Through his field recordings and ambient curation, KMRU shines a spotlight on the fluctuations of diasporic life. The de-familiarization of sounds gives his art a liminal quality, where the listener is offered small hints at the soundworld he pulls from. This approach is emblematic of the ethos of the Black Atlantic—a concept that celebrates fluidity, hybridity, and the resilience of cultures in motion, while also commenting on the movements and negotiations of a life “in-between.” KMRU uses sound to traverse boundaries and connect disparate places and moments. The radio program becomes a metaphorical vessel, traveling across sonic oceans to link narratives from different territories, much like the cultural exchanges that have shaped the Atlantic world.
- Introduced by Wave Farm Radio Art Fellow 2024, Austin T. Richey

The Wave Farm Broadcast Radio Art Archive is an online resource and broadcast series on Wave Farm’s WGXC 90.7-FM, which is syndicated to stations across the country through The Radio Art Hour. It aims to identify, coalesce, and celebrate historical and contemporary international radio artworks created specifically for terrestrial AM/FM/Shortwave broadcast, whether it be via commercial, public, community, or pirate transmission. The archive is a product of Wave Farm's Radio Artist Fellowship.

Radio artists explore broadcast radio space through a richly polyphonous mix of practices, including poetic resuscitations of conventional radio drama, documentary, interview and news formats; found and field sound compositions reframed by broadcast; performative inhabitations/embodiments of radio’s inherent qualities, such as entropy, anonymity and interference; playful celebrations/subversions of the complex relationship between senders and receivers, and the potential feedback loops between hosts and layers of audience, from in-studio to listeners at home to callers-in; use of radio space to bridge widely dispersed voices (be they living or dead), subjects, environments and communities, or to migrate through them in ways that would not be possible in real time and space; electroacoustic compositions with sounds primarily derived from gathering, generating and remixing radiophonic sources. Note: Wave Farm continues to expand this definition of radio art through engagement with contemporary practices including those revealed by Wave Farm Artists-in-residence, and the Radio Art Fellowship program.