Henk Bakker – Concertzender | Klassiek, Jazz, World en meer

#471. Bruilofts Lied by Holy Mountain, 2008.Orpheus wakes up in a shop doorway in Delfshaven. Bruilofts Lied traces his psychological, physical and emotional journey through the streets of Rotterdam on his first day alone on earth, having lost his love Euridyce to the underworld.

Alisdair McGregor, Howard Jacques & Melanie Clifford constructed Bruilofts Lied from a script by Boz Temple-Morris, exploiting Rotterdam as instrument & site for interaction / their own immersion & adventure / the wonderful Worm.studio. It’s a multi-cellular communication.

Credits:

Contacts:

[email protected]

#470. From ze Wormvaults, we’ re talking 2008;

BLOOD ELECTRIC by Henk Bakker & Kenji Siratori.

Produced, composed, edited (and a lot of @cteteras on the side…)

Voice: Stephie Buttrich. (model 1.9.2)

A Radio horspil with cyberpunktext, manipulated voice and digital software.

Imagine from the scene, where the android at the end of “the possibility of an island” (Houellebeque) sat down on the beach and stared into oblivion with several decades to spare in solitude and calm bliss…. somehow evolution went on from there and small loosely scattered mobs of humanoid androids, cyborgs and advanced machines primarily engaged in “sexual social activities” as in the early good old biblical days, inhabit the world…. and another 300 years later a data storage bank that contains decaying data wich can be remotely accessed, somewhat like the wikipedia now- or as in a remote and since long abandonded callcentre in what used to be Bangladesh- but only as text to speech since all things are blind by then…well something like that sums up my “feel” inside the text bij Kenji Siratori…

Furthermore, it’s a display of the impotency of words in a “foreign” language no longer in use or mastered at a sufficient level as to paint visions with, together with its references, uttered by a voice with no emotional attachment to either…. glimpses of a defunked version of blade runner….

#469. The Hispaniola: a webradio play for flutist (2006-2008).

Composed by Christopher Williams, in collaboration with Barbara Held, flute and voice with the generous support of WORM, Rotterdam.

Recorded by Lukas Simonis and Ferran Fages.

Voices:

– Justin Bennett (Dr. Livesey),

– fragments from Mercury Theatre’s 1938 radio adaptation Treasure Island, directed by Orson Welles.

– fragments from from the 1934 film adaptation of Treasure Island (featuring Jackie Cooper and Wallace Beery), directed by Victor Fleming.

Texts based in part on Robert Louis Stevenson’s Treasure Island (first publication 1886).

The Hispaniola: a webradio play for flutist is a work in 4 acts somewhere between an experimental Hörspiel and an electroacoustic composition, to be heard via webradio, traditional radio, or live with or without the flutist present. Its title is borrowed from the protagonist ship of the mythical adventure novel Treasure Island, which functions as a source of material, a metaphorical axis, and an inspiration for the project as a whole.

Onafhankelijke geluidskunst, radiofonische projecten en andere audio-non-visuele misverstanden en vondsten.

#468. From ze doktorr vaultz, the year is 2008…..plus short zugabe with Kim Fowley.

De Goede Buurman.

Met een gedicht van William Carlos Williams,

geluidsontwerp & montage:

#467. From the ungoing vault series…

1. Geheimhouding Van Het Gepasseerde door Saskia De Jong.

Language; Dutch/Italian.

2. BIJ HET EERDERE.

Muziek en geluid hierbij werd gemaakt door de Duitse electro-acousticus Peter Wiesenthaner. Stem; Jeroen S. Rozendaal.

#466. Een drietal Worm klassiekers uit de kluizen.

1. Budhhamachine – Martiansgohome. (2010)

In 2004 the China-based duo Fm3 released their first Buddha Machine, a small electronic device capable of playing a selection of 9 sound loops of varying length. It was to be followed by several updates, introducing new features, new design, or musical interventions by other musicians (one has been made by Throbbing Gristle for instance). As an artistic statement, the device was a totally new concept, offering the audience a product that was not a record but still a recording, and one which could be played at length, in various settings, according to the buyer’s will, or used as an instrument to play, as the duo presents it themselves, using several machines to orchestrate chessgame-like performances.

But the device has roots that pre-date its re-invention by FM3. It had before that been a longstanding product that was to be found in tourist shops around buddhist temples throughout China, or south-east asian countries. Similar in a weird way to the Tibetan prayer wheels, it is a mechanichal praying device that is considered as valid and efficient as an oral prayer, or a recitation, even if it is used distractly. Simply touching a wheel, or spinning it without concentration is said to bring the same benefits as actually praying or chanting. Similarly, the modern electronic buddha machine is a device that can be used by the layman, with the same effect as a real incantation. Most existing machines play various buddhist mantras, chosen among the most efficient invocations, but also, for technical reasons, chosen among the chants based on repetition, like the famous “om mani padme um” sanskrit mantra. Some are traditional songs of the Theravada lineage, sung in Pali, some are new age songs with a buddhist pretext. It is used by the faithful to soothe the mind and purify it. They function like a cybernetic version of a chanting monk, accompanying you everywhere, like a pocket choir that could be switched on and off. They can also be considered to be praying alone, indifferent to human presence or absence, like a mystic robot intoning its chant for its own salvation as much as for the universe’s.

Martiensgohome has put these buddhist robots in various situations where they can be heard chanting alone, or among themselves. They are recorded as they were overheard, amid their alien rituals. As such they celebrate alone, automatically processing avalokitesvara’s world peace, and at the same time revealing the aural architecture of the place they are singing in; their site-specific devotion shaping and modifying the perception of these places and at the same time being influenced by their sonic characteristics.

2. Industrial Boy – Kenji Siratori. (2006)

3. Vankariem. (2011)

Een hoorspel geschreven door de Utrechtse dichter Han van der Vegt, die overigens enige jaren in Antwerpen woonde en werkte en door Piet Gerbrandy erkend werd als Vlaams dichter. Inmiddels zit hij weer hoog en droog in Wassenaar. Han van der Vegt publiceerde de dichtbundels ‘Oker’ en ‘Pilonder’ en essays over o.a. de poëzie van Rutger Kopland. Samen met Peter Holvoet-Hanssen schreef hij ‘De vegtlijnen; Pathos, kapsones en conflict’, een manifest voor dynamische, expansieve poëzie. ‘Exorbitans’, zijn epische sciencefictiongedicht over het gelijknamige ruimteschip, van ruim 1200 regels, is in mei 2004 integraal opgevoerd en was her en der als de Exorbitans Roadshow te bezichtigen. Het gedicht Vankariem is geschreven vanuit de stem, vanuit de logica van het strottenhoofd. Het is dus niet vreemd dat die stem er een hoofdrol in speelt.

#465. Poppenvlees; door Pierre Bastien en Erik-Ward Geerlings.

Tekst: Erik-Ward Geerlings.

Muziek: Pierre Bastien.

Directeur en mixage: Lukas Simonis.

Stem: Nanette Edens.

Onafhankelijke geluidskunst, radiofonische projecten en andere audio-non-visuele misverstanden en vondsten.

#464. From the Worm/Klangendum Vaults; NewYork Revolution Plan / NewYork Counterrevolution Plan by Yan Jun.

Text; Yan Jun.

A radiophonic work of Chinese writer and sound artist Yan Jun. Not only known for his poetry, but also for his experimental music / soundworx. His poems rely mostly on journal notions of the political situation in his country. He considers his poems as political acts, not as political poems. Because poetry itself is a political act, according to Yan Yun. Made and played live for the 42th Poetry International Studio. But the recording is made @ Studio Loos, Den Haag en mixed @ Worm Studio.