Radiophrenia presents: Felicia Atkinson | Matt Robin

Radiophrenia presents: Felicia Atkinson and Matt Robin

Hailing from the wild coast of Normandy, French composer Félicia Atkinson performs a newly commissioned radio work titled ‘Wilhelmina, Glaciers Chasms’ – and Glasgow based sound artist Matt Robin performs a new live set in advance of his full scale production commission for Radiophrenia 2026.

Felicia Atkinson - Wilhelmina, Glaciers Chasms

Following her commissioned pieces Ni Envers Ni Endroit Que cette Roche Brulante (INA GRM 2022) and Thinking Iceberg (CTM 2024), the French composer Félicia Atkinson comes back to her interest for nature and its preservation, as well as her interest in painting. Wilhelmina, Glaciers Chasms, is an electro-acoustic piece for voice, field recordings, fender rhodes and electronics, inspired by the paintings of Wilhelmina Barns-Graham, especially ‘Glacier Chasm’ from 1951. Transparencies, blue and grey, super-positions, free forms, resonance and sustains will infuse in this new electro-acoustic piece dedicated to the XXth century female Scottish painter.

Bio: For Félicia Atkinson, human voices inhabit an ecology alongside and within many other things that don’t speak, in the conventional sense: landscapes, images, books, memories, ideas. The french electro-acoustic composer and visual artist makes music that animates these other possible voices in conversation with her own, collaging field recording, midi instrumentation, and snippets of essayistic language in both french and english.Her own voice, always shifting to make space, might whisper from the corner or assume another character’s tone. Atkinson uses composing as a way to process imaginative and creative life, frequently engaging with the work of visual artists, filmmakers, and novelists. Her layered compositions tell stories that alternately stretch and fold time and place, stories in which she is the narrator but not the protagonist.

Matt Robin

A breath of bronze. A performance built from the resonance of bells, sampled, fragmented and transformed into continuous sound. Reverberations multiply into waves, rising, falling and rising again.

A bell functions as both signal and passage — a peal, a knell, a call, a marker of time. Here, its punctuation dissolves, focusing on the threshold between strike and silence. Its resonance becomes fluid, like water gathering into a river. Endless droplets swell into larger currents. From the tiniest particle of sound, vast textures and layers emerge.

Rhythms arise through repetition and flow. Past and present intermingle. Time circles back onto itself as memory decays and renews — merging, evaporating, evolving.

This work traces the transformation of a single sound source into multiple voices and shifting textures, where stillness and motion exist in a dynamic balance.

Bio: Matt Robin is a sound artist and composer working with electronics, field recordings, and percussion. His practice, both solo and collaborative, centers on exploring complexity through minimal means, using restraint to reveal sonic detail. Guided by curiosity, he explores the textures and tonal possibilities of acoustic and electronic tools through close listening and experimentation.

He is a member of NEY, a Glasgow-based trio whose work combines voice, (electro)acoustic instruments, electronics, field recordings, and live processing. NEY has released music on the label Somewhere Press, performed in Glasgow, London, and Berlin, undertaken a residency at Grabowsee in Germany, and collaborated with Colombian-born, Miami-based experimental sound artist Doris Dana.

Matt currently collaborates with artist Shola von Reinhold, weaving harp, percussion, electronics and voice. Their work explores delicate threads and sudden ruptures, where chaos coils around fragility and entanglement becomes both method and outcome.

His recent Radiophrenia broadcast, “Petra hoc’h eus kavet?” (What Did You Find?) is a radio work reflecting on personal grief and cultural heritage.

Host or Publisher Radiophrenia