program (sound and speech) produced by band klo: dejan, sonja and aleksandar nikov in their studio during their sessions including solo music by aleksandar nikov…
Confronting music as a global way of communication with Macedonian language that is spoken by 2 000 000 people and it’s not understandable for the rest of the world. Speech samples provided by Sonja Klo, Dean Klo and Aleksandar Nikov. Music is made by Aleksandar Nikov.
One of the motivations of art is undoubtly an affirmation about human relations. This program is an experiment and a call-out for people to send their messages to the airwaves. You can figure it out to be just a political stance but it is more properly viewed as a demonstration of the use of radio for voicing opinions and points of view. The program is by Luis Silva, one of Radio Zero programmers.
More about Anton Aeki at http://aeki.be
The adventures of Khaosz Kapitany
The Adventures of Khaosz Kapitany is the craze of our Sunday nights at Tilos – as it has been for 7 years. The general concept of the show is to gather rare music, sounds, voices and use the characteristics of the studio space – with its gadgets, and Sunday-night hangers around reading auspicious texts to create strange atmospheres.
The present compilation is a mix of music by Nino Rota, Felix Kubin, Sam and the Pharaoes, Alice Coltrain, Albert Einstein Commitee, Ganja Cru, Stock Hausen and Walkman, together with sound fragments picked from old horror videos, radio soap operas and avantgarde poetry with some instrumentral improvisation by Hungarian band leader Dr.Marias. This part is a sample from their special “Menza Brothers – Dadaist Culture Revue” – live instruments, with record manipulation and effects – and two voices reading-yelling found texts – with Khaosz Kapitany at the controls.
Beware… mostly in Hungarian.
OK, basically, it takes you through the purgatory, and …. let’s see what happens at the end.
Emilian Gatsov is known for his music for theatre performances.
The specific characte of each work allows a wide range of styles and techniques, varying from short pieces to elongated soundscapes and from acoustic to totally artificial electronic palette.
“The Mimo hideout” uses a common approach of slightly processed sound documents combined in a manner that overcomes the actual fact and creates a reality both realistic and artificial.
This show is the end result of a process that entailed thinking a lot about hunger. It is a constructed audio collision, on the one hand an improvised concert by the Tape Beatles and Tonic Train, on the other a distracted voice, distilled from a roll call of world famines.
Produced by Sarah Washington
A radia contribution by Orange 94.0
This piece is made by Caroline Hofer und Barbara Kaiser, who spent some days in prague, at the art’s birthday festival. C.H. wrote every day a web based diary, translated into english by Katie Elston. Those entries build now the heart and the frame of the piece. Furthermore, live recordings are an essential part of the production: Music comes from: Michael Northam, Zum Beispiel, Jaroslav Koran, Skupia C, Ernst Reitermaier, Barbara Kaiser.
My FM for reboot.fm and the world. Patric Catani, aka Candiehank contributes this 30 minute show.
Radia #45 introduced first sounds from Marseille. (First contribution from Radio Grenouille to Radia)
Playlist: Un résumé de rue (summary of a street) by David Bouvard. Angambi dans la communauté (Trouble in the community), an improvisation by Arno Calleja and Laure Maternati. Méditerranée, by Jeanine Denis, street singer. Cut up radio et vie intime sur dictaphone (Radio cut-up and intimate life on dictaphone), by Amy Chauveau. Les cartes, Carmen (Cards, Carmen), an excerpt from On a toujours été séparés (We’ve always been apart), from a conversation between Sarah Kéryna and her grandmother. Recording by Sarah Kéryna, editing and mix by Paule Anders. Cheminement, deuxième partie (Development, 2nd part), by Pôm Bouvier B.
From RIIST – Future Radio Zero
by Cronica (the folks who did this)
“Essays on Radio” aims to comment on the sound medium, on the technology and the culture of radio.
In the midst of media saturation, radio can easily end by being an overlooked medium, not only due to its lower visibility compared to most mainstream media but mostly because it is an un-visual medium. It is also one of the longer standing and of the oldest electronic media that is still alive, so the novelty factor is not a help.
Radio was the first broadcast medium, as well as the first that was sound-specific and intangible. Historically, radio was the primary responsible for an awareness of sound that went beyond the strict scope of music.
Radio is a saturated live medium, where much happens simultaneously.
Having little or no control about the sources and the interferences during broadcast and reception turns radio into a medium where we can easily and objectively experience noise. Therefore, it was probably through radio that many first heard white noise. It was probably with a radio receiver that many first modulated noise as it was probably through radio that we experienced randomness along with the lack of control and indeterminacy.
This theme was intended to provide the artists with a starting point to approach the work. Unlike we did in the previous compilation, there would be no audio sources provided to the artists beforehand. In this release, what we were looking for were not exercises on composing from shaping any given sound matter but rather on relating the musical pieces to this particular context: Radio.
As a further way to coherently organize the CD, we asked all the artists to produce the pieces with a fixed duration. This symbolic length allowed us to fit work from some of the artists we released so far and a few selected guests and it also served as a strong structure binding all the compositions together. Given the fact that we are closing the 2nd year of Crónica releases, we proposed that all tracks should have the fixed duration of 2 minutes, exactly.
Therefore the sub-title: Can I have two minutes of your time?”