A rendition of what happens when you spend 6 days in Ton studio Worm while the world is burning with war, post-pandemic dystopia nightmares, weird santa´s and the bubbling spring-time vibes of Rotterdam. The piece is an attempt to combine Christian Rønn´s freeform playing-practice on keyboard-instruments (Piano, Church Organ, Rhodes & Würlitzer in combination with electronics) with Helena Berglund´s evocative performance-poetry. The duo releases music under the name “MäRK”, and while working on this piece in Ton Studio Worm, they used a “one-take-Dogma” which involved minimal editing and post-editing, partly to separate this work from their previous releases, which are all intensively edited studio-productions.

https://www.christianronn.dk
https://bit.ly/36jva0Y (Rønn´s music on Soundcloud)
https://bit.ly/3IaFuWk (MäRK on Bandcamp)
https://spoti.fi/3q2z2uG (MäRK on SPotify)

Barry Whittaker

Unidentified Aerial Phenomena (2022)

Humans have a history of hurling objects into space. Rockets, satellites, animals, humans, plants, and insects have all graced the skies above the earth. Beyond the occasional launch event where objects are lobbed into the air, signals are constantly beamed into space. Messages, images, and sounds are spread across the electromagnetic spectrum, radiating outward to infinity. A gold-plated record and a Tesla with David Bowie’s “A Space Oddity” also float through the void, waiting for an audience. Who, or what, will be first to listen to our noises, and what will they hear?  This project imagines the interstellar journey of the sonic time capsules carried by objects and waves as they float across the vastness of space.    

Credits: 

Barry Whittaker — field recordings, synthesizers, electric guitar, bass guitar, drum machines, percussion, text

Yuka Ueda — voice

Public domain recordings sampled: 

Laughing Song (Especialidad de Risas) (Especialidade de Risos) – Henry Klausen

My South Polar Expedition – Spoken by: Lt. Ernest H. Shackleton

I am the Edison Phonograph – Spoken by: Thomas A. Edison

The Serenade – Herbert, Victor

Nasa Apollo 11 Recordings

Produced April 2022 while in residence at WORM/Klangendum Studio.

Bio:

Barry Whittaker is a multi-media artist, designer, musician, and Associate Professor of Art at the University of Toledo in Toledo, Ohio, USA. 

Website:

http://barrywhittaker.com

 

This radiophonic piece is inspired by the work of Royal Raymond Rife  (1888 – 1971). He was a  scientist, engineer and inventor now considered ‘The Nikola Tesla of the Medical World’. In 1931 he built the Universal Microscope achieving optical magnifications of over 30,000 times.  It enabled him to observe microorganisms and viruses in a living state.
Rife believed that if he could discover the vibrational frequencies at which disease-causing microorganisms vibrated, he then could bombard them with that frequency until they shook so hard they exploded.
By endless watching and trying out frequencies Rife claimed to have documented  “Mortal Oscillatory Rates” for various pathogenic organisms and by sending out those rates with a  Beam Ray Device Rife cured significant numbers of people infected with various infections.
Incredible claims of success (including cure for cancer) and support by credible observers were institutionally avoided, minimized and obstructed so that–if there was indeed evidence to support them– would never see the light of day or any chance of acceptance by mainstream medicine. Royal Raymond Rife remains one of the unsung heroes of the fringe science underground.
For this piece original Rife radio frequencies have  been scalar-converted into audible range. Two Rife frequency sets will be broadcasted claiming to destroy Covid19.
Other healing sounds used in this work are; Solfeggio frequencies, the sound of the Multiple Wave Oscillator (Georges Lakhovsky), High Voltage Electro Therapy (Nicola Tesla), Binaural Beats (Heinrich Wilhelm Dove)).
Made by Robert Kroos, www.duckfood.nl

Produced by Worm/Lukas Simonis

Bouncing Off – 2020 – by René Uijlenhoet

The composers Christine Cornwell and Jago Thornton bounce off on their musical ideas and on what bats might hear while flying inside a room or a chapel. They even muse on the secret afterlife of sound-waves and on the working of their musical brain.
Their introspection  – during an interview – are set into a retro-SciFi sound-scape, depicting the creative human brain as a giant nervous clockwork.

René Uijlenhoet studied composition with Ton Bruynèl. He works as a composer, performer, museum installation builder, teacher, researcher and expert in the field of electronic music.

He taught at the HKU, worked for NEAR and published the complete tape music by pioneers Dick Raaijmakers and Jan Boerman. Since 1997 he is affiliated with the composition department of Codarts Rotterdam.

His music has been published by Donemus, by Basta and also by Peer Verlag. For the purpose of composing and teaching, he investigates new forms of sound synthesis and spectralism, the relationship ‘color’ and ‘timbre’, microtonality, spatial representation (via Ambisonics, among others), algorithmic composing strategies, live electronics in combination with acoustic instruments. , the history of electronic music and analog studio techniques, improvisation using live programming and also sonication of medical research data.

Texts and voice recording by Christine Cornwell and Jago Thornton
The music for Bouncing Off was produced and mixed in the private studio of the composer.

Produced for Worm/Klangendum 2020

Laura Agnusdei is an electroacoustic composer and saxophone player from Bologna (IT), classically trained, she also holds a Master in electronic music composition by The Institute of Sonology of The Hague (NL). Her compositions feature the saxophone as the main voice within sonic landscapes that shift between melodies and textures, the song form and improvisation, fusing acoustic, digital and analog sound sources. She is actually touring presenting her new album Laurisilva, six tracks that invite the listeners to explore an imaginary landscape made from sounds growing and layering like biological organisms within a forest. This work, as well as Laura’s debut ep Night/Lights, was released by London-based label The Tapeworm. Since 2016 her music has been presented in many venues and festivals such as Rewire, Dekmantel, EYE Filmmuseum (NL), Cafè Oto (UK), Node, Macao, MAST (IT).

“Hand in Hand with a stranger” is a radio piece I composed partly during my residency at Worm Studios and partly during the Covid19 pandemic lockdown period. Inspired by the art of Lithuanian-American videomaker Jonas Mekas, its form is what we can describe as an audio-diary; a collection of personal thoughts, feelings, and small ordinary events that happened between January and March 2020, when I was touring South Italy and during my residency period in Rotterdam. Nevertheless, these sonic sketches are not presented in a chronological sequence but assembled freely to compose an intimate story where a state of displacement and loneliness triggers an intense and attentive relationship with the surrounding world.

More info on laura’s Worm-residency; https://worm.org/projects/worm-talks-to-laura-agnusdei/

I based the idea on a very personal “return to self” which was symbolically but also quite literally connected to the sea as a place of my childhood, fascination with its sonic qualities and colour. This radio piece is imagined as a personal search to reconnect again to a place that for me feels like home (a physical place and a mind space). That is how the story of Salvador Alvarenga, the sea wonderer who was lost at sea for 14 months served as a leading plot to underline my own personal wondering.

Lucija Gregov is a cellist, improviser and a liquid artist who creates and explores new sonic landscapes using cello, analogue synthesizers and processed field recordings. Her visceral approach to improvisation proposes a radically different way of creating, co-creating, thinking and performing in and about current sonic dynamic. Following indicators of flow, experimentation, investigation of unexplored physical and spiritual spaces, she enables emergence of practice and sound materials that are open-ended and continuously transformative. The sonic language she creates in her solo and collaborative performances comes close to what could be called a lang uage of memory and dreams.

Produced by Worm/Klangendum 2019

for Radia/Concertzender

Composed and written by Lucija Gregov

The Almanack of Breath

Recounting the life of the punitive, eavesdropping Tutivillus, a medieval character also known as the Recording Demon, ‘The Almanack of Breath’ proposes another character: a nameless, invisible and inaudible allegorical figure of Listening. This creature promotes an ethics of listening by collecting and donating different forms of breath to those who need it. Month by month, each of the twelve ‘Seasons of Breath’ details the type of breath – a gasp, or yawn or a sigh – that the listener should take care to hear.

‘The Almanack of Breath’ is based on a book published by Other Versions (2018), written by Ash Kilmartin with drawings by Collette Rayner. This audio version was made in the WORM studio, starring little bits of Arp Odyssey, Arturia Minibrute, an old Yamaha PortaSound and some field recordings.

Ash Kilmartin is an artist from New Zealand who lives in Rotterdam.

Thanks to:

Lukas Simonas

Bergur Thomas Anderson

ashkilmartin.net

otherversions.tumblr.com

produced by Worm/Dr Klangendum

Another attempt by the Dr Klangendum crew to put a finger on (or between) the buttons of Fiction and Sound (yes both with capital capitals). You might not believe us but we really were contacted by Aliens WHO MEAN GOOD but don’t ‘get’ our planet’s music much.

So we started to explain it to them, mainly how to arpeggiate the blues, as that is where it’s all at, isn’t it. And don’t underestimate the inner monologue with eyes closed.

Sounds and editing by Dr Klangendum, Rotterdam, 2018

www.worm.org

https://www.concertzender.nl/?s=dr+klangendum

 

IGITUR FLOTSAM - a stream of deserted anthems, disembodied voices, morse signals, crank calls, 
corroded tapes, radio statics, counting games and wanderings through empty buildings.
This radioplay is based on the unfinished gothic tale IGITUR - a collection of texts abandoned by its 
writer Stéphane Mallarmé in 1869.

A man wakes up in the middle of the night. Is there something there? or has something disappeared? 
Outside are opaque constellations of stars, the radio plays random sounds from beyond and the phone 
is dead.  It seems as if something has been accompanying him already all the time, stealing his identity 
by being a double.  Trying to escape this double he leaves his room and outside on the stairs he 
happens upon more reflections, shadows and doubles.
He tries to conjure these multiples by counting steps and doors on the way. 
Finally downstairs everything vanishes in the dark when all the sounds of the world enter the 
large open space. 


Credits: 
music: Reinier van Houdt 
text: Stéphane Mallarmé/Reinier van Houdt 
voice: David Tibet

Thank you: David Tibet, Ossian Brown, Rita Knuistingh Neven, Andere Baustelle, 
Simon Lenski,  Susanne Fröhlich, Sascha Sulimma

produced by Worm/Klangendum