Tag Archives: RadioWORM

Show 970: Much (scored out) love, A. / Excerpt (radioworm)

In her performances, Antrianna Moutoula, repeats the same format: a table, a laptop, a projector, and a woman who talks and writes nonstop. In Much (scored out) love, A. her starting point is a series of letters from her family archive, the correspondence of two Greek women with their partners in exile, between 1958 and 1971. The result is an overload of words, thoughts, quotes, memories, transcriptions, and citations, all seeking their own linearity. The performance was developed during Moutoula’s residency in the Creative Lab of CCA Glasgow, a partnership between radio WORM and Radiophrenia Glasgow. This is a 28′ excerpt from the live-to-air performance during Radiophrenia in August 2023.

Antrianna Moutoula (GR, 1994) lives and works in Amsterdam. Primarily language-based her work spans performance, film, radio, and writing. Driven by the desire to articulate the continuous present, her ongoing research focuses on nonstop languaging, an autotheoretical practice in which she performs streams of consciousness by tracing her thoughts through language simultaneously in spoken and written form. By engaging with this practice in various contexts, she aims to contribute to a renegotiation of the confinements of knowledge production within artistic academic discourse. Always seeking ephemeral encounters with necessary others, she explores nonstop languaging as a biweekly radio performance at Radio WORM. Moutoula’s practice is currently supported by the Artist Start Grant of the Mondriaan Fonds (NL).

Website: antriannamoutoula.com

 

 

Show 944: My Complex Me And Brain (for Radio Worm)

A new WORM production by Lieuwe Zelle

made for Worm/Klangendum/Concertzender/RadiaFM, april 2023

Name: Lieuwe Anthonie Zelle
06-03-1956 The Hague
they/them

Original a toy salesman working in a toyshop technical toys like model-railroad trains and stuff and plastic
model kits and so on. In that time you had to have a diploma to sell toys or to be a shop-manger.
Besides that I played drums in a´Hard Rock band’. Later-on in life I found that playing music an working in a toyshop was not enough to support my family.
Due to my family history -I am related to Mata Hari whose real name was Margaretha Geertruida Zelle (Leeuwarden, 7 augustus 1876 – Vincennes, 15 oktober 1917) sometimes I would be her or even have a relation with her across time and gender.

Mata Hari

Myth:
history.
But even if the truth is historically justified with facts and documents, the myth is stronger than the truth/facts. In a number of cases the myth changes to divine status, hero stories about the saints of the Roman Catholic Church and even Greek and Roman mythology.
Or even closer stories in the time of which the real facts are difficult to find out, such as a story from the family about Red Devil, an inland shipping flat-bottomed skipper from the early 1800s or so. But also a book that has largely determined our European and Dutch society, the Bible is not good at determining what histories are correct or where it is more a testimony of faith and society from the time of the writers.
Let’s now talk about my great-great-aunt and great-uncle, each of whom has achieved some fame. And with some narcissistic pleasure also myself your undersigned writer to introduce you, because if you don’t imagine yourself, you’re nothing.

Margreet Zelle ls daughter of Adam Zelle was already a free-spirited young lady/girl in her youth, the favorite of her father who, by the way, was not devoid of any kind of exaggeration in who and what he was. A fairly successful businessman and seller of hats and caps from his shop in Leeuwarden. But business failures ensure that dad goes bankrupt and Margreet is referred to looking for a husband, as it were.
Hum yes you can see the rest of the story in the movie Mata Hari The naked spy or read the book about the history of Mata Hari.

As I want to be.
I am Mata Hari eye of the day.
I am light let disappear the darkness yes your light of day woman nor man I am goddess and god at the same time beauty and inspiration I am Mata Hari,
Goddess and God I am man and woman and give you light, light of the world through the world.
As a few in time and eternity I descend and give my light, wisdom, and blinded you with beauty to all who are worthy of my temptation in money and power but I remain light and the darkness behind me and before me.
Paris :
I was posing for a famous artist in Paris frivolously yet virtuous when the Director of the Opera came in and invited me to present myself in a new production as a young virtuous lady as a kind of introduction. Since I still had good hopes of obtaining custody of my daughter back in Holland, I have to decline the offer, a virtuous life is necessary for custody.
Rotterdam 1904
I am now at the Tivoli as there are no rehearsals so I have a moment to discuss a few
things with you my dear second cousin. You are my voice you are my body my survival on stage in front of the audience.
Rotterdam 2019
Dear Aunt, it is a lot that you ask me, but may I be with many my Aunt my Aunt Margreet.
Parijs
Played or better I danced tonight at Musée Guim for the first time to general amazement
only a few who looked and really saw. Yes my dear be with many my voice my body my name.
Rotterdam 2019.
We are Mata Hari we are the eye we are Margreet Zelle.
Now Listen to my sound and music or what I call a sound-experience.

Rotterdam 10-04-2023
Lieuwe Zelle they/them

Show 918: Shadowside Of Sound (Worm)

SHADOWSIDE OF SOUND

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.

Credits;

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

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.
Check: https://worm.org

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.
https://www.youtube.com/watch?v=3v1-WumW89o&t=1154s

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.
https://www.youtube.com/watch?v=btyvGf26PPU

Show 881: sometimes i feel like i have no friends by Claire Rousay (WORM)

This piece is loosely based on the live performance Claire Rousay did at WORM.  Many of the same texts, samples, and forms were used in both the live and recorded versions of this piece. The recorded version, which is being broadcasted, features synthesizers, guitars, and field recordings that the live performance did not. This is due to the abundant resources the studio at WORM has. Thematically, the composition revolves around the idea of friendship, what makes it good/bad/valid.
Claire Rousay is based in San Antonio, Texas. Her music zeroes in on personal emotions and the minutiae of everyday life – voicemails, haptics, environmental recordings, stopwatches, whispers and conversations – exploring and maybe “exploding” their significance. Stylistically Rousay draws on domestic musique concrete, voice recordings, percussion and multi-instrumentalism. She has built up an extensive body of work in a relatively short time, proving herself to be a most intruiguing contemporary sound artist. WORM is delighted to welcome her for a residency and a gig.

Credits:
Claire Rousay (BMI) – electronics, field recordings, guitar, 
synthesizer, voice.
Emily Harper Scott (BMI)  – piano.
youtube samples from – Defying Odds Donnelly, CAMELOT331.
Produced @ Worm, november 2021

Show 869: Jacco Weener Speaks by Radioworm

 

This piece is inspired by recollections and vague remembrances of rock and roll music from my childhood. This childhood was in The Hague (The Netherlands), the city that is the centre of many things. In many aspects it was the centre of European occult sciences (See Fredrick V of the Palatinate who took refuge in The Hague after being ousted as the king of Bohemia, also the influence of huguenots), but also the birthplace of “Indo-rock”, one of the first Dutch rock and roll phenomenon influenced by Indonesian culture combined with Martial sounds from USA military bases.
It is a mental puzzle piece of the idea of rock and roll, not reality, and then performed in stream. To amplify the working class mysticism element of it and the idea of the ritual as pure entertainment. From a love of outsider rnr music. I believe many things that are considered hidden are now actually present, but in a different way. In many ways considered low-culture. Squats and brothels, the afromented rock and roll music, evangelical preachers. They are now the spiritual reality

all sounds by Jacco Weener

produced by radioworm/Lukas Simonis

Show 817: Water Saus by Lili Huston-Herterich & Ash Kilmartin (RadioWORM)

Water Saus is an audio work by Ash Kilmartin and Lili Huston-Herterich, produced during the development of their collaborative exhibition of the same title. The work began as the sketch of an invented character—a poet who writes in the shower, as a way to compose (in) privacy—but transformed into a journal of writing and making together. The recordings travel across Rotterdam, from one studio to another to home and back again, as the artists chat, eat, piss, sing in the shower, make moulds for soap, and compare playlists and book collections.

Lili Huston-Herterich is an American-Canadian artist who runs the project space Available & The Rat in her apartment. Ash Kilmartin is an artist from Aotearoa New Zealand and the founder of a shop called LIFE. They both live in Rotterdam.

This is a Radio Worm/Klangendum production.

Show 739: The Horse by Radio Worm/Klangendum

The Horse Alexander Iezzi 2019

The Horse is a psychological thriller centered around one narrator’s struggles with socialization, and his relationship with a therapist.


Music and production: Alexander Iezzi
Voices:Hannah Endrulat, Alexander Iezzi, Steven Tyler, Gene Autry

Produced by Lukas Simonis for RadioWorm/Klangendum/Concertzender/Radia.fm

Alexander Iezzi is an artist and musician currently based in Rotterdam. He is a graduate of The New School in New York and the Piet Zwart Institute in Rotterdam. His work continuously draws on ideas and perspectives of what cohabitation entails as an experience and an experiment. The work manifests through a variety of mediums – sound, sculpture, film, performance – in order to reorganize, reshuffle, and shift perspective on collected experiences. These transformations takes place via touch, language, mashing, and mixing, as well as through reactions between different (chemical, social, hormonal, psychological, reproductive) elements. Recent performances and exhibitions include: “Femke Hears A Who” with Clementine Edwards at Peach, Rotterdam (2019)“Aminals” with Viktor Timofeev at 427 Gallery, Riga (2019), “Signs of Invasion” (performance) with Billy Bultheel at Ku’damm Kuree, Berlin (2018), “Kunsthalle For Music” (performance) at Witte de With Center for Contemporary Art, Rotterdam (2018); “My New Feelings Whip” (performance) at Galleri Syster, Luleå (2017).f art making.

Show 624: FLIMSY TOMB by POREST (radio Worm/Klangendum)

01. The Porest Trap (7:00)
02. The Requirements of the Revolution in the New Context – Hanoi Radio Segment #1 (1:28)
03. Kong the Chap (0:19)
04. Triumph of the Nataree (0:50)
05. Larry Burridge (0:43)
06. Transformation is Futile (0:40)
07. Bintanom (0:45)
08. The Next Flight (1:27)
09. No Recourse (2:28)
10. Identity Event 1.1 (0:26)
11. FBI of Tarsus (1:19)
12. Hanoi Radio Segment #2 (0:58)
13. Nullified (0:50)
14. Memorii (1:32)
15. Head Down (0:38)
16. Esau (2:35)
17. Critic’s Coroner (1:32)
18. Sharwaf (2:19)

Recorded by Mark Gergis at all times, everywhere, including Hanoi, Vietnam until March, 2017
Erik Gergis • Electronics, percussion & voice –  No Recourse  • Keys –  Identity Event 1.1
Peter Conheim • Introduction –  Larry Burridge

Thank you: Lukas Simonis, Vicki Bennett, Hicham Chadly and Ayesha Keshani
©&P Porestsound – 2017

POREST •  FLIMSY TOMB
When you’re allowed to walk away from captivity, there’s a fairly good chance you’ll return on your own accord.  A mini-album created from Porest’s Hanoi, Vietnam base for Dr Klangendum. Framed by a claustrophobic radio drama, and featuring a wide range of sound and music from the Porest archives as well as material recorded exclusively for this program. Big and small songs, tape collage, on-location radio recordings, horror and humor – tightly sunk into a 28-minute tomb. 

POREST
Across decades, Porest (aka Mark Gergis) has issued a trail of confounding agitprop sound art, post-globalized hate-pop, diabolical radio dramas and carefully rearranged realities. Porest’s blatant embezzlement of human syntax and cultural misunderstanding broadcasts vital mixed messages. Collaborations have included: Aavikko (Finland) Alan Bishop/Sun City Girls (USA), and Negativland (USA) among others. Gergis was a co-founder of the long-running experimental Bay Area music and performance collective Mono Pause – as well as its offshoot Neung Phak, performing inspired renditions of southeast Asian musics. Since 2003, with the Sublime Frequencies label, and more recently, with his own record label – Sham Palace, Gergis has shared decades of research and scores of archived international music, film footage and sound recordings acquired during extensive travels in the Middle East, South East Asia and elsewhere.

Porest’s latest full-length – Modern Journal of Popular Savagery was issued on Cairo’s Nashazphone label on LP and cassette in 2016.

https://www.facebook.com/porestsound/
https://porest.bandcamp.com
www.porestsound.net

Show 598: Xylotheque by Eli Gras (radio Worm/Klangendum)

eli

Eli Gras;

I was kindly invited to do a residency at the Worm, for to develope a work related to the idea of a hypothetical psychology of furniture and a possible communication, sort of a language amongst them in relation with “the human world”, that evolves and spreads to other household materials, resulting in a group of tracks trying to somehow express it with a certain narrative; like an electroacoustic sounds theatre fantasy, close to music, but not totally music, it’s in some way an “animistic” sound work.

I mounted it in between talking parts, forming sort of a little parody, almost a homage to the para-scientific radioplays, to prepare the listening mind and orientation of the concept, also explaining a little tale in order to add a ‘language’ touch to the bunch of absurdity that contains the edited work.

The sounds were taken from the Rotterdam city environment (hostel stuff, supermarkets, streets…), the Worm building (the rooms, furniture, synthesizers…), in Barcelona (houses of friends, parties, supermarkets…) Really every dot has a little history.

Credits:

Locutions: Jesús Brotons, Eli Gras.

Mastering: Albert Guitart (<http://alb-estudi.com>alb-estudi.com)

Thanks to:

Lukas Simonis and the Worm/Klangendum crew for the opportunity and patience, Ramon Faura for the rhythm pattern and to allow me to record his grandma’s home objects, to Antoine Manent and Florenci Salesas for the extra ears.