MIXTAPE RADIO is a monthly episodic radio program made for resonance extra that blends  textured audio from cassette recordings by Joe Wilson and Chanelle Collier with tonal imagery by Bruna Volpi and Jake Terrey. Sound engineering by Ollie Brown.

Joe and Chanelle’s audio recordings encompass ambient sounds, conversation, experimental composition and improvised instrumental response. Cassette drones, loop pedals, voice and guitar are used to echo, mimic or bend over bird calls, thunderstorms, night sounds, indistinguishable chatter, museum reverberations and urban movement. These moments captured to tape are presented in two halves as an A-side/B-side format. 

Enriched by visual counterpoints for each episode, Bruna’s critical eye forms an ambiguous tonal narrative from Jake's method of stumbling into excellence. Mountain, valley, glacier, and urban horizon are presented in stereo format, to parallel the A-side/B-side format.

This program has been made on the stolen lands of the Gadigal people of the Eora Nation, we pay respect to the Elders both past and present

Supported by Higher Ground Studios

A Mixtape Radio #8 - The Wind and The Noise

Wednesday 19th March 2025 19:30 - 20:00 GMT

This episode is supported by Annandale Galleries, Higher Ground Studios and Resonance Extra.

Field Notes

Performed at Anndandale Galleries, Sydney; in response to Thomas Thorby-Lister’s exhibition Site Paintings, made in Cowra, NSW Australia. Credits: Joe Wilson (guitar, pedals, samples, vocals) and chanelle collier (vocals, samples, pedals)

Side A - The Wind

BUN RUN 2A Malady in G. Chirping frogs, night sounds Bundanon; drone and noise in G, cassette tempo shifts; gentle vocals; swelling guitar and picking; vocal layered loops; guitar noise with octave shifts, delay, and wah; second vocals with distortion and delay; Malady in G riff; birds, delay.

Side B - The Noise

CH 6A Kites. Recorded at Chicken House, “Kites”. Dawn birds; a laundry tale from mum; drone in e minor; pedal play with wah; guitar noise with harmonics; delay; kites loop; distorted vocal and guitar lead; birds.

A Mixtape Radio #7 - A Loving Fuck You ft. Oh Petal

Wednesday 19th February 2025 19:30 - 20:00 GMT

This episode is supported by: David Leach and Tony Kenny; Resonance Extra @resonanceextra And Higher Ground Studios @highergroundstudio

Field Notes Ep 7

Recorded at Higher Ground Studios, Oh Petal is an experimental noise project on Gadigal land in Sydney, Australia. The project emerges from the conceptual art background of band members Chanelle Collier @joeandchanelle, Taylor Hare @t_rash65, Anthony Hodgkinson @gweniferstefani and Joe Wilson @joeandchanelle. Oh Petal applies methodologies from visual art practices into song construction.

Side A - Oh Petal: New Material

(Anthony Hodgkinson - Guitar; Joe Wilson - Guitar and Vocals)

Sleep, my love. Lay down for another day. It cuts me deep, into my bones. Soon my love, I will be home. All this trouble, that we make; the pains, we take. That tall tower, it awaits; and all that power never fades. Sleep, my love. Lay it down, your burning blade.

- Joe Wilson

Side B - Oh Petal: Cicatrice 

(Anthony Hodgkinson - Guitar; Joe Wilson - Guitar and Vocals)

When a cut pierces the skin,
the body repairs around the site—
restructuring its inner form.

Our body accommodates the wound,
reorienting to serve
a new shape within.

The scar is forever a part of you,
like the blood flowing, through your fingertips.

New lines,
New traces.

-Anthony Hodgkinson, Jan, 2025

This episode was supported by Artist Profile, Resonance Extra @resonanceextra And Higher Ground Studios @highergroundstudio

Field Notes

Feat. FAREWELL TOUR recorded at Chicken House. Farewell Tour is a new rock band project by Joe Wilson and Chanelle Collier developed throughout 2023 and 2024, mixing field recordings and long form psych rock, with Joe on guitar and pedals and Chanelle on vocals and samples.

Side A - Lover’s Cheekbone

“I saw you standing. Long days long nights waiting on the stage and those hallowed lights. Screaming to the wild and dancing with the wind, just as it starts, it always ends. This could be the last time I see you, this will be the last time I see you. I saw you standing through the window of your apartment, saw you standing naked in your beautiful garment. Garment, yeah! All this trouble and the devil we have”. (distortion/delay)

Side B - In Defence of Submission

Notes on a Sound Art Practice: MIXTAPES

Sound is a time based medium and is therefore about time. A site specific music that incorporates field recordings. Each sound has a location in time and space, that repeats again in a kind of nietzschean time travel. Playback, delay, and looping are the eternal recurrence. It is this life, now, living in terminal diagnosis. Living with an acute awareness of the limitation in the availability of time. The here and now is filled with the presence of time and mortality, ART and DEATH.

Sound art in the medium of mixtapes: a practice combining textiles and sound. It is for those wanderers willing to make a sidestep to embrace resistance, agency, or refusal. An intentional pause for creative procrastination inspired by a Situationist spirit. It is anxiety and method, irreverent of its resources. This practice, only a labor for love, ingests, internalises, and releases. This is mechanical reproduction via cassette, which is an un-living agent, a prop, and a gift. Through cables sprawling to construct a signal chain where authority resides in the binary input and output solution. Companions consenting to a noise domain, Heavier Than A Death In The Family. A sound ambition that finds the silent friendship of grief. A Farewell Tour rock band project. – Joe Wilson

A Mixtape Radio #5 - Voices and Beasts

Wednesday 20th November 2024 19:30 - 20:00 GMT

This episode was supported by Resonance Extra @resonanceextra And Higher Ground Studios @highergroundstudio

Field Notes

A X-Mas Party at The Renshaws 2022 - Cocktails and impromptu solo exhibition

Side A - Voices

RENSHAWS_2A: Click and crackle of tape deck, train/storm T Renshaws Gallery; recording inside the gallery residency apartment. fade in chords. chanelle vocal. Cockatoos. drone slow down. Storm white noise and museum crowd and oliver on studio workshop timber router. Train running behind gallery with guitar drone and feedback, bird calls and distorted voice. Guitar hook

Side B - Beasts

RENSHAWS_3B: Renshaws Residency Fortitude Valley Brisbane.Bundanon birds. Kookaburras. Guitar high notes. Harmonics. Joe guitar Em slide D, C riff and crickets and lead. Crickets and museum crowd. Train, bird, train, bird. Triangle car pool laughter. 10:00 guitar fade in drones and samples, kookaburra tape slow down.

A Mixtape Radio #4 - Two Sides of the Island

Wednesday 16th October 2024 19:30 - 20:00 BST

This episode was supported by The Renshaws, Resonance Extra @resonanceextra And Higher Ground Studios @highergroundstudio

Field Notes

Side A - Up Side

The Renshaws Minjerriba Retreat; Birds; The Running Bath; Chanelle Sings A Long Way From Home; Heavy Electric Guitar Riff In D; Island Frogs and Crickets; Daybreak Birds; Drone Loops; Delays; Vocal Loops; Open Atmosphere Guitar Loops; Steel Rings.

Side B - Down Side

Cassette Tape Deck; Guitar Loops in (Malady) G; Vocal; Birds; Pause - Resume.

From the Archive: ISLAND SIX A and ISLAND SIX B; Joe & chanelle were visiting artists at the The Renshaw Gallery Residency and Minjerriba Retreat, November to December 2022.

The Minjerriba Retreat is located 30km east of Brisbane on Minjerriba (North Stradbroke Island), the 2nd largest sand island in the world. Home to the indigenous Quandmooka people, Minjerriba is also rich in flora and fauna including rare and endangered animals. The residency is a two bedroom family holiday shack. Artists are invited to stay without working as a respite from demands of running an art practice.

A Mixtape Radio #3 - Urgently and Violently

Wednesday 18th September 2024 19:30 - 20:00 BST

Field Notes

Side A - Urgently

Field recording of European museum with morning birds and amplifier feedback from guitar; complaints from Mum about washing clothes in the copper; undulating chords with vocal and crickets from Bundanon; pitch alteration on octave pedal; drone and feedback over museum sounds and harmonics in E major followed by a riff in E minor, ‘Heart Starts Beating Too Fast’.

Free Love: “A language that demands, urgently and violently: care. A generative exchange and agency in labour. A criticality through care, using play. A position that can be both active in participation and maintain the potential to deactivate, become divested. Doing something nice, flying a kite, or having a picnic. Just looking to be invited to converse, an extension of love to collapse two worlds; work and life.

Catered for by massive failure as a means of opening. Doing over making to relocate the work to the action. Relocating the site of art to the body and the use of time. A revolutionary release of time through play as resistance. Constructed relationships, situations, with an emphasis to act freely; to resist the positions of interest. A domain of emancipation and kinship for a subjective body." - Joe

Side B - Violently

Field recording of a visit to Palais Tokyo followed by a drone melody malady in G major with lead guitar; feedback with studio improvements such as making a shelf using a timber router, with museum crowd both clean and distorted; continuing drone sounds; crowds under compressed guitar handling and amp noise followed by chords with feedback; storm outside the studio and gallery opening night crowds.

A Lover’s Cheekbone: “A play that happens to be naturally abrasive to the system. It scratches against the sides on its way past. Maybe doing a bit of damage in the process of making contact. Not adversarial. It just doesn’t stay in its lane or conform to the right shape. Joyful and harsh. Always making a play for a kind of loving 'fuck you', full of intimacy and without concern for any consequence but enjoyment, kinship, friendship, comradery, the gang, the good life, the game.

A hypothetical but actually used playing field not made of spite or hate or jealousy. There are no sour grapes growing here. Just the things we do that happen to be antithetical to the status quo: hard work. The lazy artist. The drinking artist. The joker. The lark. All resistant. Revolutionaries even, if given enough purpose, and against the machine simply for not being welcome in its workings.

Not in protest, just not still enough to remain squarely in an assigned place. That place, comfortable to others, that is easily read. Forever willing to deploy a playful elbow to a ‘lover’s’ cheekbone to guard that sensitive spot, to avoid the grabbing of an unsuspecting nerve, a flinch in defense of submission, sometimes leaving a bruise, a wound, but necessary just the same. 'I will not show my belly if you will not show yours'. Not even for the promise of a kiss.” – Chanelle

Sounds (guitar, vocals, samples and pedals) by Joe and Chanelle. Oral storytelling by Jenny Magrath. Router sounds by Oliver Wagner

This episode was a cassette recording presented as 1 of 10 tapes for the Visual Arts Emerging Fellowship (VAEF), with Artspace, Sydney. Presented in partnership with National Art School Gallery, curated by Scott Elliot, Alexie Glass-Kantor and Elyse Goldfinch.

A Mixtape Radio #2 - Kinship for a Subjective Body

Wednesday 18th December 2024 19:30 - 20:00 GMT

This episode was originally made for MIXTAPES (9), a cassette based artwork made for Artspace and Visual Arts Emerging Fellowship in partnership with Create NSW and exhibition host National Art School Gallery, Wednesday 24th August 2023

Field Notes - “Let Me Stop You Right There” - Alexie Glass-Kantor

Side A - Kinship

Mixtape 9: Electronic high notes to museum recording and fading in chords on guitar; max delay and screaming children distorted from the vinyl record; G major riff with applause on vocal pedal loop and storytelling of washing past; shaking drones with ringtone from missed call message bank; indistinguishable talking in the studio and use of power tools; recording of bus engine over museum crowds; handling of cassette tapes and players; music sample; A minor and F major riff on guitar with offset vocal loop.

Side B - Body

Mixtape 9: Screams in an institution and guitar noises; Lp needle taps with heavy distortion and delay; creaking guitar handling through high compression; feedback and chords and scales; offset vocal loop over distorted museum; guitar in G major and indistinguishable voices; birds and language lessons; phone calls and studio visits; artist borscht picnic chats; feedback on amp; Bundanon morning birds and crickets with museum sounds and guitar.

A Mixtape Radio #1 - The Kite and the Storm

Wednesday 21st August 2024 19:30 - 20:00 BST

This episode was made as part of the Bundanon Trust artists in residence programme, and has been performed live at the Bundanon Museum. The Museum is on the stolen land of the Dharawal and Dhurga language groups. This episode was supported by Resonance Extra @resonanceextra And Higher Ground Studios @highergroundstudio

Field Notes

Side A - For Kites

• Sounds made on Residency, Bundanon Trust, October 2022, Development # 2.

A day in the rehearsal space, experimental sound, guitar pedals and vocals. Casio Watch Alarm; Fender Delux Reverb Tone Master Amplifier, Reverb, Vibrato; Boss ME-70 Multi Effects, Compression, Classic Distortion, Delay, Loop Pedal, Expression Pedal Octave Pitch Shift; Panasonic SlimLine RQ 2102 Cassette Recorder, Field Recording ; Boss VE-20 Vocal Performer, Reverb, Looper Pedal.

The Wind and the Sun. Playing the cassette BUN 2_8 Side A. In the grassy field where the kangaroos gather at dusk; a HEAVY wind. The Mona Lisa, a heavy kite. SOUND and sun blaring. Kite flyers running. Skin tingling. A concert to nature. Satisfying exhaustion. – Joe Wilson

Side B – The Storm

• Field Recording of a thunderstorm made on Residency at Bundanon Trust, August - October 2023, Development # 3 & 4.

A Personal Note, a Broken Heart, a Broken Body. Bundanon, a gully flat. Surrounded by hills. The storm is caught on the high rocks and is flung around the encroaching bushland. The lightning sheers across the last of the evening’s sunlight, across the way, a distance. The thunder chases the light, the sound chases the cut sky. Drawing closer. Volume rising. Bright white cracks become total for an instant. Birds continue to sing. Trees fall. – Joe Wilson