Gerarda Monster grew up in the hamlet of Mookhoek in a liberal Christian family of 12 children. A dominant, cigar-smoking mother and a father whose fervent nudism did not go down well in the small Mookhoek community, not to mention his tendency to sometimes disguise himself as a woman. Mother had a clothing repair service in Strijen, father worked at the office of Piet Klerkx in Waalwijk. In his spare time he supported refugee work in the Netherlands and was conductor of the choir ‘De Zevende Hemel’ (a project of Humanitas for mildly handicapped children). Gerarda went to study law in Leiden where she met her future husband, Gert Evenbeen at the law firm where she did an internship. Gert played an important role in her decision to hang up her robe and devote herself to creating avant-garde compositions for a very select audience, acting as a kind of manager and generating some interest in her work, despite the fact that Gerarda was self-taught and was driven more by an inner urge than by a desire to show her work to an audience.

After her divorce she barely left her house in the north of Rotterdam, but continued to write & record music until her premature death of malnutrition in 2017.

Gerarda made the mixture of a collage and electronic composition ‘The Voices Are Burning’ not long before she died, it could have been the last big piece she was working on. It was made on her only electronic device, an Arp 2600, recorded and overdubbed on 4 old Uher taperecorders, using all available tapes about voice related subjects that she collected through the years. It has never been released or broadcasted before.

This is part of an ongoing project called SHADOWSIDE OF SOUND, 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.

Composition; Gerarda Evenbeen

Production; Worm Radio/Dr Klangendum in collaboration with Coolhaven

Photo by Ben Aalders, Worm Studio, Rotterdam, 2016

The first electronic music I ever played as a teenager was on a Hammond organ. The drum machine and rhythm generators in particular fascinated me; simplistic devices but somehow very creative, and something in the sound was strangely compelling. I heard Lee Scratch Perry, Sly and the Family Stone, Cabaret Voltaire and Suicide do some remarkably enduring music with such drum boxes, which of course later went on to become a basic element of electronic dance music in general. With this piece I revisit some of these dusty old machines and also some of the other vintage instruments in the studio at Worm, plus my modular synthesiser and sampler, instruments from Rob Hordijk and some occasional blasts of modulated radio.

Richard Scott is a Berlin-based creator and performer of forward-leaning electronic and electroacoustic music. Once a saxophonist focused on free jazz and group improvisation, for the past two decades he has been working intensely with a variety of technologies, methods and musical forms. In recent years he has concentrated his energies on creative composition, improvisation and production, with a particular emphasis on analogue modular synthesisers; including those remarkable instruments created by Don Buchla, EMS, Serge Tcherepnin, Émilie Gillet and Rob Hordijk.

https://www.richard-scott.net/
Recorded and composed in the Worm/Klangendum Studio, Rotterdam, July 2024, a Worm/Klangendum/Concertzender production.

show 1018 Worm Tracks by Richard Scott for Radio Worm : Radio Worm, Richard Scott : Free Download, Borrow, and Streaming : Internet Archive

This piece is made up entirely from sounds collected from Palestine, and is composed from different field recordings : protests, nature, markets, city streets, and from different locations across Palestine.
Those sounds were then heavily processed and composed, as an analogical approach to the political realities of Palestine, and the spatial and temporal transformation of both the land and the people –their movements, their lives, and their deaths.

Dirar Kalash (b. 1982) is a musician and sound artist whose work spans a wide range of musical and sonic practices within a variety of instrumental, compositional and improvisational contexts. Kalash also extends his practice into inter-disciplinary theoretical research. He has produced several solo and collaborative music albums and is active as an improvising musician.

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

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

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

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

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

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.