated 1917 mirror & contemporary docks. Two metal acoustic mirrors were specially built for the exhibition & recordings of the public interacting with them also feature in the mix. The sound piece explores the nature of changing technologies & our experience of their associated sounds, highlighting the shifting relationship between developments in machinery & the sensory reality of Kent’s local spaces over time. The installation and exhibition now exists in digital form on CITiZAN website:

Radio Lento – Early Summer Breezes

Madeleine Sugden and Hugh Huddy live in London with their two children. As for so many city dwellers, when lockdown came, it meant an indefinite period trapped inside a built-up area. Drawing initially from their archive sound recordings, their response was to set up Radio Lento. Radio Lento is a podcast service that provides places to escape to in 3D immersive sound. Each episode presents the listener with a richly spatial sound recording of time passing in a peaceful place. Recorded on-location, most episodes run for around 30 minutes, with some lasting over an hour. Since lockdown eased, they’ve tried every weekend to get out to a remote location to record new material. They travel on public transport and on foot, carrying their gear in a rucksack and, when footpaths are flooded, also their children! When they find a peaceful spot, they leave their equipment to record unattended.

For festivalChat they are sharing Early summer breezes. It evokes the Essex countryside and their first escape from a locked-down city. “On a June afternoon on a warm breezy walk in the Essex countryside we left the microphones in a tree at the top of a rarely used bridleway to record the sound of the wind. The tree was one of an outcrop amongst fields of barley and home to a robin. High above the fields were skylarks, not a common sound these days. In the distance an ice-cream van can be heard on its way to cheer everyone up in the Lea Valley Park. It was a lovely spot to find after so long trapped at home. We sat in the warm sun with the smell of wild grass, listening to the early summer breezes, with a haze-free view of the London skyline.” @RadioLento

SoundStage 24

Today there’s sound guided by the hand of the sea, guided by numbers, guided by time. Your word for the day is aleaotoric: headphones on, sit back, it’s time for Craig Gell and The Kokra Family…

Craig Gell – Wave Machine (Radio Edits)

Live sea wave data streamed from a marine observation buoy is transformed into a continually evolving electronic soundscape. A network of buoys around the English coast feed data to a freely accessible online resource.

Using the Pure Data (Pd) programming platform, the various measurements recorded by the buoy are used to shape and control the different parameters of sound. Wave periodicity sets a tempo, while wave height determines the amount of pitch-bend. Wind direction determines the sound’s movement across the stereo field. Sea temperature is indicated by a single modulating tone, with a tremolo effect increasing as the sea warms. The initial tonality of all sound within the patch is determined by the coordinates of the buoy, giving each buoy around the coast a unique sound signature. The buoy records data every 30 minutes and the patch is updated via a live internet connection making it possible for Wave Machine to run perpetually.

Craig Gell is a composer, artist and musician based in Folkestone, Kent. He has created site-specific sound art works, radio art and multimedia installations, largely influenced and informed by his local natural environment and the forces of nature. His work has been exhibited at events and festivals including the Folkestone Triennial, Ramsgate Festival of Sound, and Vernon & Burns’ Radiophrenia – broadcast live from Glasgow Centre for Contemporary Arts.

He has also composed music for a number of animated short films, including Quarantine (2019), directed by long-time collaborator Astrid Goldsmith, which aired on BBC4 and won Best Animated Short Film at London Short Film Festival 2020. Music for the film Red Rover (2020) was composed while on residency at the Red House, Aldeburgh.

Craig has collaborated with other local artists and practitioners including Anna Braithwaite (Montrose Composers Club), eco-poet Chris Poundwhite, filmmaker Jemima Hughes, and the Folkestone Fringe.

Soundcloud: craiggell

Twitter: @craiggell

The Kokra Family (Line Kramer and Marjolijn Kok) – Waiting at Random

Without realizing it, we spent a lot of time waiting for time. When we got time thrown at us, so to speak, during the lockdown it was almost hallucinating how our time got smashed into confinement. The free time we had longed for was changed into a new kind of duration. We undertook new ways of portioning this new time, the biggest portion was dedicated to ways of collaborative research. Within our artist collaboration we are used to do this during a residency or for a certain project. Now the endlessness of our project confronted us with our use of our time and our living space. One of us has an interest in divination, but sees this as a game of chance as well. The way forecasting is undertaken often resembles a gamble. Fortune telling is comparable with algorithms based on randomness. Why something becomes significant in a series or in our lives is tied to absolute chaos. The 1000 numbers that were generated at the core of this project are related to the ‘mille plateaus’ of Deleuze. The number 1000 is connected with us in different ways. For this song a 1000 numbers, generated randomly from 1 to 10, were transcribed into 10 piano keys. The piece has to be played in 20 minutes, a timeframe that coincided with us coming from another project. This restriction helped us to shape the piece. The 20 minutes can be seen/heard as one take, one stroke. It becomes playful to see this as a refrain that could be remembered and sung by heart.

Instagram: @linkramer

Instagram: @marjolijnkok

Instagram: @kokrafamily

SoundStage 23

Testing testing 1 -2 1- 2 check check. More mic in the monitors please!

Hello and welcome to SoundStage. Over the week, every day, we’ll be here introducing soundstronauts, noise makers, musicians and sonic experimenters for all your aural pleasures.

First up the sweet sounds of Antwerp and Desert Kites; the latter accompanied with a visual delight for your eyes. Sit back, relax and open your ears… 

Antwerp – Kaons

Listen on Bandcamp

I often consider my music as audio-archeology: I want to push your ear-boundaries to listen to music from countries with an incredible history and culture. Music unites people. We all just look at the same sky. My world is everybody’s world and my music reflects this. Instagram: nicoantwerp

Desert Kites – Trace (Instrumental Remix) – Video by Zoë Crossland

Traces, signs, formations. Produced by the world around us and by the universe at large; acted on and remade by generations of people. These are the archives that archaeologists and others work with and within. Images through a microscope; pollen grains drifting through the scopic field; moments of focus and loss moving in and out of view.

Zoe Crossland is Associate Professor in the Department of Anthropology, and Director of the Center for Archaeology, at Columbia University, New York, USA. Desert Kites is a musician based in New York City.

Descending Into the World of The Underpasses

Rebecca Lambert (UK)

A soundscape created in the Kelvin underpass in Glasgow, recorded by Drew Mulholland.

Hello, I’m Rebecca Lambert, also known as Lady Liminal, a postgraduate archaeological researcher and landscape punk, who wanders and ponders the liminal places within the world. My projects cover a broad spectrum. From underpasses to pylons, paranoid architecture through to future ghosts.
In this soundscape I, with thanks to Drew Mulholland, explore underpasses as liminal places. We approach underpasses with trepidation, but we know that we must walk their path in order to reach the ‘other side’. Upon entering I am physically removed from the world above, the world of natural light, the world of the living. I am underground, but I am not. I am moving through and within different spheres. Upon exiting the underpass and returning to the light will I be the same person? Would I have undergone a rite of passage, however small?

So please join me and let’s descend into the world of the underpass together.

Twitter: @LadyLiminal1



Postcards from all edges

Lara Band & David Webb (UK)

This piece is all about you and by you, collectively!

‘The journey to CHAT’ – people documenting their journey to the annual CHAT conference – has become an informal tradition over the years. In absence of physical journeys this year we’d like to recreate your journeys in sound through sound postcards, recorded from your window on your way to festivalCHAT.

Over the week we’ll arrange the sounds, sequentially in the order that they arrive and binaurally according to their position geographically. This will create a continuous soundscape hosted on our own Soundcloud and will be the final piece posted on SoundStage on the last day of festivalCHAT. Please send a recording up to 20 seconds long, ideally MP3 or .wav. Phone recordings are fine and we can also rip sound from films made on your phone if necessary. Email your postcard to with your approximate location, if you’re a happy to share that with us. Let us know if you’re happy for us to credit you by name in our summary of the piece too.

You can send your postcard anytime from the first day of festivalCHAT on Friday 23 October until midnight (your time zone) on Monday 26 October to give us time to put it together.

We look forward to hearing from you!


A sound stage for festivalCHAT curated by Lara Band, Dave Webb and Lawrence Northall (UK)

Hello and welcome to SoundStage. Over the week, every day, we’ll be here introducing soundstronauts, noise makers, musicians and sonic experimenters for all your aural pleasures.

Follow the daily entries as they emerge here:

SoundStage 23

SoundStage 24

SoundStage 25

SoundStage 26

SoundStage 27

Original call for contributions

We’re putting out this call for you to either create something new or share a ready made sound piece. Your piece should be a response to place, space or materiality: You may also want to consider the special themes: Archaeologies of festivals; COVID-19 pandemic; Equality & Diversity; Decolonializing contemporary archaeology; Archaeologies of protest; Togetherness & Fragmentation; Drift.

If you’ve a piece you’d like featured, send us your bio and some words about the piece (max 300 words), a link* and an image (as a separate file named ‘artist name’.jpg) to Include your social media @s too. We’ll organise submissions into themed sets – using your own words and image as the main texts of the blog. Every day during the week long festival the festivalCHAT website will release a blog with the set as suggested listening for the day.

*Sound pieces with accompanying film are also welcome but you must be able to host this yourself. We envisage that most of you will have your own Soundcloud, Bandcamp, webpage or similar but we can help you set up a free Soundcloud account if necessary.