DeadPeoplesRecords is a montage sound artist. He spends many hours scouring the forgotten corners of of the human condition searching for abandoned, redundant and ignored audio. DeadPeoplesRecords enjoys the relationship that the human voice has with recorded and transmitting mediums while flippantly celebrating the absurdity of the ordinary.
In honour of our precious friend Martine Ketelbuters (1966-2015) – head teacher of the RITCS Radio Department (2002-2015)
“Radio play loves edges, radio play loves Martine…”
Words spoken by Gregory Whitehead, both friend & source of inspiration for Martine: his work is the biggest source of inspiration for this tribute.
Martine Ketelbuters; Gregory Whitehead; Joris Vandamme; Dieter Van Dam : Hertz-eer (met fragmenten uit o.a. ‘In the end’, ‘Nothing but fog’ en ‘The Big Sloppy’ van Gregory Whithead, ‘ik zal het u vertellen’ van Joris Vandamme en werk van Martine Ketelbuters) – een montage van Dieter Van Dam door Martine Ketelbuters; Gregory Whitehead; Joris Vandamme; Dieter Van Dam – Eigen Opname RITCS – [0:19:08]
(Herz-eer in ENG = Herz-honour, but in Dutch also means pain of the heart or sadness)
Sicherheitsdienst im Auftrag der BVG – Steven Warwick.
was an exhibition in August 2012 @ Kinderhook & Caracas Berlin.
In this recording you will hear excerpt from the Conference of the Gnomes 2012, Kleingarten Anlage Treue Seele about security
with
v.FF – White People Scrap Metal, JanJan1, F. Knight / Cavaliere, Farfour, The German Voice of David Hasselhoff.
V.FF were squatting the Kleingartenanlage for that summer and started to turn it into a meeting point for all the lost true souls. A year after the city started building the new highway there.
Source kleingartenanlage treue seele ,
Run time 29min
Listen to our adventures every monday on Reboot.fm from 7 – 9 pm ((CEsT / GMT+1)). A special guest per session/interviews in the wild Berlin landscape// terrible and delicious music and sounds////live sessions, and juicy turntable tunes.
more infos to this show can be found here:
DIYChurch:
http://www.diychurch.org/
http://reboot.fm
Writes Cluett, “I grew up rurally in the foothills of the Berkshire mountains on the eastern border of New York state and the states of Vermont and Massachusetts. Though I was at the periphery of three minor cities, each had colleges and local radio programming, leaving me at the center of the overlapping zones of their respective radio broadcast regions. When the whether would shift, the access would change; the pattern of expected scheduled programming was tethered to the randomness of the weather within the loose pattern of the four seasons. The material presented in this work represents common sound memories to each of the places I’ve lived in the last 7 years: the city of Troy in the state of New York, the city of Paris in France, the borough of Hightstown in central New Jersey, and the town of Oxford in the southwest corner of Ohio. Sirens, bells, rain, snow, wind, birds, footsteps, and traffic represent substantial areas of overlap between the soundscapes of each home. The work ebbs and flows between these geographic markers with the randomness of weather, finding pattern in the blurry boundaries of memory recorded as sound.”
What better way to know James Joyce than his invented words. He was born in Rathgar, on the outskirts of Dublin, in 1882. Although he spent much of his life living and working on the continent — he died in Zurich, Switzerland, in 1941 — Joyce maintained close ties with Ireland, and used it as the setting for all of his major literary works, including A Portrait of the Artist as a Young Man (1916), Ulysses (1922) and Finnegan’s Wake (1939).
Known for his playful and endlessly creative use of words, Joyce invented a whole host of often fairly outlandish words and phrases in his writing, a handful of which have made their way into the more obscure corners of the dictionary. The stories behind seventeen of his most brilliant and most bizarre inventions are explored here.
With the help and support of Bernard Clarke from Ireland. A radioart documentary by Chuse Fernandez.
A TEA FM Radio Workshop Production. 2015.
Alice Just / Flavien Gillié / Liv / Sylvain van iniitu – Une ville sans cloches est comme un aveugle sans baston, un asne sans cropiere, et une vache sans cymbales.
This edit tells the story of a day of improvisation at E42.A8, creation and meeting around an inspiring place, in the peace and quiet,
firmly,
at the farm.
file under : Improvisation, electronics, found objects, field recordings.
editing and mixing by Flavien Gillié.
E42.A8
Is first a place ;
A place where we try to create the conditions that make an improvisation possible, a pretext for meeting, but also an end in itself.
A place on the fence : not useful anymore for its previous purpose, and yet without a new and definitive form
To take the time ;
To think not in terms of composition and efficiency, but rather in terms of freedoms-constraints, texture-range, inside-outside, games-interactions, pulse-stretch, moments-intensity, diversion-obviousness, amazement-oblivion, silence-saturation, space-sound +++
Opening
https://www.facebook.com/E42.A8
Alice Just / Flavien Gillié / Liv / Sylvain van iniitu – Une ville sans cloches est comme un aveugle sans baston, un asne sans cropiere, et une vache sans cymbales.
Ce montage retrace une journée d’improvisation chez E42.A8, création et rencontre autour d’un lieu inspirant, au calme,
fermement,
à la ferme.
file under : Improvisation, electronics, found objects, field recordings..
Montage, mixage, Flavien Gillié.
E42.A8
Est tout d’abord un lieu ;
Un lieu où nous essayons de mettre en place les conditions de possibilités d’une improvisation, prétexte à rencontres, mais aussi finalité.
Un lieu entre deux eaux ; qui n’est plus utile à sa fonction première ; et qui n’a pas encore trouvé de forme définitive ;
Y prendre le temps ;
Y penser non pas en termes de composition et d’efficacité, mais plutôt libertés-contraintes ; textures-tessitures ; intérieur-extérieur ; jeux-interactions ; pulsation-étirement ; moments-intensités ; détournements-évidences ; étonnement-oubli ; silence-saturation ; espace-sonore +++
Ouverture
https://www.facebook.com/E42.A8
Title: ‘Stretch Limo’s’ en ‘Moeras’ (28:00)
Text: Martin Reints
Music & Sound: Martijn Comes
Commissioned by: WORM Rotterdam / Klangendum Studios / Lukas Simonis
In close cooperation with: Concertzender Nederland and Anette Kouwenhoven
Special thanks to: Lukas Simonis, Hessel Veldman, Sem de Jongh, Katja Stam, Fani Konstantinidou.
A collaboration between Martijn Comes (soundtrack) and Martin Reints (text). The soundtrack is made in the Worm / Klangendum studios using own sound design, features of the analogue WORM studio and various field recordings. In a live performance at the first presentation of the project Annette Kouwenhoven (Maatschappij Discordia) read the text, in the studio version Martin Reints reads the text himself. The text consists of two poems (‘Stretch Limo’s’ and ‘Moeras’) which together form a diptych; after the pieces followed by a making-of in which Martijn Comes, Annette Kouwenhoven and Martin Reints let their thoughts run free about the project. In the soundscape is enclosed ‘The Labyrinth’ of Pietro Locatello (‘easy to enter, hard to get out).
Martijn: “I met Martin Reints during one of his lectures. His presentation is impressive for me because a lot of his work comes from a silence in which I feel safe. Where the mundane and worldly ends, and where a purely poetic consciousness exists of the invisible. Martin and I are both fans of Barry Bermange his work with Delia Derbyshire (collaboration with the BBC Radiophonic Workshop). In his interest of this radiophonic work existed also the urgency to invite him to create two broadcasts for the Concertzender as a producer of the Inventions for Radio programme. I spent a long time looking for texts that put me in the right concentration
for this commission. I called Martin after a long time searching, and he told me that he had just finished two long works: ‘Stretch Limo’s’ and ‘Moeras’. I was instantly excited; they appeared to be two long poems that lend themselves perfectly to a musical accompaniment. They are very meditative texts and the image is very strong and elegant.
more info;
Klangendum : Sound-Related Projects, Radio-art, Performing Arts
https://martijncomes.bandcamp.com
The wiener radia kollektiv (ORANGE 94.0) proudly presents radia # 547
Wolfgang Fuchs at Buenos Aires.
Turning towards sonic impressions
An impressionistic turntabling view onto Buenos Aires.
What is left if you want to make a soundscape-piece but find yourself in the overwhelming soundscape of a city that cannot be acoustically depicted by the collected footage? Wolfgang Fuchs solved this dissonance with another sound-tool placed in ephemera. He turned towards his turntables and drew a clear acoustic line of the constant “wrumm “of a somehow different megacity that seems to be bedded in low frequency clouds, unfolded and broken in distortion.
In 2015 Lale Rodgarkia-Dara and Veronika Mayer went on an electrocoustic-literature tour through Argentina. One of the outcomes was a spontaneous artist-exchange with a local gallery in Buenos Aires. Quickly a Sonic-Art- Residency was created and even quicker Wolfgang Fuchs convinced a small jury with his work. Wolfgang has been staying at PANAL 361 since the end of August and is involved in several artistic approaches. Some successful, some stressful, all different.
Read, listen to and view more of Wolfgang Fuchs work on:
http://turntabling.firstfloor.org/
The residency is part of an exchange programme. In 2016 an Argentinean artist will be selected to take on a residency in Vienna with the focus on Sonic/Radio-Art.
Further info on the exchange of the Speisekammertag and Panal 361 at:
Corax comes musically this month into the Radia universe: Johannes Westermann and Johann von Cargo (Halle/S.- E.-Germany) get pulled together again to show off with their misty tunes combined of two turntables and a synthesizer… and they call it Jakob-Duschek-Trio.
anti-german-sounds from the vibrating city of RadioRevolten 2 in 2016
