Show 928: No Ground, by Jennifer Callaway


Jennifer Callaway’s ‘No Ground,‘ commissioned for the Radia network’s first broadcast of 2023, is a composition that takes a single 27 minute live improvised recording of a 1940s Bakelite valve radio, and subtly weaves this instrumental base into a patterned sonic fabric with several other musical and sonic elements. It is a delicate meditation on radio as instrument and channeller of the unknown, and a dual love letter to the medium’s long histories of domestic sonic use and its role as gateway to sonic experimentalism.

Jen told me when we were talking about a Radia commission that she hadn’t done a solo piece before. Given her many decades of creative output, at first this fact seemed surprising – even monumental – then I realised it was contingent on how we classify the singular. As an improviser, her tendency is to work in collaboration, with care to nurture her human and nonhuman connections; to instigate and to maintain what we could potentially call a conversation as much as an ecosystem. This alchemical yet everyday process is one that involves the passing and circulation of energy and an equilibrium of intention, as well as the robust embrace of the accidental.

Callaway’s sonic palette – as a concrète auteur of the current Melbourne improvised and experimental music scene – is resolutely grounded in the poetics of immediacy, the responsive, living moment of connection – with musical collaborators in collectives Snacks, Hi God People, Propolis and the duo Is there a Hotline?, and also with her photographic practice that traffics in the aesthetics of the blur: a collaboration with light and time, a yearning toward some aesthetic that revisits the wonder and experimentalism contained at the chemical dawn of the photographic process itself, coupled with a poet’s ability to perceive the life within the materials of the ostensibly insensible – within the grain of the table, the ghost of the living wood.

And here she is, not in solo capacity at all, but working with the radio as collaborator. This particular radio is one of my instruments within the radio cegeste menagerie; it’s a vintage Australian STC from the late 1940s with a beautiful warm valve sound, a great dynamic range, and many unknown histories. At some point both its aerial and its earth wire were cut off, so its ability to act as a receiver is limited. It has likely outlived some of its owners who also wandered its dial in the mid twentieth century, at a time when radio was fully centralised in culture, searching for information or entertainment, some human anchor for the ear, but it is also likely that they encountered its particular tonal translation of the vast seas of static between these islands, the pop and crackle of the inhuman, the unknown and the ancient.

Lending your tools to another artist is instructive, especially when that instrument is uncommon. It does much to cast light on the use of instrumentation within artistic process, and often leads (again) to the revelation that the technique or the tool is not the art itself (aka “don’t mistake the tools for the purpose”). As such, as much as I know these sounds, the rhythms, movements and temporal clusters that emerge from Jen’s use of this particular radio as a compositional tool are not the ones I would have chosen. They are another conversation with radio’s domestic and material pasts, its temporal immediacies, and its potential futures. I would have spoken to these as well, but differently. I recognise a musicality in No Ground that is completely Jen’s.

She wrote a statement about the piece that illuminates this further: “Is there anybody out there…….? Returning to my 1970s childhood love of rolling through the radio wave ether of space junk, disturbed psyches (akin to mine ?) and wistful echoes with a slow motion comb, greeting each shocking encounter with a little tickle and a dance. Back then, I would climb up on the kitchen bench to reach the shelf where the small radio in its brown leather-bound case spent most of its time (next to the “good” scissors). This time around, I had the wonderful privilege of borrowing my friend Sally’s art deco bakelite valve radio, at her suggestion. And I had the means to weave in a small number of additional imagined voices.”

From 1997 until the early 2000s I hosted a late night experimental radio programme on my local student radio station, RDU 98.3FM, in Christchurch, New Zealand, called Rotate Your State. The ‘sting’ I used for the show was a modified section of Stockhausen’s  Hymnen (1966-67), notable for its browsing of the musicality of the shortwave radio dial, a restless, echoic, tearing, twisting, turning and re-turning. This openness was offset by the presence of national anthems that intruded like interference through the piece, a series of quotational presences, the thresholds of declarative nationalisms conflicting with the borderless sense of planet that attended the use of radio space, the ungrounded sea of the wider composition. Stockhausen said that one of the ideas behind the use of these national anthems was to have them act as “signposts” for listeners, as they travelled through an unknown world of sound, noise and disconnected voices, that “everyone knows the anthem of his own country, and perhaps those of several others, or at least their beginnings.”

To ‘ground’ an analogue radio is to earth it, with this process located somewhat literally in the geographic; the ultimate goal being to locate a local frequency bandwidth signal. An improperly earthed radio wanders the dial, never able to fully fix down on one location; it might pick up several signals at once, or none at all. Many contemporary transmission  artists and composers have become enamoured with such indeterminate phenomena, in the context of living in the world of digital radio (which in a cultural sense is still radio, but in a material sense is arguably not radio at all), dialing back into the histories of radio through its potential as a physical medium, re-learning the lessons first encountered by the earliest amateurs and their crystal sets, hearing again the sound of the first violin transmitted on the night airwaves, or the frail morse of a maritime signal speaking across the as-yet unlanguaged sea. Here, we are collectively listening back beyond Stockhausen’s Hymnen, which in its prescient beckoning to a global geopolitics in a polyphonic entanglement of nationalisms, was nevertheless a high Modernist composition, grounded within the signals provided by their translation into the anthemic – and the monolithic cultural position of the radiophonic. This itself might be one key to listening to Jen’s composition No Ground, as it joins this conversation. A mobility and precariousness found in our contemporary media ecologies moves back into the analogue; the dial is now an ungrounding, that resists the very idea of the signal as a resting place within the sea of noise, it playfully flutters around it, it speaks back to the everyday droning voices found there with not a small amount of humour and transforms them through active listening, not for sense but for sound. It is resolutely un-earthed.

Jen writes that she partially learnt her own sonic ungrounding through radio – that drifting around the radio dial as a child provided hours of wonder, and No Ground is a representation of that curiosity and grasp of accidental mysteries, filtered through decades of dedicated performing and listening to, and being involved with experimental music communities. Within the composition, radio can be grasped in its current material immediacies, a counter-earthing that recalls and revitalises its own histories of what it has been; in its end is its beginning: the fact that its dial is largely empty of signal in the early twenty first century harks back to the more expansive emptiness of the nineteenth, before the radio’s centralising within twentieth century culture and the media cultures of Modernity  – on the edge of representation, it is also infused with its longer imaginaries: with the oceanic, with the powdery granular whispers of geological and atmospheric phenomena – the sounds of weather, of natural radio and the magnetosphere; with the insect scratch and bird-warble of the non-human, with the pressing, crowding, numinous voices of the dead, always just out of earshot.

Sally Ann McIntyre, January 2023.


Jen Callaway is a Naarm/Melbourne (AU) based musician, sound and performance artist, and photographer, raised in various parts of Lutruwita/Tasmania. With a special interest in psychodynamics, hauntology and conservation, current projects include bands Is There a Hotline?, Propolis, Snacks and Hi God People.

Jennifer Callaway: composition, recording, editing, images
December 2022-January 2023

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Show 926: Iolanda mi nant de nòmini (Usmaradio)

IOLANDA MI NANT DE NÒMINI (audio documentary, 31 minutes, written and directed by STUDIOLANDA, co-produced by Radio Papesse)

LINK HERE to subtitled version (sardinian dialect / italian – english)

SYNOPSIS Orlanda Sassu, a Sardinian poet and ecologist (1924-2015), carried on a lifelong practice of audio recording to archive the memory of her country and language that she feared to lose. Her voice transcends time barriers and accompanies us to the pivotal places of her existence: the river, the village, the sea, the hut she built around a centuries-old juniper tree on the sand dunes at Pistis, together with her companion Efisio, himself a poet. Iolanda, thus known to the community, has entrusted the magnetic tapes she used to record on, with the power to make her travel through time, to the future, coming down to us as a living, present voice.

BIOGRAPHY Multidisciplinary duo STUDIOLANDA is based in Sardinia: Giorgia Cadeddu and Vittoria Soddu focus their projects on re-use practices with a specific interest in audiovisual, graphic and textual archives.Coming from design and the visual arts, Giorgia and Vittoria bring different technical skills into play: they imagine narrative forms that exceed the rigidity of recognisable categories, combining apparently distant practices of drawing, translation, self-construction and listening.

BROADCAST/FESTIVALS After the premiere held at Lucia Festival in December 2021, Iolanda mi nant de nòmini was broadcasted on Rai Radio 3 within the programme Zazà – meridione, cultura società in April 2022. It was selected to be included in the International Feature Conference held at BBC Wales in May 2022, at Prix Europa in the documentary competition and at Phonurgia Nova for the section “Archives de la parole”.

Iolanda under her juniper tree, ca. 1980, Italy

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. / /


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Show 924 Ritmi Rurali by Joe Sannicandro for Radio Papesse

Radia Show 924 stems out of Radio Papesse’s long lasting kinship and collaboration with Liminaria Festival and curator Leandro Pisano. Last Summer 2022 Liminaria hosted residencies, workshops, sound installations and guests, among which Joe Sannicandro who worked primarly in Colle Sannita and San Martino Valle Caudina, in Campania, in rural southern Italy.

Radia Show 924 is a collage of two sound pieces he produced during his residency: Ritmi Rurali and Dopo il diluvio.

Ritmi Rurali (suonano ancora) is a 15′ sound collage comprised of ambient soundscapes and interviews recorded in the rural village of Colle Sannita, South Italy.

Sannicandro paternal grandfather’s mother grew up in Colle, and her family had deep roots in the area. Knowing this, Leandro Pisano organized a workshop and talk for him in Colle in the framework of the 2022 edition of the Liminaria sound art residency programme. Sannicandro conducted a multi-day workshop, mostly leading soundwalks with young students. He also interviewed townsfolk of all ages, and made all kinds of recordings of the town based on those conversations.

The resulting work is Ritmi Rurali (suonano ancora). He set the length of the piece to 15 minutes, which is also the interval at which the church bells ring (day or night). The artist was a little surprised at how used to the incessant tolling the people of Colle are. We are increasingly numb to background noise and, even if we hear, we often do not listen. For this reason, he relied heavily on the sound of the bells in Ritmi Rurali.

Dopo il diluvio is a bilingual guided soundwalk to San Martino Valle Caudina. Whenever it is possible, we recommend you listening with headphones. The entire 4 part soundwalk, the instructions and map are available here.

Joseph Sannicandro is a writer, researcher and cultural organizer dealing with sound and currently based in Montreal. His research interests concern incorrect communication, (non) popular culture and the work of creativity, with particular interest in analogical humanities. Sannicandro is currently a PhD candidate in Cultural Studies and Comparative Literature at the University of Minnesota. He holds an MA from the Department of Art History and Communication Studies at McGill University, a BA from SUNY Purchase in History and Philosophy, and also studied Writing, Political Theory and International Relations at The New School and SFSU. His PhD thesis, currently in progress, explores the nature of community activism through a cultural history perspective of aesthetics and politics in post-1968 Italy.


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Show 0923: Voices in my Head by Floy Krouchi (radioart106)

Floy Krouchi 

Voices in my head 

(in a no man’s land)


(electronics, voices, transformed field recordings)

“A dry landscape of rocky mountains, transforming slowly into a pure white desert. No water,

No trees around, one floor’s beduins habitations, campement for the goats, under the strinking sun.

The road belong to the Power but the landscape belongs to the people, to the rocks, to the sand…

We have left the flags in No Man’s Land” 

Floy Krouchi  is a sound artist, composer and bass player from Paris, with mixed origins. She exclusively used her voice as the material for this piece, together with sounds recorded, generated and transformed in the so called “Holy Land” during various stays. The plurality of registers of the same voice, from melody to pure some objects or noises  is used as a metaphor of the complexity of identity.

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Show 922: The Weekly Dream Report Omnibus by Hethre Contant and Jon Panther for 107Diffusion.

Here is a collage of various “live” stream sessions from the studio and street events at 107 Redfern NSW. During these happenings we enjoy improvised sonic performances, interactions with anyone or anything from anywhere on the planet and whatever we might fancy as the mood takes us – exploring the possibilities of radio-space via telephones, walkie-talkies, computers, deep sea cables, whatever paraphernalia comes to hand and August Black’s telematic browser app Mezcal.
We feel this slice of sound captures the “spirit of adventure” and the surreal chaos of our endeavours…
Had any amusing dreams recently? 107Difffusion is proudly a Wave Farm Transmit Partner so you can enjoy checking in with us and sharing on Saturdays around 11ish AEST…. And don’t forget – the artist asleep is the artist at work!

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Show 921: TZUSSS (Radio Student)



TZUSSS is the first collaboration between the Zurich duo of accordion player Tizia Zimmermann (CH) and trumpet player Silvan Schmid (CH) with Urška Savič (SI), radio artist. Their collaboration started – because of their physical dislocation – in the form of online exchange of thoughts and inspirations connected to their own creation in the field of sound and text. In that way, they started to build a basis on the concepts they find important in the vast field of selected topics. What came out as a common interest was the fragmentation of sound and text to shape their boundaries diffuse and agile; e.g. through examining speech on its melody/intonation, rhythm/tempo and (as a consequence) interruptions and interference in communication. The piece prepared for Radia Network is a fragment of a first performance on their November tour played live for Radio Študent.

Thanks to Špela and Smiljan. During the process we have read out of Dub : Finding Ceremony by Alexis Pauline Gumbs including poems of Sylvia Wynter.

Support: Radio Študent Ljubljana, Cirkulacija 2, KUD Mreža/Atelje Azil /Studio Asylum, Kulturno umetniško društvo Jadran, Pekarna Magdalenske mreže, Blech, Punctum, Pro Helvetia Schweizer Kulturstiftung, Kanton Zürich Kultur, Stadt Zürich Kultur, Open radio art-theory investigative platform R A D A R, Gamut LABYRINTH, Radia Network

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Show 920: Co-regulating the spectrum: Meanwhile, the wave by José Alejandro Rivera (proxemia) for Wave Farm

    I have undone the sob of the lost echoes…
    I have the deep infinite playing in my hands

    Become the caress. I don’t want you to limit
    your eyes in my body. My road is space.
    To travel me is to flee from all paths…
    I am the dancing imbalance of the stars.

    excerpts from a Julia de Burgos poem entitled, Mi senda es el espacio / My Road is Space

Writes Rivera,“Co-regulating the spectrum: Meanwhile, the wave is a radiophonic river of shifting reflections across neurodivergence and consciousness studies, radio and radar via the electromagnetic spectrum, language and communication, ufology and ET lore, and diasporic musings regarding the political and cultural history of Puerto Rico. Through a dense assemblage of sound design and field recordings, and cut-up bilingual samples from poetry, personal reflections, interviews and archival documentaries, the electromagnetic landscape becomes an imagined extrasensorial, polymorphic, carrier of consciousness; a pulsating presence that is inhabited, and that inhabits, in a myriad of Other ways.

What do you mean when you say “spectrum”? What of “being on another wave-length,” or “the same frequency”? Like tuning a radio, bats from a cave, or flying saucers from the deep waters beneath the island, possible meanings emerge via aqueous transmissions and various slippages of language and meaning. Moving between English and Spanish, the piece utilizes common tropes such as contacts with extra-terrestrials, and autistics and other neurodivergent minorities as aliens with the felt experience of being an other and being othered. At the same time, the piece references a 1901 US Supreme Court ruling (Downes vs. Bidwell) that, in response to categorizing shipments for tax purposes, determined that Puerto Rico and the “new” island territories like Guam and the Virgin Islands were “inhabited by alien races” and “foreign, in a domestic sense.”

In addition, the work is equally inspired by the radical Neuroqueer Theory of Dr. Nick Walker (she/her), an autistic trans scholar and writer, the diasporic longings of Puerto Rican poet, Julia De Burgos, Ida M. Kanneberg’s book, UFOs and the Psychic Factor, and the science fiction of Octavia Butler.

What does is it mean to experience communication differences, sensory sensitivities, or other ways of being? How might these communication differences serve as opportunities to experience time and space differently and/or connect in other ways? How can a bodymind listen to, regulate, and communicate with itself, others, and the environment? Do bodyminds receive and transmit signals to and from beyond the local, and like radio and radar, can the diasporic experience be related?

At times, the listener’s attention is signaled outwardly towards the stars through ominous drones and radio feedback. Simultaneously, a notion of embodiment and grounding is alluded to with the samples of yoga nidra and tai chi explanations, and sounds of shelling habichuelas (Puerto Rican beans) recently grown in Vermont. Woven throughout the piece are field recordings captured while camping across the island in the July of 2022. Serving as textural markers and place-holders of memory, the recordings feature bomba performances, conversations, city ambience during an apagón (black out), and street protests, as well as various environments such as farms, forests, beaches, and caves.

Though a spectrum is defined as “a condition that is not limited to a specific set of values but can vary, without gaps, across a continuum,” the piece ultimately lies in the curious space between the gaps of the spectrum; among the edits, along the time shifts and losses, and across the possible waves and feeling frequencies of meaning and energy.”

Special thanks to: Wave Farm (Galen Joseph-Hunter and Tom Roe), Gregory Whitehead, Anna Friz, Joan Schuman, Neil Verma; Dr. Mel Houser, Sierra Miller, and the Neurodivergent Community of All Brains Belong VT; Vermont Art Council; and PR, the land and its people across the island and diaspora.

José Alejandro Rivera is a 2022 Wave Farm Radio Art Fellow. Rivera (he/they) is a Puerto Rican, Ohio-born artist, composer, designer, and researcher currently based in SW Vermont. Their layered, place-based practice is informed by a background in music, architecture, and tending land. Working through sound and space to draw on critical cartography, technological ubiquity, systems, and flows of temporalities, José creates evocative, experimental soundworks, geo-notational maps, sound design for podcasts and the moving image, and multichannel, audiovisual installations and performances. Visit for more information.

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Show No. 919 : Symphony for a city (Radio Panik)

Subjectiv sound visit, “Symphony for a city” goes out of the field of reality in order to tranform it, mix it and make it sing. Based on records made during october 2022 in Bruxelles, this sound play distort the thousand noises of the city in order to make arrise his poetry, his rage, his rythm. In punctuation, daily words used in the french language like « bonjour » (hello), « oui » (yes), « non » (no) and « merci » (thank you) are declined in their infinites intonations. Oui don’t mean necessairly yes. Non can be sometimes be ask like a question. Merci is often used without a thought. Bonjour exist in a unconscious way but can also be used in very intimate opening to the closest persons. So many possibilities with which a game is established, first in solo and then with interactions between each words. This words, repeats, exhausted by repetition, loose then theirs significations for finaly just keeping theirs musicality, and theirs radicalness. Finaly, they enter into the landscape in which they are inscribed, in fake or in real.

This work would not have been possible without the meeting this summer 2022 of Arthur Lacomme and Domitille Devevey during the radio creation festival « Utopie Sonore ». The many “oui” heard were, by the way, collected from the participants of this festival.
This sound play was written with advices of Vincent Matyn and the kind listening of the Radio Panik team.
Finally, thanks to the voices, anonymous or friends, who punctuated this sound play.

Credits :
Image : Domitille Devevey
Mixing, composing, recording and production : Domitille Devevey

Symphonie pour une ville Visite sonore subjective, Symphonie pour une ville sort du champ de la réalité pour la transformer, la mixer et la faire chanter. Basée sur des enregistrements faits durant le mois d’octobre 2022 à Bruxelles, cette pièce sonore détourne les milles bruits de la ville pour en faire jaillir sa poésie, sa fureur, son rythme. En ponctuation, les mots du quotidien employés par les francophones comme « bonjour », « oui », « non », et « merci » sont déclinés dans d’infinis intonations. Oui ne veux pas forcément dire oui. Non peut parfois se poser comme une question. Merci s’emploie sans y penser. Bonjour existe de façon machinale ou bien s’utilise comme l’ouverture de l’intimité. Autant de possibilités avec lesquels un jeu s’instaure, d’abord en solo puis en ping-pong. Ces mots, répétés, filés, usés perdent alors leur sens pour ne garder que leurs musicalités et leurs radicalités. Ils s’accordent alors avec le paysage dans lequel ils s’inscrivent, en faux ou en vrai.

Ce travail n’aurait pas été possible sans la rencontre cet été 2022 d’Arthur Lacomme et de Domitille Devevey lors du festival de création radiophonique Utopie Sonore.
Les nombreux « oui » entendus ont d’ailleurs été récoltés auprès des participants du festival.
La suite c’est écrite à plusieurs oreilles, avec les conseils de Vincent Matyn et les écoutes bienveillantes de l’équipe de Radio Panik.
Merci enfin aux voix, anonymes ou amies qui ont rythmé cette création sonore.

Crédits :
Image : Domitille Devevey
Mixage, composition, enregistrements et réalisation : Domitille Devevey

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Show 918: Shadowside Of Sound (Worm)


A radiopiece by Coolhaven

SHADOWSIDE OF SOUND is an ongoing project, dedicated to works by Rotterdam composers, known and unknown, who have fallen into oblivion. Progressive or conservative. Fairly or unfairly; that will determine history. As you know, there are various points of view regarding whether or not acceptance is there. In general, it can be assumed that the circuit must have the power to handle the work. The other view is a chimera of the one who gives himself a stunning victory before playing time is up.

In this radiopiece, especially constructed for the Radia Network, we focus on Julie Bruins Rampart. Coolhaven was already deeply involved in her work when they discovered the existence of her twins, Sybille and Plasma, who never really ‘met ‘her mother (after they were born that is) and were raised in Devon, UK. Coolhaven went there to interview the twins. The radiopiece exists of the interview and some of Rampart’s re-interpreted works by Coolhaven.

Julie Bruins Rampart (1922-2005) In her free evening hours, Julie Bruins Rampart composed lustily. Initially, her favorite instrument was the great Baroque flute. We see this instrument in most of her compositions. This changed later when she discovered the possibilities of the electric guitar-sound.Sometimes solo, but often in combination with other instrumentation. What makes Bruins Rampart’s work attractive are the often complex gesticular additions that her works contain. She often stages the performers in a tableau vivant and does not shy away from acting unorthodox. Her work was dismissed as amateurish, a-musical and immoral. Bruins Rampart was active in the VSSM (Study Group Sadomasochism Association) in Rotterdam. The VSSM regularly organizes game meetings. Bruins Rampart strived for inclusiveness. Her series of compositions seem to be based on various agreements and putting them into practice; the so-called “play”. In that sense, her works could be interpreted as politically emancipatory erotic pamphlets. Bruins Rampart came from the PvdA circles that believed in the makeable world at the time. Moralistic, socially critical and also formative.


Interviewers; Coolhaven

Sybille & Plasma Guy ; Lucinda & Catherine

interview recorded by Soundart Radio, thanks to Chris Booth.

Music; Julie Bruins Rampart, played by Coolhaven

This is a Worm/Klangendum production

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Show 917: WurM IN WorM (Worm)

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:
Kamilė Rimkutė
Ruben Verkuylen
Hessel Veldman

Contributing composers/musicians:
Tisa Neza Herlec
Hugo Lioret
Puck Schot / Acidic Male
Thomas Dudckewicz
Marianna Muruyama

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.
Watch: Y Create Forbidden Photographs @ Headroom, OT301.

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.
Watch: Caline with C live for Pinkman District.

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