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

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.

There is comic writer Benito’s Javovitti’s underestimated promotion of the Salami AN SICH, as a concept, as a weapon, as an ideology. And there is a growing scene of Salami awareness around the world… An underground cult that is still under the radar but will inevitably find world domination -or at least some form of tax evasion.

So with the spicy taste still in his mouth, Dr Klangendum went and looked for some entities that could explain him the basics of Salamiism.

Italian Salamist; Stefano Giannotti

Scottish Salami Scientist; Jim Whelton

One Bad Word Could Lead You To Hellfire; Sheikh Mansur Al-Salami

Research; Silvia Scaglioni

Text; LG Simonis, J Whelton

Idea, music, editing; Dr Klangendum 2

special thanks to Noodle Bar for Noodle Machine’s first assignment.

more special thanks; FVP

Impure Waves is a radio-piece for voice, harmonica, oscillators and mobile phones.

It is entirely born during the author’s residency at the Worm Foundation in November 2015.

The piece starts with a quotation of the Wikipedia definition of waves read by the author; successively, the text has been smashed by dozens and dozens of Google translations until it has been reduced at the single sentence Plate ten. A Christian family?

Words, landscapes, scretches recorded on a mobile phone interact with sounds produced by old modular synthesizers like ARP 2500, ARP 2600 and VCS3.

The piece proceeds as a series of abstract sound paintings, based on the idea that life is made of contamination, impure waves which at the end make us all happy (the very last picture proposes a sort of salterello based on a woman laughing).

Produced by Dr Klangendum for Worm & Concertzender

Title: ‘Stretch Limo’s’ en ‘Moeras’ (28:00)

Text: Martin Reints

Music & Sound: Martijn Comes

Commissioned by: WORM Rotterdam / Klangendum Studios / Lukas Simonis

In close cooperation with: Concertzender Nederland and Anette Kouwenhoven

Special thanks to: Lukas Simonis, Hessel Veldman, Sem de Jongh, Katja Stam, Fani Konstantinidou.

A collaboration between Martijn Comes (soundtrack) and Martin Reints (text). The soundtrack is made in the Worm / Klangendum studios using own sound design, features of the analogue WORM studio and various field recordings. In a live performance at the first presentation of the project Annette Kouwenhoven (Maatschappij Discordia) read the text, in the studio version Martin Reints reads the text himself. The text consists of two poems (‘Stretch Limo’s’ and ‘Moeras’) which together form a diptych; after the pieces followed by a making-of in which Martijn Comes, Annette Kouwenhoven and Martin Reints let their thoughts run free about the project. In the soundscape is enclosed  ‘The Labyrinth’ of Pietro Locatello (‘easy to enter, hard to get out).

Martijn: “I met Martin Reints during one of his lectures. His presentation is impressive for me because a lot of his work comes from a silence in which I feel safe. Where the mundane and worldly ends, and where a purely poetic consciousness exists of the invisible. Martin and I are both fans of Barry Bermange his work with Delia Derbyshire (collaboration with the BBC Radiophonic Workshop). In his interest of this radiophonic work existed also the urgency to invite him to create two broadcasts for the Concertzender as a producer of the Inventions for Radio programme. I spent a long time looking for texts that put me in the right concentration

for this commission. I called Martin after a long time searching, and he told me that he had just finished two long works: ‘Stretch Limo’s’ and ‘Moeras’. I was instantly excited; they appeared to be two long poems that lend themselves perfectly to a musical accompaniment. They are very meditative texts and the image is very strong and elegant.

more info;

Klangendum : Sound-Related Projects, Radio-art, Performing Arts

Home

https://martijncomes.bandcamp.com

Dr Klangendum went to Tbilisi last autumn, met some great people there and recorded a tube ride from Polytechkuri to Central Station.

special thanks;

Sopo Tabadatze, Natia Sartania-Kituashvili, Jay Kennedy S Centr, Nick and & the others….

A collaboration that was staged during the Poetry International festival between the Argentine poet Gambarotta and X Static Tics (also known under names like Worm Sound Crew and Dr. Klangendum). Originally played live it is an audio drama in which the text of Gambarotta almost forms a kind of score.

It’s said that at some point in the twentieth century, the great Peruvian writer Mario Vargas Llosa published an essay with the title ‘My Son the Ethiopian’. It was dedicated with mocking irony to one of his teenage sons who, while studying at an expensive London private school, had converted to Rastafarianism. This is dedicated to all those who once were Ethiopian children.

(excerpt of the text;)

I strummed the strings of my satirical sitar

until an incurable headache began

to dance to the rhythm of a nasty little waltz

on the lid of my brains, turning my

cerebellum into mush like that of a

senator whose head falls into

his plate of spaghetti. I strummed

I strummed that sitar, but I swear

by my days as a Rastafarian

that this will never happen again.

Dr Klangendum tries to open an harddisk with a rectangular grinder and while doing so recording the sound and processing that live. His first attempt fails but the processed sounds form part one. To be continued…

credits;
Grinding; Dj BadVibes
Background Teeth Grinding; Dj Pausa
Eternal Love; Dj Bearsucker, Dr Klangendum

This show documents the first musical meeting of five radiophile artists:

David Haines (AU), electric guitar, laptop
Henk Bakker (NL), bass clarinet, laptop
Lukas Simonis (NL), electric guitar, electronics
Joyce Hinterding (AU), open source radio scanner, painted antennas, laptop
Knut Aufermann (DE), feedback

Recorded by Lukas Simonis in Rotterdam on 18th January 2014. Edited by Knut Aufermann for the Radia Network.

Rosarats Barrel   27.57″

by Dr klangendum  for Worm/Radia

special guest; Xentos ‘Fray’ Bentos

In 1929 Jaromir Vejvoda wrote the ‘Modranska Polka’, named after Modrany, s suburb of Prague where it was played the first time. Since then the song has been played all over the world by people from all countries & languages. The english might know it under the name of ‘Beer Barrel polka’, the german version goes by the name of ‘Rosamunde’. Allthough the melody is always the same -and even the versions don’t differ so much- the lyrics go in all directions. The czech version was a very depressed one about a wasted love (skoda lasky etc.) while the anglosaxons only want to make fun and drink (see the beer barrels). In the meantime, the germans want to get under the skirts of a girl named Rosamunde while the dutch think the song is actually about soldier’s food (rats kuch en bonen).

The reason Dr Klangendum made this piece about a piece is that the song hasn’t left his brain since he was three and heard it for the first time at the wedding of his uncle and aunt. Sometimes he wakes up in the middle of the night, humming the chorus. Sometimes he runs the marathon for kilometers and kilometers in the tempo of the first part of the song (there’s a garden, what a garden).  Sometimes he wants to jump of a cliff, just to get rid of it. Making the piece was the next best thing to do. He hopes you enjoy it and will be contaminated.

Dr Klangendum