To hold someone’s hand can mean many things. Affection. Guidance. Comfort. Desire. A gesture between lovers, strangers, children, ghosts, soldiers, tourists, mascots, dogs, or plastic bands. Sometimes you want to hold a hand. Sometimes you need a helping hand. Sometimes you grab a hand before disappearing into the crowd. In this episode of Shuffle one song mutates endlessly through brilliant, bizarre and emotional covers of I Want To Hold Your Hand by The Beatles. No rankings. No chronology. No clean versions. Only drifts, copies, mutations and strange reproductions spreading like memes through time and culture. Expect barking Beatles, exotic animals, peaceful brass bands, fake pop stars, toupees, bootlegs, salsa orchestras and impossible jams. Formula radio taken to the extreme. Repetitive. Obscure. Humorous. Welcome to SHUFFLE @resonanceextra . Listen via link in bio.

Here’s a visual summary of the performance of the collective score for kazoos Doo, who, rrr, brrrr: A Masquerade Symphony at @counterflowsfest Prior to this, the workshop Buzzing doo, who, rrr or brrrr was developed, focusing on a series of exercises to foster a collective process of sonic experimentation. Through voice, rhythm, and repetition, an open space was created to explore non-hierarchical forms of expression, based on listening and immediate response. An accumulation of onomatopoeias and vocal gestures unfolding over time, where meaning emerges more from the materiality of sound than from a conventional narrative structure. I want to deeply thank all the participants for their commitment, openness, and trust. It has been a brutal experience. The intergenerational dimension was key: breaking hierarchies, undoing adult-centrism, and generating more horizontal and shared forms of creation and listening—an intergenerational kazoo choir and orchestra as a space of living transmission. Thank you, Counterflows, for the invitation. You stole my heart. 💛 Photos: @stillmotionarts

This week I’m travelling to Glasgow to take part in the @counterflowsfest , where I will be leading a workshop and performing the kazoo piece “Doo, who, rrrr, brrr: a masquerade symphony”, a collective composition that premiered at the University of the Philippines in Manila in 2019. I’m very excited to be part of this festival, to share this experience, and to be on the same lineup as many incredibly interesting experimental musicians. @music_space_glasgow

Super happy to be featured in the book Experimental Instruments/Music! A book full of wild sonic inventions, instruments you didn’t even know existed, and musicians who play with sound in the most unexpected ways. It’s a real privilege to be part of a project that celebrates sonic creativity and invites us to listen to the world in a fresh and surprising way. Even more so with LRAX (Light Range Acoustic Xenomorph), a choir of sonic entities that I first presented at @homesessionbcn in 2018, developed at @residenciasmatadero , and later exhibited at @lapaneralleida Huge thanks to everyone who made both LRAX and this special book possible!

New #Shuffle at @resonanceextra .Clocks by Coldplay. Today coldplayed isn’t an emotional state. It’s getting caught. With the wrong person. In the wrong place. At the worst possible time. It’s related to Clocks because it’s all about time: the minute you arrive too late, the second you can’t control, and the clock that decides that today is the day. Listen on Resonance Extra https://extra.resonance.fm/episodes/shuffle-26-clocks-2026-01-29 or link in bio.

He empezado el año cazando “pocztówki dźwiękowe”, o postales sonoras, uno de los fenómenos más curiosos de la República Popular de Polonia entre las décadas de 1960 y 1980, y el único ejemplo de industria discográfica privada en todo el Bloque del Este. Un pequeño acto de resistencia sonora. Se trataba de una forma curiosa de grabación musical: una postal o cartulina recubierta con una lámina de plástico con surcos de vinilo, que permitía reproducir sonido analógico en un tocadiscos. Aunque algunos intentos oficiales comenzaron a principios de los 60 con empresas como Pronit, pronto la idea fue recogida por pequeños artesanos y productores locales, que creaban tarjetas musicales de manera no oficial en talleres caseros y pequeñas imprentas. A simple vista, parecen postales normales con imágenes de ciudades, personas o escenas cotidianas, pero su secreto estaba en esos surcos. Cada postal era una pequeña sorpresa: lo que ves no tiene por qué coincidir con lo que oyes. Por ejemplo, la postal más famosa, que muestra la cara de un perro sacando la lengua, en realidad incluye una canción de Elvis Presley. O la postal que parece un simple jarrón de flores, en realidad reproducía una canción de Julio Iglesias. Son ejemplos perfectos de cómo el ingenio y la censura daban lugar a estas combinaciones inesperadas. Muchas de estas postales incluían música occidental pirateada, grabada sin derechos de autor. Canciones copiadas de discos traídos de contrabando o, muy a menudo, grabadas directamente de Radio Luxembourg, una emisora extranjera que emitía rock y pop y que se escuchaba a escondidas. Esa música “smuggleada” acababa prensada en una postal que se vendía en quioscos. Buscar estas postales en mercadillos, tiendas de discos y archivos ha sido como seguir el rastro de una red musical paralela, hecha de copias, interferencias de radio y ingenio popular. Hoy son objetos obsoletos, pero también testigos de cómo la música siempre encuentra la manera de circular.

I’m thrilled to share that my website is now indexed in the Internet Phone Book directory! Ever since the early days of the web, I’ve had a soft spot for HTML. I learned it by peeking at source code and experimenting until something finally worked (or didn’t). Even today, there’s still magic in seeing a website come alive — especially when it’s built from my own lines of code, carefully woven out of digital detritus. A huge thank you to the amazing team at @internetphonebook for curating and highlighting online spaces with such care and attention. Long live the web — and a milkshake for Tim Berners-Lee, on me

Ya puedes escuchar el nuevo capítulo de la serie “Is there really a place on radio for experimentation?” Hablamos de Radio Ballet, una obra del colectivo alemán LIGNA (Ole Frahm, Michael Hüners y Torsten Michaelsen), que desde 2002 crea acciones colectivas a través de la radio para cuestionar el control de los espacios públicos convertidos en privados. El primer Radio Ballet se realizó en Hamburgo en 2002, y desde entonces ha propuesto pequeñas coreografías de gestos prohibidos en lugares como estaciones de tren o centros comerciales, transformando la escucha en intervención política y poética. LIGNA no habla de manifestaciones, sino de dispersión: cuerpos que no actúan juntos, pero que comparten una señal, un gesto, una posibilidad. Frente al control centralizado, la dispersión es imprevisible, incontrolable… y profundamente subversiva. Escucha en link en la bio. https://radio.museoreinasofia.es/there-really-place-radio-experimentation-ligna —— You can now listen to the new episode of the series "Is there really a place on radio for experimentation?" We talk about Radio Ballet, a work by the German collective LIGNA (Ole Frahm, Michael Hüners, and Torsten Michaelsen), which since 2002 has created collective actions through radio to question the control of public spaces that have been turned into private ones. The first Radio Ballet took place in Hamburg in 2002, and since then, it has proposed small choreographies of forbidden gestures — like sitting on the floor or begging — in spaces such as train stations or shopping malls, turning listening into political and poetic intervention. LIGNA doesn’t speak of demonstrations, but of dispersion: bodies that don’t act together, but share a signal, a gesture, a possibility. Against centralized control, dispersion is unpredictable, uncontrollable… and deeply subversive.

You can now listen to a new chapter of the series ‘Is there really a place on radio for experimentation?’. This time, dedicated to the radio play ‘Dead Letters’ by Gregory Whitehead. Listen 📡 link BIO or:
 https://radio.museoreinasofia.es/gregory-whitehead What was the last letter, postcard or parcel you sent by post? Unclaimed mail, insufficient postage and wrappers with almost illegible handwriting, scant information and simply incorrect or missing addresses were mysteries to be solved by the US Dead Letter Office. For most of the 19th and 20th centuries, the Dead Letter Office functioned to ensure that all measures were taken to uphold the deal that postage paid guaranteed delivery. Gregory Whitehead is an artist, writer, radiomaker, text/sound poet, singer of tales, playwright and media philosopher. Since his first tape and radio experiments made during the 1980s, he has created a long list of radio plays, hybrid documentaries and acoustic adventures for the BBC, Radio France, Deutschland Radio and other broadcasters. Often interweaving documentary and fictive materials into playfully unresolved narratives, his aesthetic is distinguished by a deep philosophical commitment to radio as a medium for poetic navigation and free association. In his voice and text-sound works, he explores the tension between a continuous pulse and the eruption of sudden discontinuities, as well as linguistic entropy and decay. ---- Ya disponible un nuevo capítulo de la serie «Is there really a place on radio for experimentation?». Esta vez, dedicado a la obra radiofónica 'Dead Letters', de Gregory Whitehead. ¿Cuál fue la última carta, postal o paquete que envió por correo? Correo no reclamado, franqueo insuficiente y envoltorios con letra casi ilegible, escasa información y direcciones simplemente incorrectas o inexistentes eran misterios que debía resolver la Oficina de Cartas Muertas de Estados Unidos. Durante la mayor parte de los siglos XIX y XX, las oficinas de cartas muertas funcionaron para garantizar que se tomaran todas las medidas necesarias para mantener el acuerdo de que el franqueo pagado garantizaba la entrega. #radiomuseoreinasofia

A new chapter in the series "Is there really a place on Radio for Experimentation" is published today. And this podcast welcomes spring. In this episode Magz Hall @hallmagz tells us about the Radio Air Garden project. Magz Hall is a British artist and academic, as well as one of the co-founders of Resonance FM @resonancefm . Founded in 2002 by the London Musicians’ Collective (LMC), Resonance FM has become a key space for sound experimentation and artistic radio, providing a platform for artists, musicians, and creators of innovative content. Hall has played a fundamental role in the development of the station and has continued to explore radio as an artistic medium through her work in installations, experimental broadcasts, and ecological radio projects. Radio Air Garden @radioairgarden_ is one of her explorations of electroculture, where she investigates the impact of antennas and electromagnetic waves on plant growth, as well as the creation of air gardens that use radio as a medium for ecological and communicative connection. Enjoy listening by clicking the link in the bio. #radiomuseoreinasofia #RRS https://radio.museoreinasofia.es/magz-hall

I'm going to publish this and my heart is pounding. This podcast is a pinnacle and is an interview with People Like Us aka Vicki Bennett @vickiwfmu Her show on @wfmu , "Do or DIY", has been on the air for over twenty years and the first time you listen to it can give you a shock of adrenaline and sparks. This is the fourth episode in the series "Is There Really a Place On Radio For Experimentation?", a series for the @museoreinasofia radio, dedicated to archives and databases. Listen to it when you're ready at the link in the bio. 🧲 Voy a publicar esto y me late muy fuerte el corazón. Este podcast es una cúspide y es una entrevista a People Like Us aka Vicki Bennet. Su programa en WFMU, "Do or DIY", lleva más de veinte años emitiéndose y la primera vez que lo escuchas puede provocarte un shock de adrenalina y chispiritas. Este es el cuarto capítulo de la serie "Is There Really a Place On Radio For Experimentation?", serie para la Radio del Museo Reina Sofia, dedicado a los archivos y a las bases de datos. Escúchalo cuando estés preparadx en la link de la bio.

New episode of Shuffle on Resonance Extra @resonanceextra This time, we tune into “Manic Monday” — the song written by Prince and immortalised by The Bangles — a pop anthem against routine, alarms, and the tyranny of the week’s beginning. A sonic drift through repetition, desire, and small everyday revolts. Dedicated to the working class united against Mondays, and to all those who still find a way to dance. Listen on Resonance Extra https://extra.resonance.fm/episodes/shuffle-25-manic-monday-2025-10-09 or link in bio