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

#441. The radiophonic project WurM IN WorM, the Klang Radio Edit.

Three crawlers decided to meet at one point a little bit longer. With Worm as their temporary residence, a continuous cycle took place where sounds were made, regurgitated and eventually brought to the surface.

Hessel Veldman (NL), Kamilė Rimkutė (LT) and Ruben Verkuylen (NL) differ widely in their musical practices and experiences, but find kinship in their appreciation of sound as soil for life. At the end of their sojourn, they performed their collection of sounds at Worm and showed their Wurm.

In this production at WORM they found the worm (“wurm’) inside the building, the organisation, in space, in the city, in the universe, in their afterlife, underground and in their friends. During the production days they build short and long fragments of soundbites, by creating several improvisation-settings and used real-time recording for building a sound archive. They mangled and cleaned up the recording results and modulated and arranged them during the final presentation on Sunday May 29 in WORM, Rotterdam; live and for Radio WORM.

Composers/musicians in residence:

Contributing composers/musicians:

Sound Bites by Saskia McCracken from her short story Sister/Worm.

Also an unknown/unpublished track by Enno Velthuys is wrapped in the WurM.

Hessel Veldman (Y Create, Forbidden Photographs, FNTC). Hessel is a composer, musician and radio-producer in the electro-acoustic field.

Ruben Verkuylen Ruben is devoted to sound through a mixed practice of DJ’ing, producing and running two music labels (BAKK and Rubber). Ruben is also an independent graphic designer in the creative industry and co-runs cinema platform WYSIWYG (What You See Is What You Get).

Kamile Rimkute aka Caline With C. Kamile graduated from Master’s degree in Sonology at the Royal Conservatory in the Hague, where she created interactive sound installations and did mixing classes, but most of the things she learned through working with sound in her own studio. She does live sound for electronic bands/artists occasionally. And she also does mastering (cd, vinyl, cassette) work.

#440. Onafhankelijke geluidskunst, radiofonische projecten en andere audio-non-visuele misverstanden en vondsten. 3 Radiopieces.

1. j-mve x worm.

This piece is the outcome of an internship held at Worm Sound Studios, in which I (Marco Manconi) had the chance to experiment with different devices for processing the electric guitar and using it also as a controller.

2.  Sleeplessly, a research of insomnia.

3. Mai Marie.

#439. Radia shows from the archives.

Show 0276 Full Fucking Moon : ‘I Am A Strange Loop’ – Radia Mix. (27:50)

In a gesture toward a form of ‘Rorschach Radio’, the AM stream became an inversion of the FM, and the artists also de-stabilised this dualism by opening up a third-space (at the historic Otago Pioneer Womans Memorial Association Hall, Dunedin) as a public listening arena / performance venue. At first empty of the physical presence of the artists and allowing the audience to roam, the space contained a scattering of radio receivers embedded in the nooks and crannies of its colonial architecture, as well as a social space where tea was drunk, conversations were had, newspapers were read, and eyes were closed in meditative listening. With the intimacy of the home-wireless set being something that could only capture the ‘total work’ in a sequence of twists and fractures, requiring the radio to be physically tuned as an instrument betwixt and between bands, (an action itself revealing the miasmic, shifting cloud of radio space), listeners present both at home and in this more public space (the latter by walking around the rooms where radios were distributed) each found their own stream within the cloud of possibilities, this listenership evoking radio as both intimate and communal, both territorial and boundless. The artists inhabiting the radiophonic streams then literalised their presence by arriving in the space, dressed in outfits that both evoked the spirits of colonial women’s meetings and more recent outsider pop ensembles, activating the instruments that had until this time remained a tableau of props amongst the other still-lifes in the room (radio receivers placed next to posies of fake flowers being a repeating theme in particular).

As befits radio’s multiform and fluid potentialities, this 1-hour performance was not the piece’s only destination, and this new edit speaks to the radia network as a series of distributed nodes, and to radio’s strangely present invisible material. ‘I Am a Strange Loop – Radia Mix’ begins with the radiophonic glossolalic cloud, clearing a way for the arrival of a human channelling of a spirit-radio, in which a psychic presence casts ideas on “transmissions” (dictations) from the cosmos as a poetics of the medium, and ends with a song called ‘Litany of the Oceans’, an FFM ballad about the moon, in which singer Bek Coogan intones the names of the astral body’s craters, thought to be the sites of frozen lunar seas, evoking the moon’s tug on the ethereric tides (and also perhaps calling to mind the United States military probe Clementine, whose investigation known as the ‘bistatic radar experiment’ in 1994 used a transmitter to beam radio waves into the dark regions of the moon’s south pole).

‘I Am a Strange Loop’ is a work created by artists who are deliberate misreaders of traditions, who shift mercurially within critical and primordial texts and methods. It is radio aware of its own material presence and spiritual history, as etheric and boundless as it is consolidating of community, as its artists shift effortlessly within the worlds of art and music, high art and pop culture, and their audiences and forms, calling for a listener who is equally multiple, who can inhabit not one cultural reference point, but many.

– Sally Ann McIntyre, July 2010.

Show 0277: Neighbourhoods. (CFRC)

#438. Onafhankelijke geluidskunst en andere audio-non-visuele misverstanden en vondsten. Radia shows from the archives.

This is the Radia edit of a hour long live radio show produced by Mobile Radio for the FON festival in Barrow-in-Furness, England. With Barrow being home to Europe’s biggest submarine shed and neighbouring Lake District having hosted Kurt Schwitters for the last years of his life we decided to combine these two influences. Schwitters’ Ursonate performed in morse code by one of Barrow’s retired submariners is the underlying thread to the show that includes live music and field recordings by FON artists in residence Haco, Susan Matthews, Sarah Washington and Knut Aufermann.

Show 0251: Glimpses of a revolution backstage. (Rádio Zero)

This program, done in behalf of Rádio Zero, consists of the unedited recordings of the military operational communications that occurred during the 25th April 1974 in Portugal, the so called “carnation revolution”. It is a raw window to the dynamic of a military push converted popular revolution that ended 40 years of dictatorship and jump started dreams and hopes which, like all revolutions, are still to be fulfilled.

#437. Presenting………Radia shows form the Archives.

This weeks radia show with title “This means war” is produced by Andrej Ancevski, recent kanal103 colaborator and dj that hosts morning program. About this show he says: “As the mass-media continues to spread mass paranoia over chemical and nuclear warfare, rogue nations and terrorism, the classic radio-drama on little green men butchering us all makes a comeback”.

Show 0061: Silence Radia. (Radio Campus)

This week for Radia, Radio Campus will go and plunder the silenceradio.org database.

#436. Onafhankelijke geluidskunst, radiofonische projecten en andere audio-non-visuele misverstanden en vondsten. A Radia show form the archives.

Radia_s38_n623_RadioRevolten_ExquisiteCorpse58min-03.

Exquisite Corpse (a Radio Revolten Reprise) by Radio Revolten (Orange 94.0)

#435. Onafhankelijke geluidskunst, radiofonische projecten en andere audio-non-visuele misverstanden en vondsten. Radia shows form the archives.

Castration Radia by Slobodan Kajkut. (Radio Helsinki)

So the question arose, how Radia would handle these remaining 8 minutes…

Radia_s38_n623_RadioRevolten_ExquisiteCorpse28min-07.

Exquisite Corpse (a Radio Revolten Reprise) by Radio Revolten. (Orange 94.0)

#434. Onafhankelijke geluidskunst, radiofonische projecten en andere audio-non-visuele misverstanden en vondsten. Radia shows from the archives.

Radia_s18_n202_ckut_snowsquabbles-11.

Radia_s21_n236_Kanal103.

The work is based on AM radio frequency and part of Cloude Debussys Clair De Lune concert for Ensemble Of Violins. Let listen now.
 Menmonic45 is Goce Gliguriovski from Bitola, sound artist working under the name menmonic45. He is combining ambient sound with dubby influences producing contemporary dub/ambient tehno sound, often interrupted with some am radio sound.

#433. Onafhankelijke geluidskunst, radiofonische projecten en andere audio-non-visuele misverstanden en vondsten. Radia shows form the archives.

Ur Radia.

Corrosion Suite by Dan Wilson;

Resonance producer, Dan Wilson, of Epistaxis Time and The Exciting Hellebore Shew fame, provides the first composition in this European Radio symposium. This piece is composed of corroded and uncorroded metallic sounds sources.

The ten Radia partners have broadcast it between the 4th an 10th of April 2005.

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