mr.K & radioShirley present

a collection of eclectic programs and sound works developed by mr.K

mr.K & radioShirley present is a arts podcast hosted by Kenneth Lyons, with 124 episodes on record and a Required Pod Score of 80. PitchCentric scores this show on Booking Probability, Listen Score, and live audience signals refreshed every 24 hours.

Kenneth Lyons hosts mr.K & radioShirley present, a arts show with 124 episodes published.

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  mr.K & radioShirley present

  Brubaker_On the Level

  Jun 16, 202616 min

  loops looping ... and big strings

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  mr.K & radioShirley present

  mr.K's Side One Track Ones Vol 4

  Apr 4, 202647 min

  Someone mentioned to me once that they thought ‘the money track’ on albums was usually Track 3. A cursory glance over some albums suggest that that may be the case. But there is something about the thrill of dropping the stylus and having Track 1 jump out the gates with all its bluster and swag. A great opening track has always done wonders to get me itchin’, twitchin’and jumpin’! For those playing at home, here is Volume 4 of some of my favourite Side 1 Track1’s. From Suzi Quatro to Nina Simone to The Voice of the Beehive to Box Scaggs, a great opening song doesn’t discriminate in mr.K's digs.

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  mr.K & radioShirley present

  mr.K's difficult pleasures Vol. 4

  Mar 4, 202648 min

  Another selection in this series of experimental ballads, challenging toe-tappers and olden goldies from Screamin’ Jay Hawkins, Tammy Faye Bakker, Diane Wakoski, Severed Heads, Throbbing Gristle, Charlie Feathers, Louise Huebner, Asphixiation, No Night Sweats, Lydia Lunch & Big Sexy Noise, Hank, Stu, Dave &Hank, Beatle Barkers, COIL, Scattered Order, Cathy Berberian and The Birthday Party.

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  mr.K & radioShirley present

  The Colonisation Of Language : A Phraseology in Five Parts (2025)

  Mar 1, 20269 min

  ‘The Colonisation of Language : A Phraseology in Five Parts’ explores aspects of oral storytelling and how the influence of colonisation can corrupt language and the sense of an origin story through multiple iterations over time. In much of my sound work, I’m drawn to the spoken word and was immediately drawn to the characteristics within the vocal utterances contained in the 1962 original field recording as assigned by Cities and Memory from the Pitt Rivers Museum Ethnographic Sound Archive by Raymond Clausen of a Navel-Miel performance accompanied by shaken rattles and seed pods from Malekula, Vanuatu. Selecting snippets of these utterances with some of the percussive elements, I created a speculative language to run alongside the opening paragraph of the Brothers Grimm tale, Rapunzel (1812). I assigned an utterance to each word in the story and developed a version of this story ‘spoken’ in this speculative language. Distinct phrases contained within the original narration are repeated and ‘corrupted’ through unlikely juxtapositions of these set phrases over the length of the work. I chose Rapunzel as my source tale due to its allusion to industry and exploitation, especially within its opening paragraphs, as both key activities of colonial intervention. Although the tale of Rapunzel can be read through many lenses, this selection, I felt was critical to situate the conceptual approach of the composition more solidly within this framework of intention. Further to this, I included the familiar Western story-telling trope, “Once upon time”, which doesn’t appear in Rapunzel’s original form, to open each of the five parts. The voice which narrates the opening of Rapunzel in English, is an AI-generated voice. All instrumentation, apart from the AI-generated narration, is sourced directly from the original 1962 field recording and modified through extensive processing and effects. No DAW stock beats or sounds were used in the composition. On reflection, incorporating AI into this work, also adds another layer of critique to ‘The Colonisation of Language : A Phraseology in Five Parts’. Using the opening paragraphs and set phrases of Rapunzel as my language model, also interrogates AI’s compilation process and the corruption of meaning when AI is forced to draw on a singular set language model for its output. It raises the question of How many iterations from a set model, does it take AI to output only diabolical errors in sense and meaning, thereby compromising the integrity of heritage? The whole ‘A Century of Sounds’ project (original source material and re-imagined compositions) can be accessed here : https://citiesandmemory.com/century-sounds/ Kenneth Lyons December, 2025

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  mr.K & radioShirley present

  60secs of #life and #death (2018)

  Feb 19, 20261 min

  Creative practitioners are increasingly engaged in exploring the opportunities that mobile media technologies afford them to generate new forms of language and aesthetic experiences (Berry & Schleser eds 2014, p 2). Most commonly, this type of practice is in the realm of digital storytelling, image-based collaboration and re-presenting metadata visually. The work, 60 seconds of #life and #death continues my exploration of repurposing default notification sounds from various mobile apps with an intention to elevate them from being functional sonic outputs and reimagine them into poetic and meaningful sonic contexts. In response to an international call out for the 60 Secondes 2018 sound art competition, 60 seconds of #life and #death maps the frequency the hashtags #life and #death are used in the Twitter stream via recording the attendant default notification sounds from the app over a period of sixty minutes and reducing it to sixty seconds. The resulting sound art work gives rise to a folksonomy of binary thought and expression through the use of these oppositional hashtags within the Twitter community and re-presents sonically, a snapshot of the social signification each of the tags used have to users in this community. The significance of this research is that it engages innovatively with mobile media to seek out and demonstrate polarities of online communication and commentary in a social media community. Its value is attested by: its selection for international competition hosted by an organization supported by Canadian Commission for UNESCO / Phonurgia Nova (France) / Avatar (Canada) / MoPA – Computer Graphics Animation School (France) / Wapikoni (Canada) and its selection for programming in multiple on/offline radio art/sound festivals across Europe, Canada, South America and Australia during 2018. Works cited Berry, M & Schleser, M 2014, ‘Creative Mobile Media: The State of Play’, in M Berry & M Schleser (eds), Mobile Media Making in an Age of Smartphones, Palgrave Macmillan, US, pp.1-9 Submitted for : 60 Secondes Radio project (2018) : https://60secondesradio.com/

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