With the programme VIENNA CRAWLING, the Vienna Radia Collective feat. Fabi Lux would like to welcome a new guest (Fabi) to Vienna and make ‘arriving in the city’ the topic of discussion.
Equipped with the sounds of the city on their way to the radio station, the group met for a radio programme in which the concept of the programme was discussed live in an on-air public editorial meeting. Fabi Lux used the material from all the participants, including the recording of this editorial meeting, as material for a remix.
Fabi mixed the sounds with DJ software, changed speeds, added effects and asked chance if it would like to contribute to the flow. VIENNA CRAWLING is a mixtape that tells of the journey, of arriving and then inviting you to take another trip.
Credits:
Sound-Recordings by
Fabi Lux
Barbara Kaiser
Stefan Nussbaumer
Karl Schönswetter
*Duuu Radio presents a compilation of tracks from the vinyl “Lo gëm, mu nekk”, by the artist Bocar Niang, edited and pressed by *Duuu in 2023.
The vinyl LGMN is a rap album consisting of 10 tracks. The album explores its musical influences through the variety of languages that resonate within it, including Wolof, English, and French. This musical project is the result of six years of research into writing, composition, and the dissemination of music. The phrase “Lo gëm, mu nekk” could be translated from Wolof into French as “Advient ce en quoi tu crois” (“Let what you believe in come to pass”). Bocar envisions Lo gëm, mu nekk as a slogan for young Senegalese people, offering hope and courage to Senegalese society, Africa, and its diaspora, who endure the oppressive weight of perpetuated African dictatorships.
LGMN calls for dialogue, open-mindedness, and a shift in mentalities. It advocates for friendship, solidarity, and mutual respect among the inhabitants of Earth. Sound art serves as a powerful means to connect and share “good vibes.”
Bocar Niang was born a griot in a family of griots in Tambacounda, Senegal. A performer, poet, visual artist, and musician, Bocar Niang is a graduate of Cheikh Anta Diop University (Dakar) and the École Nationale Supérieure d’Arts de Paris-Cergy. He is pursuing a research and artistic creation doctorate within the Radian doctoral program and was a resident at the French Academy in Rome – Villa Medici in 2022–2023. In 2013, he initiated the creation of the music label Free Label in Tambacounda. The Free Label collective works to promote and develop young creative talent from Tambacounda in all its forms.
Credits :
Texts and Voice: Bocar Niang aka Bocar Freeman
Beat: Khalil Diougue, Adama Diagne, Florian della Gortiglia
Production: Studio *Duuu / La Villette
Sound Recording and Mixing: Mathis Ouidir / *Duuu
Mastering: Paul Castillon / *Duuu
Producers: Loraine Baud and Simon Nicaise / *Duuu
Co-production: The Bureau of Invisible Hours
Drawing: Pierre Grandclaude
Graphic Design: Alice Bourdelon
Radia Show Compilation: Ariel Nisand & Arthur Bécart
Special thanks to my friends and loved ones, my parents and griot family, to the actors of urban cultures in Africa and worldwide, to Constance, nekkalante, and LGMN.
“They’re my pets. They can be heard for hours at low volume in my workshop, even when I’m not there. I call them my domestic drones and they live in the open air.” (JPRRR)
Principle of the inverted acousmonium :
When recording, I place several types of microphone in the room. Each microphone has its own listening point. I alternate the sound points while remaining permeable to ambient sounds. In this way, I create an inverted acousmonium from a simple broadcast source.
Domestic Drones series 01 was first created as part of the Fallback on air residency, TT Node, Summer 2024.
Nostalgia for the Androgynous unfolds an ethereal-telluric space for voices and concrete sound, generative drones creating arcane sounds, lo-fi recordings, lyrical witchcraft, high-hovering voices, dazed and processed in glossolalic harmonies progressively embodied in organic and mineral scenarios. Occult soundscapes melt alternative listening paths in a cathartic collision, haunting and refreshing at a time, an atmosphere of ascent and intimacy, ambiguous, nostalgic, and visceral.
Serena Dibiase is an experimental vocalist, sound artist, performer, poet. She identifies her artistic and sound productions with the androgynous name Kratu. She carries out her artistic investigation starting from intense physical/respiratory practices and through analogue and not-analogue devices, to listen to radical phonic geographies, choral happenings, interventions on biophonies and geophonies extracted from explorations in abandoned, wild, industrial spaces, in a horizontal treatment of the sources. She collaborates as a sound dramaturg and performer with independent theatre companies, and also working for Biennale Teatro ’22-’23 and disseminating her research in Italian and international festivals. She collaborates as artistic consultant in contexts of social hardship (jale, community outreach centre for addicts), considering these incursions into her broader spectrum of anthro-poetic research. He has been leading Mouth of the landscape, a transversal vocal training and listening workshop. Her EP Nostalgia for the Androgynous released by Oceani Label.
Usmaradio – Centro di Ricerca Interdipartimentale per la Radiofonia (CRIR) / Interdepartmental Research Centre for Radio Studies, is a workplace of The School of Radio to develop an innovative radio pedagogy. Workshops, work sessions, meetings, presentations of live performance as sections of the project. Produced by UNIRSM | Università degli Studi della Repubblica di San Marino. usmaradio.org / theschoolofradio.org / unirsm.sm
Nur, Ahmed Muin, Ghada alKurd, Selwa Amar and Ali, talk us through their lives under the Israeli genocidal war on Gaza during days 386-390, week 4, October 2024.
Brushbox Mountain by Richard Kennedy
At Diffusion, one of our favourite activities is introducing people who’ve never worked with audio before to the wonderful world of sonic arts and composition! This time, we had the pleasure of bringing Richard into the fold.
Richard was planning a trip to the stunning Northern Rivers region of NSW, Australia, so I handed him a ZOOM recorder and encouraged him to give it a go. His reaction? “What do I do with this?” But since he’s got a knack for snapping gorgeous photos on his iPhone, I told him to think of it the same way—just capturing beautiful snaps, but with sound.
When he returned, we sat down, set up Audacity on his laptop, and I guided him through some basic editing and listened to his piece come to life.
Now, why not join Richard on his journey? It starts at the Brunswick Heads breakwater, heads up river towards Mullumbimby, then meanders around the High Street and Market at the Showgrounds. From there, we head up Left Bank Road towards Mullumbimby Creek, stop by to visit Barry Reeves at his place, “Brushbox Mountain”, and enjoy drinks on the balcony during a tropical downpour. We wrap up by wandering through the bush and garden, and finally ending our adventure at the beautiful beach of Byron Bay.
Tine Vrabič (Nitz) is one of the most active protagonists of the Slovenian electronic, club and experimental music scene. For more than a decade, he has been DJing and performing live in the most prominent clubs and festivals at home and abroad. He is also known as the former programme manager of the Ljubljana Klub K4, the head of the AmbientSoup label and series, a member of the CLSTRFNK collective (Evano, Nulla) and the author of the Senzorama show on Radio Študent, which covers electro-acoustic, experimental and ambient releases of all eras. Together with harpist Urška Preis (rouge-ah) he also forms the experimental duo II/III (two out of three).
This 27min piece was played live in 2023 for Kamizdat label night, representing a blend of cuts from old releases and newer live jam recordings which were never released.
SC:
BC:
https://ambientsoup.bandcamp.com/
Radio Študent Radia.fm programme curated by Urška Savič.
Photo credit: Patrick Harkin, used with permission
With a title that descends from a well-known passage in the Tibetan Book of the Dead, May it come that the sounds of the bardo shall be known as one’s own sounds, the piece opens with an improvised DIY ventilator that fails to sustain my bravewaves, waves that eventually flatline into a heavily decomposed electromagnetic soup. Then comes a freely associative consideration of the Beefheart Affliction; the dangerous game of creating schizophonic monsters; the compost heap of radio’s intrinsic entropy and instability; the creative possibilities released through the fractures of a broken subjectivity; a synthetic voice ripened, to the point of bursting; a piece of flesh that we shall call Figgy Pudding; a bit of brain beneath a fingernail; a scratched radio thanatophony; and a pair of eyes reflecting a Hegelian Night that becomes —- awful.
Gregory Whitehead: Artist, writer, radiomaker, text/sound poet, singer of tales, playwright and media philosopher. Since his first tape and radio experiments made during the 1980s, he has created a long list of radio plays, hybrid documentaries and acoustic adventures for the BBC, Radio France, Deutschland Radio, Australia’s ABC, NPR and other broadcasters. Often interweaving documentary and fictive materials into playfully unresolved narratives, his aesthetic is distinguished by a deep philosophical commitment to radio as a medium for poetic navigation and free association. In his voice and text-sound works, he explores the tension between a continuous pulse and the eruption of sudden discontinuities, as well as linguistic entropy and decay.
Whitehead’s plays have won numerous awards, including a Prix Italia for Pressures of the Unspeakable, a Prix Futura BBC Award for Shake, Rattle, Roll and a Sony Gold Academy Award for The Loneliest Road, which was described by the jury as “a master class in sound”. His 2005 BBC production of Normi Noel’s play No Background Music, featuring Sigourney Weaver, also received a Sony Gold Academy Award. On the Shore Dimly Seen, a “boneyard cantata” enquiry into no-touch torture, was short-listed for the 2015 Prix Italia.
Whitehead has experimented and collaborated within acoustic theatre, puppet theatre, dance theater, installations and mixed media cabaret. In film, he wrote the script and played the main character Walter Sculley in the 2003 docufiction, The Bone Trade , later becoming the centerpiece for an installation at Mass MOCA. Over the past several years, he has contributed voiceworks and sound to two experimental documentaries: Awareness and Lift Up Your Voices, by Arttu Nieminen.
Co-editor of the pioneering anthology Wireless Imagination: Sound, Radio and the Avant-Garde (MIT Press), his philosophical essays and hybrid speculative fictions have appeared in a wide variety of publications. A selection of writings has been published as Almanach de plaies insensées. Since 2012, he has published online exploratory researches within the context of an ever-mutating Desperado Philosophy.
FR collage aux multiples coïncidences confectionné à partir de samples radio et de divagations au sein de microsillons d’une autre époque. voyage unique et aléatoire non reproductible deux fois.
EN a collage of multiple coincidences made from radio samples and rambling through LPs from another era. a unique, random journey that can not be reproduced twice.
The first electronic music I ever played as a teenager was on a Hammond organ. The drum machine and rhythm generators in particular fascinated me; simplistic devices but somehow very creative, and something in the sound was strangely compelling. I heard Lee Scratch Perry, Sly and the Family Stone, Cabaret Voltaire and Suicide do some remarkably enduring music with such drum boxes, which of course later went on to become a basic element of electronic dance music in general. With this piece I revisit some of these dusty old machines and also some of the other vintage instruments in the studio at Worm, plus my modular synthesiser and sampler, instruments from Rob Hordijk and some occasional blasts of modulated radio.
Richard Scott is a Berlin-based creator and performer of forward-leaning electronic and electroacoustic music. Once a saxophonist focused on free jazz and group improvisation, for the past two decades he has been working intensely with a variety of technologies, methods and musical forms. In recent years he has concentrated his energies on creative composition, improvisation and production, with a particular emphasis on analogue modular synthesisers; including those remarkable instruments created by Don Buchla, EMS, Serge Tcherepnin, Émilie Gillet and Rob Hordijk.
https://www.richard-scott.net/
Recorded and composed in the Worm/Klangendum Studio, Rotterdam, July 2024, a Worm/Klangendum/Concertzender production.