Another Communist Horror Story is another communist horror story about child labour, deep mining, gold lust, human sacrifice and antediluvian entities lurking in the dark.

Based on a true story.
Set in Banská Štiavnica, Slovensko.

By luvan

In English, Slovak and French

Many thanks to Lenka Luptáková, who introduced me to the Salamander ; Léo Henry, John Sellekaers and Eve Commenge, beta-listeners ; and Carine Demange, from Radio Campus Bruxelles, for her deaf trust.

For this show, I have used tiny bits of : Baku Symphony Of Sirens, by Arseny Avraamov / Alfred Wolfsohn’s Experiments in Extension of Human Vocal Range, by Smithsonian Folkways / Starfish Dissection, by Richard Glassford II on Youtube / CROWN OF THORNS STARFISH, by ABCTVCatayst, on Youtube / Baníctvo na Porači (dokument, 2014) by Tomáš Telepák, on Youtube / Štiavnické Bane, Slovakia – šachta, by Radio Aporee, on archive.org / Novy Most Bridge, Bratislava, Lift in pylon, by Jodi Rose for Radio Aporee, on archive.org / velka causa – singing, by Radio Aporee, on archive.org / Trenčín-Kubrica, Slovenská republika – Scary Tale, by Jüang Ren, for Radio Aporee, on archive.org / Tchecoslovak TV news from 1957-9-11, on Youtube / Banská Štiavnica, slávnostné zvonenie, by Glockenman, on Youtube / Banská Štiavnica – zvon Umieračik ( c” ), by Glockenman, on Youtube / A few interpretations of Edgar Allan Poe’s poem Bells, for Librivox / Snow White, the Slovak dubbing version from year 1970, on Youtube / Old ORIGINAL GERMAN AIR RAID SIREN TEST, by e57michel, on Youtube / Venus fly trap – The Private Life of Plants – David Attenborough – BBC, on Youtube / S-40 siren test, by Olafs Kodolšķiltava, on Youtube / The sound of sea urchins crunching as they eat par ABCRadioN-1, on Soundcloud / Scenes from the film The Haunting, by Robert Wise, featuring the voices of Julie Harris and Claire Bloom, on Youtube / The pre-recorded voices of  Juliette, Alice, Bruno, Alain, Anjali, Reiner, Francesca, Audrey, Rachel and Lucy on NaturalReaders.Com / My own field recordings / My own voice / My own text / Hope I’m not forgetting anyone / Cheers, luvan / www.luvan.org/blog / https://soundcloud.com/luvan

For acsr 20th birthday party, Thomas Turine performed an electronic live version of Enfonçures. He previously composed this soundtrack for Caroline Logiou’s theater piece based on Didier-Georges Gabily’s poem, about the 1st Gulf War.

Thomas Turine is a composer, a musician and a sound artist. He has created and is leading the Cosipie Ensemble which gathers musicians, singers and actors. They work together on his contemporary musical compositions and his musical theatre pieces (“88 Constellations“).

He also works with artists from performing arts, plastic arts and auteur cinema. He started off his musical journey as a child with folk music, then he discovered new wave music (LVDCR), rock music (Major Deluxe 2001-2009), acid-house and electronic music (Sitoid 1996-:::).

Since 2002, he’s been closely working with stagedirectors, movie makers and choreographers who are interested in exploring contemporary forms and making new creations. He both composes the music pieces and designs audio spaces. He has created the electro-acoustic sound system for about 60 pieces. He invents his own instrumental composition process, either on computers or on paper. He turns his composition into something more plastic. He likes to take on a visual representation of the world and creates a new one. His work on space, both in the matter of his musical composition or the sound spatialisation tends to work itself in a subliminal way so that the perception of his pieces are organic. The body of the listener has to be engaged and engrossed. He intends his music to be a place of encounter with the listener.

In 2013 with acsr, he creates HO, an abstract radio piece based on sounds collected in Iceland. With the acsr too and the ONA, Thomas launched in 2016 the In Ouïe project, a thinking and exchange project on hearing, between blind people, sound practitioners and everyone.

picture © Hichem Dahes

www.thomasturine.com – cosipie.bandcamp.com – www.acsr.be/production/ho

Koímêsis is a live radio performance in French and Greek ; a political poetry choir on Europe.

« In August 2015, one month after the adoption of the Greece Memorandum of Understanding, the ‘No to the No’, I walked through the streets of Athens. The Greek Orthodoxs were celebrating the Koimesis. Koimesis means ‘dormition’. A sacred condition between sleep and death. Koímêsis forms a book of thirty-nine short poems on political and physic apathy, the sun, the beauty and the morbid. » (luvan, may 2016)

Production : Carine Demange & Moniek
Poems in French : luvan
Greek translation : Iota Gaganas
The Choir : luvan, Iota Gaganas, Carine Demange, Anne Lepère, Chloé Despax, Anna Raimondo and Deena Abdelwahed (as Moniek team and guests).
Accoustic work : Anne Lepère
Music : J.A.T.A.C.
Artwork : Laure Afchain

You can buy Koímêsis (French – Greek), and luvan’s other publications (French) here.

A performance by the radio collective Moniek, commissioned by Saout Radio and recorded live on the 9th of may 2016, at Radio Campus Bruxelles.

It was included in the program “Saout as a state of mind #2” that lunched Saout Radio, a platform and web radio initiated by the artists Younes Baba-Ali and Anna Raimondo in Morocco in 2012. “Saout” (i.e. “sound” and “voice” in Arabic) Radio, as an evolving archive, gathers more than 100 artists from all over the world, the web-radio aims at being both a sonic display and a space for reflexion, production and diffusion of sound and radio art works coming from different contexts and geographies, (by) endorsing a postcolonial approach.

Follow here :
Moniek : www.mixcloud.com/Radio_Moniek/
luvan : www.luvan.org/blog
Carine Demange : https://soundcloud.com/kikaplum/
Saout Radio : www.saoutradio.com
Radio Campus Bruxelles : www.radiocampus.be

 “The Valley”
Une expérience psychomagique

Dans cette navigation initiatique, la frontière entre le réel et l’imaginaire n’est pas définie. Est ce un rêve? Pas vraiment.
C’est une autre réalité qui jaillit d’une expérience concrète et ce, dans un but de transformation.
On commence par l’acte psychomagique, on s’adresse ainsi à l’inconscient.
Plus l’acte sera difficile à réaliser, plus il sera bénéfique.
Un point périlleux est atteint, on rencontre ses propres démons qui se révèlent être des alliés. La danse s’installe, les percussions servent la transe-formation.
La liberté est aussi dangereuse qu’exaltante, mais parce qu’elle est essentielle, on reste, on se familiarise, on agit, on décide et on s’explore.
Il reste, comme lors des rêves, des souvenirs. Puis les choses s’apaisent, mais la réflexion reste. Et puis on finit par comprendre que tout est déjà là, tout est possible, il suffit de reprendre le pouvoir.
Chacun peut poser les mots qu’il souhaite : voyage ou transe onirique, aventure fantastique ou chamanique, pour moi c’est simplement un appel à la conscience.

– –
” The Valley “
A psychomagic experience

In this initiatic travel, the line between what’s real and what’s imaginary isn’t well defined. Is it a dream? Not really.
It’s another reality poping out from a down to earth experience, in order to achieve a transformation.
We begin by the psycho-magical action, we talk to the unconscient.
The more difficult the action will be, the stronger the benefit will be.
A perilous point is reached, we meet our own demons and they turn out to be our allies. Then the dance starts, the drums are the tools of the trance-formation.
The feeling of total freedom is as exciting as it is dangerous, but, as it’s an essential part of the process, we stay and get used to it.
Some memories will remain, like after a dream, then the effects will decrease, but the brainstorming stays.
Finally, we end up acknowledging that everything has always been here, that everything is already possible, we just need to take our power back.
Everyone can define it with his own words : trip or dreamy trance, fantastic or shamanistic adventure. As far as i’m concerned it’s a call to consciousness.

– –
Baby Kruger



Nathalie Garcia is a French electronic musician and sound designer, based in Belgium.

Her conceptions of sound and music are versatile enough to work in a wide range of application such as film making, theater, sound art, post production and live performance.

After several years at the forefront of the Industrial Rock scene of Bordeaux within the sulfuric and avant-gardist band “Black Hole” which she joined at the age of 18, she courted the electro scene. She became a DJ, composer and promoter of events.
Then she went on to perform her own live electronic music where the efficiency of her mighty breakbeats combined with rich harmonic tones were worked clearly with electroacoustic and electronica values.
In the meantime, she creates the new project “White Drama”, which integrates an abstract hip hop touch and a vocal work, to serve us a unique tapestry of sound in a strange language.

As Nathalie was receiving the 1st price of acousmatic composition at the Conservatoire Musical de Bordeaux, Baby Kruger recorded the album “Selkie” for the Miami-based Schematic Records, which was founded by Josh Kay of Phoenecia and released the EP “SIIS” on the german label Doumen Records.

She is actually working her magic on different fronts like radiophonic projects and has just ended the first part of a serie of hybrid documentaries on the animistic practices.

She also organizes spatialization concerts and lectures with her Brussels-based collective “Maldita”.

http://audioblog.arteradio.com/blog/3040619/nathalie_garcia/

“Maria Mariza and maybe Marianna” is a soundscape with a selection of rough and manipulated field recordings from Tanzania, Cyprus and The Netherlands.
Created for Lost & Found (Young SDH/Korzo Theater), this radio composition was originally performed in a 6.2 surround speaker set up. It was premiered at Todays Art 2014, Den Haag (NL) but has never been broadcasted on the radio.

Composition: Aurélie Lierman (BE/RW)
Voices: Aurélie Lierman, Maria Avraam (CYP), Mariza Anastasiades (CYP)
All works are copyright protected via SABAM.

– –

Aurélie Lierman (Karago, Rwanda °1980 )
Aurélie Lierman was born in Rwanda but grew up in Belgium from the age of two. She’s an independent radio producer, vocalist and composer. Lately Aurélie Lierman is trying new directions by fusing radio art, vocal art and composition. Her main focus is her personal field recordings: a large collection of unique sounds and soundscapes from rural and urban contemporary East‐Africa. Sound‐bit by sound‐bit she’s transforming and sculpting them into something she would call “Afrique Concrète”. Aurélie Lierman’s work has been broadcasted, exhibited and performed in Belgium, The Netherlands, France, Portugal, Germany, Italy, Austria, Romania, Israel, Cyprus, Switzerland, Ireland, UK, Morocco, South Africa, etc.
In May 2014 Aurélie Lierman won the First Prize at Monophonic 2014 (Brussels) for ‘Anosmia’, a radio composition reflecting on the Rwandan Genocide. In 2013 Aurélie Lierman won the 1st prize at Sonic Art (Rome) for her radio composition KARIAKOO ( a sonic portrait of a lively neighborhood in Dar Es Salaam, Tanzania). In the same year, she also won the 3rd prize at Grand Prix Nova (Bucharest) for her radio composition ‘iota mikro’ (based on field recordings from her birthplace, the Karisimbi vulcano, in Rwanda).
Aurélie Lierman had two album releases in collaboration with the British cult-group Nurse With Wound ( [SIC] 2013, “Santoor Lena Bicycle” 2014 on which she appeared as a sound artist and vocalist. Currently Aurélie Lierman is developing a series of site specific installations, performances and electro acoustic compositions for “Meanwhile, in Fukushima“. Some of them will be premiered this summer 2015.

http://aurelielierman.be/

www.radiocampus.be

Some of our fears are dancing inside… Burning everything around…

This is about a journey; trying to find a way to calm down this fire, live with it, dance with it… Without any fear.

Travelling through religions, meeting people, can feed and appease the inside,
But this will be vain effort if devoided of reappropriation.

Expurgating, singing, dithering… Repossess the actions.

An appropriation of the outside to feed the inside.
To face the fears and
serenely
simply
be there…

Dancing Fire

Réalisation & Mixage : Anne Lepère
Duration : 23’45
Special Thanks to : Carine Demange, Amélie Marneffe and Gota Slick for their support and advices.
Production November 2014 for RADIA
Carte Blanche offered by Radio Campus Bruxelles

It is also connected to this painting by Twiggy Alexis for the project Diptik (cross media project to discover soon in Brussels), with this shift from dark to light by this little blank square as the door of this sound creation : Dancing Fire

– – –

The second piece attached in this show is this one :

Approach
Realisation & mixage : Anne Lepère
Duration : 2’54
Autoproduction 2012

Contact :
lepere.anne@gmail.com
nanoulepere.blogspot.com
https://soundcloud.com/anne-lepere

“Tksitevy” de Suzy Vincens

Une première expérimentation d’un work in progress, présentée lors du festival Monophonic 2014 de l’acsr à Bruxelles, à l’invitation de Radio Moniek. Une performance polyphonique d’improvisation à partir d’une partition-poème de Suzy VINCENS.

Les partition-poèmes sont des partitions d’écoute (qui racontent une écoute, qui proposent une possibilité de notation d’une écoute avec des mots, des phrases, des silences).
Ce sont des images sonores à lire, à interpréter, à ré-interpréter par des formes multiples.
Ces partitions sont des départs d’écritures, d’interprétations vocales, instrumentales, etc.
L’interprétation est très libre, on peut développer toute la partition ou bien juste une partie, une séquence.

La partition-poème interprétée est issue de l’écoute de la pièce sonore de Christian Zanési, Saphir, Sillon, Silence.
– –

“Tksitevy” from Suzy Vincens

A first experiment of a work in progress performed live at Monophonic festival 2014 in Bruxelles (acsr) curated by Radio Moniek. A polyphonic improvisation performance from a score-poem Suzy VINCENS wrote.

The score-poems are listening scores (that tell a listening, offering a possibility of scoring a listen with words, phrases, sentences, silences).
Those scores are departures of writings, interpretations of vocals, instrumentals, etc.
The interpretation is very free, the entire score can be developped or just a part, a sequence.

The voice performers are Aurélie LIERMAN, Catherine BOUCKENAERE, Laure GATELIER and Julien BIBARD.
Electronic music and violin: Suzy VINCENS
Composition: Suzy VINCENS

For this time, the show is only french speaking… Sorry for inconvenience.

“Soliloque de celui qui croisa quelques fous puis la mort, s’en offusqua, puis en prit son partie. Voyages du Chevalier de Quevedo.”
Il y a des personnages qu’on croise comme ça par hasard en feuilletant des livres. Ayant lors d’un de ces détours découvert le nom du Chevalier de Quevedo, auteur espagnol de romans picaresques du 17eme siècle, je ne pouvais pas me douter que je lirais bientôt des mots écrits comme par un ami. L’ironie féroce de Quevedo et son style direct me touchent moins que la lucidité du regard qu’il porte sur mon temps, c’est à dire le sien, c’est à dire l’âme humaine. Il décrit des fous dans ces “Voyages récréatifs”, j’ai l’impression qu’il parle de mes contemporains. J’ai l’impression qu’il me parle de moi. Dans le livre, les voyages en question sont donnés comme quasiment immobiles. Pour tourner cette dramatique, j’ai juste choisi de me servir de mon enregistreur et de mon scooter, et j’ai parcouru des rues et des lieux dans mon voisinage, qui pourrait tout aussi bien être le votre.
(Chazam, décembre 2013)

Chazam, compositeur omnidirectionnel basé à Bruxelles travaille dans différents paradigmes musicaux tels que : la danse contemporaine, le théâtre chiant (ou pas), les films captivants, la création radiophonique, la musique improvisée et l’electropop punk décomplexée dans des clubs sauvages. Chazam est avant tout un mélomane obsessionnel et un musicien approximatif, un DJ ouvert d’esprit, ainsi qu’un concepteur sonore spécialisé dans les projets hors-norme. Il construit ses propres instruments, pour être bien certain d’être le seul à en jouer (et ainsi éviter les vaines critiques de technique instrumentale). Durant sa longue carrière artistique Chazam a produit une cargaison de “disques-durs-à-trouver” et a collaboré avec de nombreuses personnalités comme Jean Jacques Perrey (pionnier de l’électropop), Christian Boltanski (artiste international), Lucia Sanchez (documentariste franco-espagnole), Valérie Rivière (chorégraphe), parmi d’autres …

www.chazam.org

“Haren” de Flavien Gillié

from Radio Campus Bruxelles

In his essay “Discovering the vernacular landscape” John Jackson Brinckerhoff defines the vernacular, political and emerging landscape. These landscapes overlap, juxtapose and form what Sébastien Marot calls hyperpaysage. In the context of Haren – previously a mecca for chicory production – landscape traces of industrialization contrast with a rural center. Interviews with residents have been recorded, mixed here for Radia with various soundscapes from the place.

Flavien Gillié is doing field recordings as a link between places, voices and memory. He also reworks field recordings and elaborates soundscapes presented live or in some installations.

http://www.soundisall.net

Bloop
28’20

it’s round
it’s hard
it lives in the dark
it rumbles power
it still hoarse and heavy despite the distance
it resonates

The Bloop is a submerged frequency, it diffuses in depth.
Can you capture it ? I catch it, play again again.

In her work, Claire Serres uses microphones and vocal attacks to detect the origin of Bloop.

http://www.ligie.org

– –

Bloop
28’20

c’est rond
c’est dur
ça vit dans le noir
ça gronde en puissance
ça reste rauque et lourd malgré la distance
ça résonne
et se perd à l’échelle du corps.

Le Bloop est une fréquence immergée, elle diffuse en profondeur.
Tu la captes ? Je l’attrape ? On joue encore encore.

Dans son travail, Claire Serres utilise des attaques vocales et des super microphones pour détecter l’origine du Bloop.

http://www.ligie.org