65 episodes

We started in 2016 with sound pieces using field recordings in podcasts for a Bucharest sound ecology: the exploration/recording/transformation/transmission of urban intimate memories. Older pieces here, do just that!

Newer sound submissions though, make us want to leave the city and the documentary, get lost in illusion/fiction/drama, based just as well in field recording: forms that stimulate stories that transmit that listening state.

Of course, it’s just radio, our only medium to theorize and practice listening for space & story, remotely!


    • Performing Arts
    • 5.0, 4 Ratings

We started in 2016 with sound pieces using field recordings in podcasts for a Bucharest sound ecology: the exploration/recording/transformation/transmission of urban intimate memories. Older pieces here, do just that!

Newer sound submissions though, make us want to leave the city and the documentary, get lost in illusion/fiction/drama, based just as well in field recording: forms that stimulate stories that transmit that listening state.

Of course, it’s just radio, our only medium to theorize and practice listening for space & story, remotely!

    Sister of a ball boy, a poem by V. Leac

    Sister of a ball boy, a poem by V. Leac

    sister of a ball boy

    a poem by V. Leac


    .sometimes i wish i were a lost lighter

    a plain lighter like the ones of yore

    with a green matte body, which, whenever you light it,

    gives out a red flame, as large as the capital letter O.

    but i think it would be more interesting if i were lighter fluid.

    were i such i would not like to be inside a see-through

    lighter, the ones with a flower inside

    many play (without realizing) with such a lighter

    they find it amusing how the flower moves through the fluid

    how the fluid moves from one compartment to another

    no way i would wish to be the fluid

    in a lighter like that

    but i would very much like to be the fluid

    in a matte plastic lighter

    and then those that are in the habit of playing

    wouldn’t know which section has more fluid

    and nobody would realize when i am really almost over

    when i think about this i feel i’m going crazy with happiness.


    From the volume Toți sunt îngrijorați, TracusArte Publishing, Collection NEO, 2010, 2015. Translated in English by Alexandra M. Păun.


    The poetry of V. Leac seems suspended somewhere in between humor, absurdity, and a light and tender perplexity in the face of those minuscule exceptional instances in one’s life. Every next step is a trustworthy transgression toward an uncertain, promising and yet deluded future. In the shape of a musical/sonic performance, we take upon ourselves to read his poetry, with warm loudness and other means tangible while standing on our toes: a performance in the guise of a duo of voices for a spoken-choir simulacrum, using drawing as percussion, some recordings from inside a piano, and a double bass.


    Maria Balabaș – voice, composed field recordings

    Laurențiu Coțac – double bass, composed field recordings

    Anamaria Pravicencu – voice, percussion (drawing), composed field recordings


    A project initiated by Anamaria Pravicencu.


    The performance took place the 17th of January, 2019 at Apollo 111 Theater in Bucharest in celebration of Art’s Birthday and it was broadcasted live at www.arsacustica.wordpress.com

    Broadcast made by Radio România Cultural.


    Recording: Rufi; mixaj: Laurențiu Coțac


    Maria Balabaș is a journalist and musician. She is the host of the Dimineața crossover show (Morning Crossover) from Radio România Cultural and has created projects devoted to new forms of radio creation (Generația sonoră/Sound Generation). In 2014 she was nominated for Prix Europa (Berlin) for the documentary Maria Tănase – Urban Soundtrack for a Diva. She initiated musical groups such as Avant’n’Gard and Soare Staniol, inspired by improvisational techniques, electronic music, acoustic music. Creates installations generated by the artistic interest in the form of field-specific auditory memory.


    Laurențiu Coțac is a double bass player active in free improvisation, sound art and field recording. He is currently performing in Hyperion Ensemble, And Then This and Bastos, among other projects, and he works in film and documentary sound production, on-site capture and editing/mixing.


    Anamaria Pravicencu studied drawing and sculpture, with an interest for sound installation. Since 2006 she’s in charge with the artistic direction of Jumătatea plină, promoting sonic and musical experiment (Sâmbăta sonoră) through constant and distinct programs. She is the curator of the SEMI SILENT portfolio and she keeps producing sound work.


    V. Leac lives and works between Arad and Bucharest. Published poetry : Seymour: sonată pentru cornet de hârtie, Vinea Publishing (2005, 2006, 2013); Dicționar de vise, Cartea Românească Publishing, 2006; Lucian, CDPL,

    • 8 min
    Bucharest Sketches

    Bucharest Sketches

    Bucharest Sketches is the fifth in the series of field recordings albums by Toni Dimitrov dedicated to a city. After the field recordings from Athens (released on Green Field Recordings), Milan and Ioannina (released on Auriculab), and Belgrade (released on Silber Records), this time the sketches are recorded in Bucharest during the stay in Romania for a field recording residency in the Danube Delta, Sonic Future Residencies, in the summer of 2019. You can hear the Bucharest streets, parks, the noise from the rain, fountains, interweaving subtly, blurring the line between field recording and sound art. Released on Green Field Recordings.


    Photo: Toni Dimitrov, 2019


    Toni Dimitrov is sound artist, field recordist and radio activist based in Skopje, Macedonia. Working in the field of sound have been curving his way into the new experimental music scene with his solo engagement, but also with lots of collaborative releases with various projects and under various names such as post global trio, post global duo, Sound_00/Lefterna (with Boban Ristevski), Hunter/Gatherer (with Ingman Wannerberg), Private Mountain (with Dimitar Dodovski), also many collaborations with artists like DR, Dmitri Zherbin, Jared Sagar, Rhucle, releasing countless releases on many labels around the world like Sonospace, Lagersaette, Winter light, Attenuation circuit, AOsmosis, Auriculab, Green Field… Exploring the dynamics of minimum vs. maximum, in terms and meanings of noise vs. drone, he is searching his own way of merging electronic sound and pure field recordings in certain styles of music, such as ambient and long-form drone explorations. His sound art and radio art productions have been broadcasted at various radios around the world and presented live or as sound installations.

    His radio programs on radio Kanal 103 are dedicated to contemporary electronic music and political discourse. The program ‘post global: conceptual program for new music’ broadcasts for 18 years, is dedicated to contemporary electronic music, soundscape and field recordings. He is participating in RADIA network and AMARC international network. He curates the label post global recordings and élan vital recordings releasing ambient soundscape sound and organizing sound/art events.

    He curates and organizes Soundscape workshops. Aside from many other activities during the years, his recent professional engagements are on projects related to political analysis of media in the Institute of Communications and the Agency for Audio and Audio-Visual Services.


    Recording, editing and mixing by Toni Dimitrov.


    • 34 min
    Obama Landing in Hiroshima

    Obama Landing in Hiroshima

    It was back in 2016, spring, May, 27th, my first and so far only tour in Japan.

    During some unscheduled days, I went to Hiroshima on the day when Barack Obama was visiting. The timing couldn’t have been more perfect, as the train from Tokyo arrived just some minutes before the helicopters appeared. I joined the crowds and start recording. Some hours later, I watched the actual speech from a small gas station on one of the river banks, surrounded by the members of the secret service. The gas station employee made some jokes to me about blowing it up… Perhaps I have this recorded, or not?


    Photo: Lukatoyboy, 2016


    Lukatoyboy is a musician, sound artist and educator from Belgrade based in Berlin. His current practice is based on performances dealing with networks, sound and narrative, using walkies talkies and site specific topics. Focused on the relation of chances and structures, he creates participatory works with suggested rules, questioning exclusivity and authority of an artist. Lukatoyboy is researching alternative methods of listening, using architecture and distance as tools for discovery, as well as approaches to live broadcast of interpretation.

    He is performing music and sound (ab)using electroacoustic improvisation based on transmission, feedback and analogue synthesizers and, occasionally, he is stepping back into real-time sampling of various objects, toys, voices, and fields.


    • 1 hr 13 min
    Stories Untold

    Stories Untold

    At present times I perceive that an ultimate hybridization of living and non living sensory stimuli our daily cognizance has to put up with is only a surface noise of de-personalized (and certainly unfinished) collective morphology we comply to. Opposing that, I choose to create poetry reflecting upon commonplaces of unfading human struggle to understand depths of grief and devaluation of life. And as a field of resonance surrounding those I am driven by hopeless pursuit of the embodiment of love with all of its complexities, that represent my personal psychological blueprint. Poetry is an elevated state, in my case it is an emotionally charged scenery, textural space, always abundant with aural density in almost traditional narrative. As a writer I am searching for the “mirror stress” in which my subconsciousness and my reality are becoming proprioceptive and leaning onto each other.

    Death and love are deeply embedded in all-pervading existence, unfolding their vigorous discharge of life in profoundly intricate ways. One can only be humble if finds her/himself awake standing in the way of this one – same breath.


    Regarding sound, for me the most important transference of energy there is, I intent to overplay with its geometries finding comfort in re-constructed memories (through intervention and accentuation of semi-closed bio-acoustic processes I extract from field recordings, with intention to mutate them into soundscape compositions). With this cognitive personalization of particular space and time mnemotopia as such becomes imaginatively tactile, thus emotionally recognizable.

    Form of a flow, leans on auralization of inner dynamics rather then any aesthetically confined musical approach.


    And last but not the least, by choosing male voice for the final sonification of the words I express a need to abandon binary social constructions of a gender, and push gender “source” in my experiences into its natural form – a gender spectrum with all of its gruesomely hidden complexities that a human nature actually posses.


    Photo: Manja Ristić, 2019


    Manja Ristić (1979) born in Belgrade. Violinist, sound artist, published poet. Finished postgraduate studies at the RCM, London (2004). As a classical solo / chamber musician, composer and improvisational musician Manja performed across Europe and in the US. In her recent work Manja is active in the field of instrumental electro–acoustics, soundscape composition, field recording & interdisciplinary sound related research. She is founder of the Association of Multimedia Artists „Auropolis“ (since 2004), that by her guidance developed distinctive number of cultural events, international projects and educational modules in the fields of contemporary scene and multimedia arts. She works and lives between the island of Korčula (Croatia) and Belgrade (Serbia). www.manjaristic.blogspot.com


    Poetry, all sounds (recorded, played, composed, edited) by Manja Ristić

    Poetry reading by Paul Leonard Murrey

    Used short excerpt from the original track SUMMER, The Nightfall, collection of sound art by Manja Ristić published by Naviar Records, London (2018), www.naviarrecords.com


    Version composed for SEMI SILENT in the frame of Sonic Future Residencies, program supported by AFCN.

    • 18 min



    • 11 min



    • 9 min

Customer Reviews

5.0 out of 5
4 Ratings

4 Ratings

Top Podcasts In Performing Arts