mr.K & radioShirley present

Kenneth Lyons

music2bubble'n'squeak2

  1. The Colonisation Of Language : A Phraseology in Five Parts (2025)

    Mar 1

    The Colonisation Of Language : A Phraseology in Five Parts (2025)

    ‘The Colonisation of Language : A Phraseology in Five Parts’ explores aspects of oral storytelling and how the influence of colonisation can corrupt language and the sense of an origin story through multiple iterations over time. In much of my sound work, I’m drawn to the spoken word and was immediately drawn to the characteristics within the vocal utterances contained in the 1962 original field recording as assigned by Cities and Memory from the Pitt Rivers Museum Ethnographic Sound Archive by Raymond Clausen of a Navel-Miel performance accompanied by shaken rattles and seed pods from Malekula, Vanuatu. Selecting snippets of these utterances with some of the percussive elements, I created a speculative language to run alongside the opening paragraph of the Brothers Grimm tale, Rapunzel (1812). I assigned an utterance to each word in the story and developed a version of this story ‘spoken’ in this speculative language. Distinct phrases contained within the original narration are repeated and ‘corrupted’ through unlikely juxtapositions of these set phrases over the length of the work. I chose Rapunzel as my source tale due to its allusion to industry and exploitation, especially within its opening paragraphs, as both key activities of colonial intervention. Although the tale of Rapunzel can be read through many lenses, this selection, I felt was critical to situate the conceptual approach of the composition more solidly within this framework of intention. Further to this, I included the familiar Western story-telling trope, “Once upon time”, which doesn’t appear in Rapunzel’s original form, to open each of the five parts. The voice which narrates the opening of Rapunzel in English, is an AI-generated voice. All instrumentation, apart from the AI-generated narration, is sourced directly from the original 1962 field recording and modified through extensive processing and effects. No DAW stock beats or sounds were used in the composition. On reflection, incorporating AI into this work, also adds another layer of critique to ‘The Colonisation of Language : A Phraseology in Five Parts’. Using the opening paragraphs and set phrases of Rapunzel as my language model, also interrogates AI’s compilation process and the corruption of meaning when AI is forced to draw on a singular set language model for its output. It raises the question of How many iterations from a set model, does it take AI to output only diabolical errors in sense and meaning, thereby compromising the integrity of heritage? The whole ‘A Century of Sounds’ project (original source material and re-imagined compositions) can be accessed here : https://citiesandmemory.com/century-sounds/ Kenneth Lyons 
December, 2025

    9 min
  2. 60secs of #life and #death (2018)

    Feb 20

    60secs of #life and #death (2018)

    Creative practitioners are increasingly engaged in exploring the opportunities that mobile media technologies afford them to generate new forms of language and aesthetic experiences (Berry & Schleser eds 2014, p 2). Most commonly, this type of practice is in the realm of digital storytelling, image-based collaboration and re-presenting metadata visually. The work, 60 seconds of #life and #death continues my exploration of repurposing default notification sounds from various mobile apps with an intention to elevate them from being functional sonic outputs and reimagine them into poetic and meaningful sonic contexts. In response to an international call out for the 60 Secondes 2018 sound art competition, 60 seconds of #life and #death maps the frequency the hashtags #life and #death are used in the Twitter stream via recording the attendant default notification sounds from the app over a period of sixty minutes and reducing it to sixty seconds. The resulting sound art work gives rise to a folksonomy of binary thought and expression through the use of these oppositional hashtags within the Twitter community and re-presents sonically, a snapshot of the social signification each of the tags used have to users in this community. The significance of this research is that it engages innovatively with mobile media to seek out and demonstrate polarities of online communication and commentary in a social media community. Its value is attested by: its selection for international competition hosted by an organization supported by Canadian Commission for UNESCO / Phonurgia Nova (France) / Avatar (Canada) / MoPA – Computer Graphics Animation School (France) / Wapikoni (Canada) and its selection for programming in multiple on/offline radio art/sound festivals across Europe, Canada, South America and Australia during 2018. Works cited Berry, M & Schleser, M 2014, ‘Creative Mobile Media: The State of Play’, in M Berry & M Schleser (eds), Mobile Media Making in an Age of Smartphones, Palgrave Macmillan, US, pp.1-9 Submitted for : 60 Secondes Radio project (2018) : https://60secondesradio.com/

    1 min
  3. Are You Receiving Me? (2025)

    Feb 20

    Are You Receiving Me? (2025)

    “All radio Is dead”, is a phrase I have often heard spoken in recent years as listening habits have changed with the proliferation of on-demand audio services such as music streaming, podcasts and similar programming. It is not a belief that I share. Like many people, I still listen to live FM/AM and Web radio for its sense of immediacy, for its connectedness in real time to my local and my global community. Indeed, in times of natural disasters, a battery-powered radio is often the only method of remaining in touch, to hear emergency warnings and critical updates about the situation when all other telecommunications are down. In this sound work, Are You Receiving Me? I have imagined a scenario inspired by the film, The War of The Worlds (1953) where a radio reporter utters the line, “All radio is dead” during a live television cross. Using an online morse code generator, I converted this text to morse code and then converted the code to the sound of a morse code transmission. This transmission is repeated multiple times. I also employed an online translator, to record the phrase, “all radio is dead”, being spoken in thirty-one languages from around the globe. Someone, somewhere is scanning the radio dial searching for a clear signal in their language. Rather than the sound work ending in radio silence, I have chosen to extend the sound of radio frequency scanning to the end of the piece. In doing so, it suggests a sense of hope, that all radio is in fact, not dead. Submitted for 60 Secondes Radio 2025 project : https://60secondesradio.com/ Video : https://www.youtube.com/shorts/5sAgJXCC_Gg Kenneth Lyons 
March 2025

    1 min
  4. THE MESSAGE (2025)

    04/19/2025

    THE MESSAGE (2025)

    This sound is part of the Sonic Heritage project, exploring the sounds of the world’s most famous sights. The project presents the sounds of 270 UNESCO World Heritage sites and items of intangible heritage – all reimagined by artists from around the world to create a brand new way of experiencing these spaces. Find out more and explore the whole project: https://www.citiesandmemory.com/heritage **The Message** is built upon a popular urban legend which has circulated for years about what was recorded when Russian scientists drilled a nine mile hole into the ground in Siberia, lowered microphones into it and recorded what they heard. This legend is known as the Siberian Hell Sounds or Well to Hell.
 Art Bell, an American broadcaster who hosted a show called Coast to Coast AM about the paranormal and other phenomena during the 1980’s to the early 2000’s, popularised this myth by replaying a tape many times on his show. This tape was the alleged recording captured by the Russian scientists - a cacophony of wild human-like screams. The recording is now in the public domain via the Internet Archive. In the late 90’s, a friend of mine in the United States, knowing that I was a collector of aural oddities, sent me a cassette tape he recorded of one of Art Bell’s radio shows in which Bell introduces the so-called Siberian Hell Sounds recording to a talk back caller to the radio station. In approaching **The Message**, I listened closely to the selected field recording of the Am Markt Hole of Bremen and researched available information about the history and background of this heritage site. The Am Markt Hole of Bremen, is marked by a manhole cover outside the Bremen Parliament in the market square. When a coin is dropped into it, various animal noises (The Bremen Town Musicians based on a fairytale by the Brothers Grimm) are triggered and played back with the sound of the animals rising up out the hole. It sounds as though the animals; a cat, a dog, a rooster and a goat are trapped deep in the ground, distressed and trying to get out. Thinking about this site, a hole in the ground and the character of the animal sounds within the original field recording, the legend of the Siberian Hell Sounds came to mind. Apart from the sounds of the animals, two other sounds from the field recording attracted my attention and were used in **The Message**; the metallic, machine-like sound of a coin dropping into the manhole slot and a short, excited yet eerie scream or whistle from what sounds like a child or bird in the surrounding market square. What you hear in the original Siberian Hell Sounds recording are only the human-like screams. There is no other aural context, before or after to the alleged sound recording provided. I wanted to extend this urban legend into a sonic narrative by imagining and providing some context around it. In **The Message**, the listener eavesdrops on an expedition of Russian-speaking men, talking and walking through the snow to the site of the hole. They start up heavy machinery to continue the digging, break through the rock and then lower a microphone down into the hole. When the microphone reaches its length, it picks up the sounds of horror, in this case the animals of the Am Markt Hole of Bremen and other voices buried deep below. I incorporated a number of royalty-free sound samples to flesh out the sound narrative such as the sound of walking through snow, Russian voices, wind, heavy machinery, falling rocks, etc. 
To provide an extra twist, I imagined this recording being left on someone’s answering machine to pick up later, anticipating their horror at what they had just listened to coming from the machine’s speaker. HEADPHONES RECOMMENDED Kenneth Lyons 
March 2025

    5 min
  5. CAMBODIMENTS (2018)

    10/03/2024

    CAMBODIMENTS (2018)

    For the : Cities and Memory Sounding Nature project is the biggest ever global exploration of the beautiful sounds of nature, covering 55 countries with almost 500 sounds. The sounds have been reimagined by 250 artists to reflect upon the damage being done to our natural world by human-generated sounds. https://citiesandmemory.com/sounding-nature/ The file selected for me was chosen at random (003 CAMBODIA SiemReap_NightSound_AnimalSound_Locust recorded by Marcel Gnauk). When Stuart sent me title/file number, I was very keen to hear the recording though I was not at all expecting to hear the sounds I was to hear in it. Having developed tinnitus over the past year, I have often described the sound I hear to folk when the tinnitus is peaking as ‘like having a plague of locusts buzzing and panning around in my head”. Oh the irony … and the challenge! The original sound recording I was allocated to work with is predominately 5 mins of locusts making a racket of static with only three moments of a clearly discernible human presence in the landscape : a car passing, a plane passing overhead and a short burst of male voices. Those three human/mechanical sound elements, distinct as they are from the hiss of the locusts was where I began this composition. My first attempt to develop a sound piece for this project was firmly in the realm of ‘ambient’ with an intention to smooth out and sweeten the locust static to counter the ever present sound of my tinnitus by using a range of effects in my DAW. It worked. However, in the last few seconds of the original file, there is a sound of what may be a cart going over a wooden bridge. The ‘clunkiness’ of this moment inspired me to bring some beats into the piece. I cut up these ‘clunks’ and constructed some intricate rhythmic patterns which form the drum patterning and some of the, what I call, ‘blip phrases’ which are peppered throughout this final mix of ‘CAMBODIMENTS’. All the sounds heard, including the beats are sourced from the original sound recording and put through a myriad of effects. No external or proprietary sounds or beats are employed. Kenneth Lyons (2018)

    8 min

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