Episodes

  • June Solstice 2026 with Stefano Arrigoni

    June Solstice 2026 with Stefano Arrigoni
    Jun 21 2026

    Solstice comes from the Latin solstitium - sol (sun) and sistere (to stand still): the moment when the sun appears to pause in its movement. A brief illusion of stillness. The longest day, the fullest expansion of light, and yet, from this very point, transformation has already begun. The brightest moment already carries the beginning of its own disappearance. Gathering recordings captured during different solstices, across distant places and years, this mix follows movements of appearance, disappearance, and return. Each recording holds a specific moment of listening, a fragment of a landscape that has already changed, a trace of something that cannot happen twice in the same way. Some recordings have been split and reintroduced at different moments, creating small cycles inside the composition. They disappear and resurface, carrying the memory of their previous occurrence while being transformed by their new surroundings. Like seasons, tides, or the movement of light, repetition becomes a way of sensing change rather than sameness. Different environments slowly orbit around each other: distant temporalities briefly aligning, moments of stillness revealing movement, and sounds returning as reminders that nothing ever truly stands still.

    Tracklist:

    • [00:00 - 03:18] Melissa Pons - The Griffon Vulture Cliff | Portugal
    • [03:04 - 03:37] Vladimir Bocharov - Altai Kuyus (part 1) | Russia
    • [03.53 - 05:28] David Woje - Mountain Thunderstorm | USA
    • [04:11 - 14:33] Andy Martin - A very long chat (part 1) | USA
    • [04:17 - 05:25] Jocelyn Robert - Thousands of Kittiwakes Calling | Faroe Islands
    • [05:09 - 06:39] Rafael Diogo - Under the Stream | Kosovo
    • [05:34 - 09:49] Melissa Pons - Here be Dragonflies (part 1) | Portugal
    • [08:59 - 11:55] Axel Macke - Nature is Waking Up in the North Sea Island Juist | Germany
    • [11:21 - 15:45] Melissa Pons - Stream in the Summer Mediterranean Forest | Portugal
    • [13:41 - 21:06] Andrius Mack - Night Time in a Great Cormorant Colony | Lithuania
    • [17:00 - 18:10] Vladimir Bocharov - Altai Kuyus | Russia
    • [19:04 - 21:20] Ivo Vicic - Thunderstorm and DC | Croatia
    • [20:51 - 24:42] Seth Seeway Willamette -Wetland Oregon (part 1)
    • [22:55 - 30:33] Melissa Pons - Here be Dragonflies i (part 2) | Portugal
    • [24:12 - 30:07] Jan Brelih - Middle Andaman Mangroves | India
    • [29:28 - 40:39] Andy Martin - A Very Long Chat (part 2) | USA
    • [35:02 - 40:12] Vladimir Bocharov - Altai Kuyus (part 2) | Russia
    • [39:10 - 41:59] Seth Seeway Willamette - Mojave Thunder (part 2) | USA

    Stefano Arrigoni is a sound artist and anaesthesiologist based in Marseille whose work explores listening as an active process of transformation. Moving between electroacoustic composition, field recording, and modular synthesis, he investigates the fragile thresholds of perception. Rooted in psychoacoustics, phenomenological observation, and self-experimentation, his practice examines how sonic environments shape the way we perceive, inhabit, and make sense of the world. https://soundcloud.com/stefanoarrigoni
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    42 mins
  • Five Ways to Honour Our Green Spaces with Watson Whitford

    Five Ways to Honour Our Green Spaces with Watson Whitford
    May 19 2026
    Welcome to the wind is the original radio podcast! Today we have an extra special episode, in which we are sharing with you an episode from Indigenous Earth Community Podcast by Frank Weaver. This is all about honouring and respecting green spaces with Watson Withford, member of the Chippewa Cree tribe and Navajo Nation. Because here on Earth.FM, listening to natural spaces is about being in relationship with, we think that for any listener and recordist, learning how to honour the spaces we visit is fundamental. This includes learning about the issues affecting those spaces, thinking of future generations, asking permission and so much more. Our gratitude to Frank Weaver for sharing this knowledge with us and please see the episode notes to learn more about Indigenous Earth.org. Episode Summary In this powerful episode, Frank Oscar Weaver is joined by Watson Whitford (Wapanatak), co-president of UNITY and member of the Chippewa Cree tribe and Navajo Nation. Together, they explore five essential ways to be a mindful visitor in parks and natural places, weaving together traditional wisdom and practical guidance for honoring our green spaces. The Five Ways to Honor Green Spaces Become a True Steward Connect with the issues affecting natural spacesEducate yourself about environmental challengesTake action in your community Leave It Better Than You Found It Take responsibility for keeping spaces cleanThink of future generationsProtect the beauty of our lands Honor Ceremonial Spaces Recognize the sacred nature of many parksRespect ongoing ceremoniesSeek permission and guidance Respect Wildlife Boundaries Avoid disturbing animal behaviorMaintain appropriate distancesRemember every creature has its place Get in the Right State of Mind Ask permission before entering natural spacesPractice mindful visitationShow gratitude through offerings Notable Quotes "We're a part of this circle of life. I'm no higher than a ladybug. I'm no higher than a buffalo. And we're all the same. We all come from the same place." - Watson Whitford "I want this place to be beautiful. I want there to be clean water, clean air to breathe, to be healthy animals and healthy plants. Not just for my relatives that are here with us now, but for people that will be coming in the future that aren't even here yet." - Watson Whitford "Our traditional ways of ceremony are good... we don't talk down about other people's way of religion or talk down about the way other people pray. You know, because we want to be uplifting. We want to help each other." - Watson Whitford Special Offer Visit indigenousearth.org to receive an exclusive video prayer from Watson Whitford, guiding you in practicing mindful visitation to green spaces. Connect with Watson Whitford Email: copresident@unityinc.orgInstagram: @watson_whitford05Role: Co-President of UNITY Support UNITY UNITY (United National Indian Tribal Youth) supports Indigenous youth leadership across the nation. Your donation helps: Support Indigenous youth programsPreserve traditional knowledgeFoster environmental stewardshipDevelop future leaders Donate at: unityinc.org/donate Stay Connected Subscribe to our newsletter: indigenousearth.orgFollow Indigenous Earth Community on Instagram at @frankoscarweaver Credits Host: Frank Oscar Weaver - Pai Tavytera - Tribe of ParaguayGuest: Watson Whitford -Navajo/ Chippewa Cree Sound Engineer: Jake Kelch This podcast acknowledges that many parks and natural areas are on ancestral Indigenous lands that have been stewarded by Native people for thousands of generations.
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    36 mins
  • March Equinox 2026 with Anna Clock

    March Equinox 2026 with Anna Clock
    Mar 20 2026
    This hour long mix comprises of field recordings made on and around Spring Equinoxes of various years. It takes you down through the Northern Hemisphere – from my sitting room in East London to a cottage balcony in the tropical forests of Borneo. Listen for Slovenian jackals, Polish moor frogs, a Himalayan shepherd herding sheep, a hippopotamus getting ready for the night in Sierra Leone and choirs of birds singing across the globe. It was only in researching for this show that I realised the equinox actually refers not to a whole day but a single moment in time, when the sun faces directly over the equator, granting the entire globe with roughly equal length days and nights around it. I was captivated by this idea of a single moment of equilibrium and the impossibility of capturing that – which is much like the experience of listening itself, always dissolving as soon as you try to catch hold. And the equinox moment itself is both something of a physical reality, and pure idea, constructed entirely by an imaginary line humans have drawn and named the equator. Again, this paradox seems to resonate with the act of field recording, which both records a physical reality of a time and place through the sound waves that are imprinted through a microphone, but also creates a totally new and artificial object of its own. Whilst lines of longitude go from east to west and determine clock time, lines of latitude go from North to South and determine climate, with the suns rays becoming more intense the further south we go. Whilst enjoying one of the first sunny days we’ve had in London (where I am) in a long time, I decided to structure this mix along lines of latitude, moving from North to South through the Northern Hemisphere. I wonder if listeners will be able to feel the sun’s intensity increasing through their ears. It was a privilege to shape these extraordinary sounds into a journey. Whilst making it I found myself contemplating the equinox as a time of both stillness and motion, sameness and divergence, meeting and departure – and I invite you to listen into this space of contradiction with me. Anna Clock is a composer, sound artist and researcher. Their practice is rooted in live acts of listening and challenging audiences to listen to each other, and their world, in new ways. They play the cello and also cut hair. They are currently pursuing an AHRC-funded Collaborative Doctoral Award with the Science Museum and Royal Holloway University exploring quantum aurality and how we listen to outer space. Recent works have been heard in Barbican, Royal Court Theatre, Wellcome Collection, The Albany, 100 years Gallery (UK), Project Arts Centre, Gate Theatre (IRL), Times Square Arts, Irish Arts Centre (USA) Dresden Staatschauspiel, Staatstheater Mainz (GER), CIRKO (FIN) and on Radio 4, Radio 3, Resonance FM and RTE Lyric radio. Playlist: [01:19-03:45] A mysterious voice memo at the piano (me) [03:45-05:20] Bartlett park (me) | UK [05:20-07:16] Dawn’s Chorus: Mating Calls of Moor Frogs at Sunrise: Jakub Orzecki | Poland [07:16-10:11] Howling Jackals: Jan Brelih | Slovenia [10:11-12:01] Wood Frogs at the Library: Mike Bullock | USA [12:01-15:10] Dawn Chorus in the Early Days of Spring: Enis Çakar | Türkiye [15:10-20:05] Incoming Tide at Gold Bluffs Beach: Kelly Rafuse | USA [20:05 -25:45] Snowfall in Himalayas: Jan Brelih | India [25:45-31:59] Soft Dawn Chorus in the Jungles of Nepal: George Vlad | Nepal [30:22-35:37] Himalaya Forest Valley: Jan Brelih | India [35:37-40:36] Himalayan Shepherd: Jan Brelih | India [40:36-45:33] Dawn Chorus at Mora River: Giselle Ragoonanan | Trinidad and Tobago [45:33-48:07] Busy Dawn Chorus in the Savannah: Sounding Wild | Sierra Leone [48:07-49:38] Gentle Wind at Dusk in the Savannah: Sounding Wild | Sierra Leone [49:30-51:42] Hippopotamus Preparing for the Night: Sounding Wild | Sierra Leone [51:42-52:24] Nocturnal Pulse: Usun Apau Ancient Forest: Jan Brelih | Malaysia [52:24-53:51] Night Walk in Rainforest Discovery Center: Gina Lo | Malaysia [53:51-58:05] Bornean Anura: Gina Lo | Malaysia
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    58 mins
  • Bird Ambient Mix with Thay

    Bird Ambient Mix with Thay
    Feb 24 2026

    We are delighted to share a special set by artist Asa 808, a 2-hour journey ideal to softly immersive oneself in the nature sounds, instruments and spoken word.

    Credits to Asa 808 and Ana Roxanne, Agustin Pereyra Lucena Quartet, Andreas von Wangenheim, Awakened Souls, Dead Man Winter, Djrum, 혁오 (HYUKOH), Sunset Rollercoaster 落日飛車, Felbm, Frankie Reyes, Icarus, Hana Stretton, H.Takahashi, Jeff Parker, Jordi Savall, Julian Lage, Julianna Barwick, Laurie Spiegel, Matonizz feat. Brian Kelley, Meitei, Omni Gardens, Rosie Lowe & Duval Timothy, Sohn, Sonmi541, Starling Arrow, Ted Greene, Yutaka Hirasaka, Wau Wau Collectif.

    Asa started making music at the age of six, first learning classical piano and guitar (despite being seen unfit by some peers due to a heredofamilial essential tremor), later specializing in music theory and composition, jazz and improvisation. As a teenager, the non-binary artist released a 5 track EP with their first solo ambient project Hasta la otra méxico!, of which especially 'Túrána hott kurdís' attracted a lot of attention, hitting almost 1 million views on vimeo & youtube. Driven by their love for electronic music, Asa started producing and DJing as ASA 808, releasing on George FitzGerald's MakeMusic, Soundspace, and their own TOYS imprint and playing at festivals and clubs across Europe and Asia.
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    2 hrs
  • December Solstice by Cameron Randall

    December Solstice by Cameron Randall
    Dec 21 2025
    Bodies Extend Themselves Toward a Breathtaking Absence of Limits Earth.FM has the pleasure and honour to announce a new work with multidisciplinary artist, field recordist, and DJ, Cameron Randall. Cameron’s practice involves composing assemblages of field recordings, electro-acoustic sound, sampling, synthesis, AI models, and digital processing. His previous work has involved sculpture, algorithms, sound, moving image, text, and installation, while his Listening With radio series is broadcast every month on Resonance FM. In this sound piece, Cameron takes us on a journey across the planet with an evocative, intense, surprising, and utterly beautiful sound montage of Earth.FM recordings made during this Solstice season. In his own words: "This piece was created from field recordings made by a number of international field recordists around this time of the year. These recordings are so rich and diverse that I was immensely inspired by their depth and detail. I am interested in the remixing, morphing, and translation of sound—where the audio both retains its original sonic quality and also becomes something new. Every sound you hear in this piece originates from the initial recordings provided to me. The origins of some sounds are obvious; some are more opaque. This is a line I often like to blur and play with. Thank you so much to Melissa Pons for commissioning me to do the piece for Earth.FM." To work creatively with precious natural soundscapes is an exercise of affection and appreciation for our world. We truly hope that his cosmic piece will inspire you in many ways. You can also listen to the original field recordings: Jan Brelih: ‘Cave Entrance in the Balkans’‘Dusk Cicadas: Usun Apau Ancient Forest’‘Falling Snow in the Forest’‘Frog Echoes’‘Gentle Waves of Black Sea’‘Talking Bamboo’ Serge Bulat: ‘Winds of Onemo’ Rafael Diogo: ‘Where the Wild Things Whisper’ Ezra Gray: ‘Crook tn the River’ ‘Night Time in Sloe Copse Wood’ Tom Kelly: ‘A Sandstorm in Death Valley’ Gina Lo: ‘Rolling Pebbles at the Glass Cove’ Andy Martin: ‘Golden Mantled Howlers at Dawn’‘Midnight Insect Chorus Near Corcovado’ Phil Mill: ‘A Very Close Wolf’ Martha Mutiso: ‘Amphibian Chorus’‘Chorus in the Amani Nature Forest Reserve’ Melissa Pons: ‘In the Valley – Countryside of Santo Antão’ Melissa Pons and Jocelyn Robert: ‘Ebb Current in Rocky Shore’ Ivo Vicic: ‘Snow Storm with Powerful Thunder’ Gregor Vida: ‘Wind, Squeaking Tree and Light Birds’ George Vlad: ‘Morning in Zimbabwe Village’
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    30 mins
  • Interview: Jakub Orzęcki

    Interview: Jakub Orzęcki
    Dec 17 2025
    “I try to find places that still carry a bit of this [...] feeling that [...] something might be watching me in the place I try to record, or that I may have some problems with finding my way back from the recording spot. [...] [R]ecording there [gives] a chance to capture this raw energy of nature.” In this episode of Wind Is the Original Radio, the Earth.fm podcast, site curator Melissa Pons talks with Jakub Orzęcki. An acoustic ecologist and field recording artist based in Wrocław, southwestern Poland, Jakub was nominated for the Sound of the Year Awards in 2022, in the category of Best Natural Sound. Jakub has made it his mission to highlight the noise pollution increasingly affecting acoustically sensitive areas, and to archive changes occurring in sonic environments. However, as well as exploring Poland’s remote wilderness and underground environments, his work also encompasses the acoustic heritage of the local folklore and traditions which are coming under threat from globalization. With his Polish Soundscapes initiative, Jakub records and assesses the relationship between biophony, geophony, and anthropophony within his homeland’s acoustic environment. In their conversation, Melissa and Jakub discuss a novel way of thinking about his field recording work: the notion that different recordings have flavors. For Jakub, this relates to the emotions he feels in the place where they are made - maybe a flavor of adventure (for example, in relation to soundscapes “tied to [an effortful] expedition”), or the flavor of being “the first person in a place for a very long time”. There’s even the flavor of preparation and analysis, drawing on “old descriptions of [a] place[,] [...] of settlements that once existed there” and grounded in everything from maps of topography, light pollution, and air traffic to Lidar-based terrain models. Jakub also describes a more primeval flavor - one that comes from respect for, or even fear of nature, and which “mix[es] [...] fascination and unease”. This sonic flavor reminds us that, for most of human history, natural environments were so much more unpredictable, stronger, and powerful than we were, whether in the form of forests, rivers, mountains, or swamps. Capturing that sensation tells us how “small [we] are compared to what surrounds [us]”. They also delve into topics including: ‘Sonic nostalgia’: a notion prompted by the disparity between the soundscapes of Jakub’s childhood, spent in his mother’s picturesque home village, and those he experienced when returning to the same area as an adult. From a “quite simple and [...] even [...] old-fashioned” way of life that “harmonized with [the] forces of nature in a perfect way”, the “sounds of [the] river where [he] played with [his] cousins [and the] beautiful sounds of the hay fields” had been overtaken by quite different sounds generated from the sand extraction sites that the riverbanks had become, while the forests were filled with industrial noiseThe “hidden critical potential” to field recording, which means it “can be a declaration of [the recordist’s] worldview”, akin to a protest song. Jakub explains how a field recordist is able to provide commentary by “reveal[ing] what is in [a particular] soundscape [...], what's disappearing and how human activity shapes it” - in his case, mainly in relation to awareness of noise pollution, but also on broader issues like migration, pandemics, or women’s rightsA traditionalist worldview - not politically, but one that embraces “a sensitivity to what's being lost” and an “uneas[iness] about the future”. For Jakub, that manifests as a “longing for sounds that are disappearing”, as well as “a quiet sense of anti-consumerism and anti-globalism”, given the way in which transport, industrialization, and tourism can be detrimental to biophony, geophony, and traditional folk soundsField recording as an act of care for the soundscapes it preserves, which may encourage others to listen more closely to the world around them. But, also, the challenge of finding the time to listen to in the first place - even though slow, intentional deep listening can “sharpen [...] awareness [and] expand [...] [the] imaginations”: ideal responses to challenging timesSpecies’ changing behaviors in the face of noise pollution - such as marsh frogs or midwife toads, which are increasingly difficult to hear, year by year; songbirds like blackbirds or nightingales changing the pitch of their calls; or whitetail eagles reacting nervously to loud disturbancesThe need for a healthy balance between natural sounds, human activity, and modern infrastructure - and the difficulty for enabling these elements to coexist, particularly in countries which, like Poland, are developing quickly, and where governments may consider “[...] noise [...] as a part of progress and development [rather] than pollution”. This despite ...
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    1 hr and 16 mins
  • Listening With x Earth.FM

    Listening With x Earth.FM
    Dec 8 2025

    This episode was created by Earth.FM's curator Melissa Pons for the multidisciplinary artist Cameron Randall, on his show Listening With at Resonance.FM, which aired on 8th December 2025.

    Melissa's words on the piece:

    "A sensorial journey with some of the most poetic field recordings I have encountered. They are delicate, requiring a certain level of attention. The recordings combine depth, dynamics, and space in a beautifully staggering way, allowing the wandering ear to easily attune to the different soundscapes. From the Nordic solitude of a snowy forest to the sublime manifestation of our living planet of an erupting volcano in Vanuatu. The recordings are woven with music from Patrícia Wolf, Verónica Cerrotta and me; this mix is an expansive invitation to tune in to our natural world and a plea for us to love it and nurture it."

    Playlist:
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    1 hr
  • Interview: Endless Fields pt. 2

    Interview: Endless Fields pt. 2
    Nov 4 2025
    “To record well, you have to be listening well.” This episode, part two from Endless Fields 2025, features a further selection of interviews between Earth.fm curator Melissa Pons and her fellow artists-in-residence. You can listen to part one here. One of the co-founders of the event, Stefano Arrigoni, spoke to Melissa alongside Cameron Randall. Stefano is a sound artist and anaesthetist from Italy, who lives in Marseille, France. His practice explores how sound can shape consciousness and open spaces between the inner and the outer. For Stefano, field recording is a form of healing, attention, and surrender. In his compositions and improvisations, recorded sounds trace paths that question authorship and reveal what lies beyond the first layer of hearing. Cameron, a multidisciplinary artist, field recordist, and DJ, composes through an assemblage of field recordings, electro-acoustic sound, sampling, synthesis, AI models, and digital processing. Previous work has involved sculpture, algorithms, sound, moving image, text, and installation, while his monthly series Listening With is broadcasted on Resonance FM. Together, Melissa, Stefano, and Cameron discuss: The origins of their interest in sound. Cameron’s arts background means he approaches the sonic world through a visual lens, while, despite being brought up in a family where music wasn’t a priority, one of Stefano’s earliest memories is of playing guitar with his father. He also describes himself having been a “sound-contemplator” from an early ageHow important it is, for those who wish to make music but don't have a musical background, to realize that if you “step back and [...] just listen quietly and [...] wait patiently”, inspiration will come. And to remember that an “unmusical mind” can even be beneficial, by “pull[ing] [...] work into a [...] different space”Whether engaging with sound requires more effort than the visual world does - or whether this engagement is “just different”, and simply requires a different kind of attunementThe way that Stefano “find[s] sounds that call [to him]”, while Cameron “morph[s] and combin[es] sounds” to create a “quality that's partly in this world and partly in another” How negotiating one particular, secluded environment with a microphone, over an extended period, can increase the experience of intimacy with that environment, enhancing the listening experience Whether listening in such an environment provides opportunities for imagining a better world, and to consider how creative practices can create outcomes that oppose the values of mainstream societyHow being “acutely” present in a natural environment can allow an appreciation of the “entanglement of species”, and of the “interwovenness” of the bodies of land and water which make up these spacesThe way that time seems to “collapse” into a “continual flow” in such spaces - compared to the more structured interaction with time that most of us experience in day-to-day lifeThe importance of remembering that “ecstasy [can] come [...] from very simple feelings like the warm breeze on your skin when you walk at night”How “liv[ing] in a crazy global situation [...], [means that] it's a very mixed feeling to be able to [...] just connect to [...] [things like the sound of a] grasshopper” - but that being in a natural space can also bring “a lot of those conversations to the fore”; taking the time to listen allows more mental clarity than the constant state of agitation within which many of us live. “By listening, we are moving peace energy. [...] It's [...] [a] political act” - so, “make your listening sacred”. Melissa also spoke to Anna Clock, who co-founded Endless Fields with Stefano. Anna’s work as an artist, composer, and musician centers ways of listening, and encompasses theater, film, radio, installation, text, and live music. They also find the time to play the cello and offer affordable, gender-neutral hairdressing in the queer community. In their conversation, Anna talks about: How moving from London, England, to Ireland at young age and entering “a completely different aural environment” led them to start making recordings - something that initially felt distinct from their background in music, before they came to the realization that they were part of the same practiceThe importance of reciprocity when listening, including the way that music can allow one to connect with both oneself and the worldThe connection between field recording and deep listening - but also the reluctance, as someone with a cynical nature, to sound too New Age by talking about spirituality in a flippant wayThe idea that, “If you can't listen to yourself, then you can't listen to anyone [...] or anything else.” Plus, the importance of finding the “special zone” which enables you to “feel comfortable enough to give and receive”... But also the acknowledgement that, if ...
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    1 hr and 4 mins