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.
links
SuzyCue
PicklsXP
Unbewitch Finance (2017) is a Brussels self-proclaimed lab composed of researchers, activists, artists, designers and various allies engaged to reclaim power over parts of our life in society that are owned by the economic and the financial system. Through rituals, speculative writings, radio documentaries, hybrid performances and exhibitions , the lab develops a pragmatical magic meant to unbewitch ourselves from the curse of TINA* and to think desirable futures.
Désorceler la Finance est un laboratoire sauvage composé d’artistes, d’activistes, de chercheuse.eur.s déterminé.e.s à nous désenvoûter de la finance, à nous libérer de la paralysie qui nous saisit lorsqu’il faut penser son rôle dans la société, sur le logement, la santé, la production agricole ou l’écologie.
Music for hiccups is a duo composed of Brussels-based musicians Chiara Bacci and Nicola Lancerotti.
The improvised music they create centers around a continuous dialogue between modified voice and modular synthesizers. In their performances, the roles they play are intentionally left undefined: sometimes the voice can become an abstract disturbing sound, while modular synths can create melodic textures and often they are intertwined in a manner that blurs the lines between them.
“Subterranean Bubbles” was recorded in July 2023 during an artistic residency at Zsenne Art Lab in Brussels.
https://archive.org/details/radia-show-971-subterranean-bubbles-by-music-for-hiccups-radio-panik
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Music for hiccups est un duo composé des musiciens bruxellois Chiara Bacci et Nicola Lancerotti.
Leurs improvisations sont articulées autour d’un dialogue ininterrompu entre la voix modifiée et les synthétiseurs modulaires. Lors qu’ils performent, les rôles qu’ils jouent sont intentionnellement indéfinis : parfois la voix peut devenir un son abstrait et dérangeant, tandis que les synthés peuvent créer des textures mélodiques, les deux sources étant souvent entrelacées de manière qui en brouille les limites.
“Subterranean Bubbles” a été enregistré en juillet 2023 lors d’une résidence artistique à Zsenne Art Lab à Bruxelles.
https://archive.org/details/radia-show-971-subterranean-bubbles-by-music-for-hiccups-radio-panik
https://archive.org/details/radia-s-50-e-945-entramadas-anfibias-radio-panik
At the debut of 2023, we conducted expeditions with our microphones in the Tariquía and Carrasco National Parks, located in Andean forests and mountain jungle (Yungas) in Bolivia. We found ourselves in the heart of the paradoxes of conservation, far from a romantic view. The Carrasco National Park is an ecological corridor where the last specimens of the Sehuencas frog are found, in danger of extinction by a construction of large hydroelectric plant while the Tariquía National Reserve is threatened by hydrocarbon extractivism. Communities try to resist to the interventions of the companies.
This sound-poetic piece created by two hands, seeks an ecology of encounter to build new relationships with others – humans, animal species, plants and the elements.
At once a journey, a sensory and perceptive multispecies interpretation, this sound piece is part of a political reflection.
We consider this contemplative soundscape as a therapeutic device, where we seek to hear what the landscape diffuses in us.
Our intention emerges from the muddy depths of a reality operated by predatory, extractivist, neoliberal and colonial logics, where the coexistence between the human and the non-human diverges between dense veils that keep us in a loop of disconnection and bewilderment.
Become spirals in the meantime. From the depth of darkness towards a radiant, vibrant dawn. From the great pulse of this planet to the infinite spiral of the cosmos, dancing in the organic and non-organic rhythmic of existence and enjoying the transformation of sound matter into a substance that ceases to be what it is, to be reborn in its infinite possibilities.
Recorded and composed by Léa Roger (Be) & Cristina Canedo (Bol)
Mixed by Léa Roger
Léa Roger is a Belgian sound artist, experimental harpist and electro-acoustic composer. She likes to play with the unpredictable aspects of sound through physical experiments that mix energy flow, psycho-acoustics and sound ecology.
Léa Roger
https://soundcloud.com/lea_roger
Léa Roger – en écoute sur Radiola
https://www.radiola.be/artistes/lea-roger/
Cristina Canedo is a Bolivian artist, cultural manager, multinaturalist ethnobiologist and researcher in bioacoustics and data sonification. She has made incursions into bioacoustics, exploring sound phenomena and investigating biosemiotics.
Photo : Cristina Canedo
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
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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
Since 1992 the a-conventional music program Moacrealsloa has been active at the Brussels Radio Panik. From the archive that counts several thousands of hours and hundreds of different participating artists, 27 minutes were distilled. In this collage the following artists are represented : Steven Stapleton (Nurse With Wound) Aloysius Suwardi, Ami Denio, Ana Homler, Arto Lindsay (DNA), Atsuko Hatano, Beatriz Ferreyra,Caroline Kraabe,Charlemagne Palestine, Charles Hayward (This Heat), Chris Speed, CM Von Hausswolff, Daniel Menche, David Lee Meyers (Arcane Device), David Moss, Detlef Weinrich, Drew McDowel (Coil) Elliott Sharp, Erik Drew Feldman (Captain Beefheart),Fred Frith (Henry Cow), Guy Klucevsek, Negativland, Renaldo & The Loaf, The Residents, JG Thirlwell (Foetus), Joëlle Léândre, Jean-Hervé Perron(Faust), Jean-Jacques Birgé (Un Drame Musical Instantané), Tomoko Sauvage,Mark Cunningham (Mars)
Hundreds of podcasts are available here : https://www.radiopanik.org/emissions/moacrealsloa/
this show on archive.org : https://archive.org/details/radia_s48_e894_Panik_-30_years_Moacrealsloa
Picture Peter Brötzmann & Nico Bogaerts © Laurent Orseau
(WARNING for radio stations concerned by that issue : contains strong language)
On that night at Recyclart in Brussels, our neighbour the ACSR blowed out the candles and Radio Panik wished them a “Joyeux Anniversaire”. A tribute to l’Atelier de Création Sonore et Radiophonique, which spent already twenty-five years exploring, creating, mixing and playing with sounds…
And the show must go on…. !
(with Charco Calvo, Chedia Leroji, Gildas Bouchaud, Leslie Doumerx, Lorgatelier, Sebastian Dicenaire)
more info, more sounds :
https://www.radiopanik.org/emissions/l-heure-de-pointe/l-acsr-fete-ses-25-ans/
2021, the year of the Ba Da Bing Ba Da Boom. Radio PANdemIK, a show that was so 2020, decides to change and becomes Vide&Co : into sounds rather than words, based on live improvisation rather than edited pre-recordings. Still very collective. Featuring Anne, Arthur, Bérenger, Chédia, Émilie, Laure, Leslie & Lydia
2021, année du tagada-tsouintsouin, Radio PANdemIK se réinvente! Voici une suite. Plutôt dans le son que dans la parole, en improvisation en direct plutôt qu’en montage prééenregistré, mais toujours infiniment collectif et panikéen! Avec: Anne, Arthur, Bérenger, Chédia, Émilie, Laure, Leslie et Lydia
What do invisible sounds fancy?
by Philippe Petit
« One morning when I woke up I heard a sound that I could not recognize, consequently I wondered about its origin, its existence and its possible correspondences. Our perception of a sound or a music is not the same if we can locate its source, see how it is produced, by what, by whom and therefore I wanted to compose a soundtrack retracing the imaginary of what the sounds we do not hear would do if meeting those which are invisible to us. How do we perceive the sounds we don’t see and how do we see the sounds we don’t hear?
A play of frequencies, timbres or tessitura, prompting the listener to wonder how the sound-object was sculpted… The mystery remains whole and of little importance in our journey. »
Philippe Petit / November 2020 – Recorded on a BUCHLA 200 system.
« Un matin au réveil j’entendais un son que je ne parvenais pas à reconnaître, du coup je m’interrogeais sur sa provenance, son existence et ses possibles correspondences. Notre perception d’un son ou d’une musique n’est pas la même si on peut en localiser la source, voir comment il est produit, par quoi, par qui et donc j’ai voulu composer une bande-son retraçant l’imaginaire de ce que feraient les sons que nous n’entendons pas au milieu de ceux qui nous sont invisibles. Comment percevons nous les sons que nous ne voyons pas et comment voyons-nous les sons que nous n’entendons pas?
Jeu de fréquences, de timbres ou tessitures, poussant l’auditeur à se demander comment ce son était sculpté… Le mystère reste entier et de peu d’importance dans notre voyage. »
Philippe Petit / November 2020 – Enregistré sur un système 200 BUCHLA.
Go home!
Stay home!
Covid 19, Wednesday 18th March 2020
Brussels is confined
Like half of humanity
Our microphones censored?
Radio silence?
Veto!
Radio Panik created Radio Pandemik,
Eclectic, collective, organic
The crisis as a magnifying microphone, revealing
The voices of the even more precarious are raised
Sounds intermingle, shift, step aside.
Patchwork weave shows,
And crucial viral themes: police repression, prison, feminist movements, mask making, death, Italy, the shock generation .
More than 45 episodes, of which we offer you some fragments…
https://archive.org/details/radia_s44_n793_radiopanik_radio_pandemik