Dr Klangendum Winter 2019-2020 “Update Bericht”

Fri 24 Jan '20

Dr Klangendum op de Concertzender, november, december 2019

WORM radio producties van de laatste twee maanden, allemaal uitgezonden door de Concertzender en aldaar ook nog steeds beluisterbaar;

De Cacophonator Vogel 

De Cacophonator Vogel is een podcast van Gijs Borstlap, waarin het muziekinstrument de  Cacophonator centraal staat. Mijn waardering voor de cacophonator manifesteert zich in zeven nieuwe composities en 2 monologen. De cacophonator is chaotisch van karakter maar eenmaal bespeeld als een percussie-instrument krijgt het een sonische charme die soms aan de zang van vogels doet denken. Met de MS20 laat ik mijn  melodische kant weer horen die ik tijdens mijn Rooie Waas jaren in de koelkast had gezet.

Radio Blab

Blab: talking thoughtlessly, revealing secrets, an indiscreet chatterbox. Radio Blab welcomes you to the weirdest, yet most familiar, conversation of your life: the mental chatter taking place in one’s head, in all its absurdity, cruelty and brilliance.
Re#Sister collective members Tarik Speelman and Andromachi Kokkinou took upon the task of recording, collaging and mixing this experimental radio play which takes the listener on an inner journey through industrial noises and ethereal soundscapes. Poetic, dissociative, aggressive, and tender, this recording is both an open invitation and a personal account.

About the creators:
Andromachi Kokkinou (GR/NL) works in the cultural field, wearing many hats. And Tarik Speelman (NL) is a multidisciplinary artist. Focused on zine readings, dance and music, Tarik is on a journey of exploration to break with the patterns of childhood. 

MATA ZELLE 

Een WORM/Klangendum productie.
Verhaal en stem; Lieuwe Zelle.
Muziek; Lukas Simonis, Lieuwe Zelle en nog wat kleiner grut.

Een zoektocht naar het mysterie achter het mysterie…

Lieuwe;
De mythe is groter dan de waarheid, het verhaal beter dan fictie volgens Lieuwe Zelle en Ton Zelle, achterneven van Margaretha Zelle in leven en welzijn bekend als Mata Hari.

H21 was haar code.
Verleiding haar methode.
Ze danste in het rond soms in haar blote kont.
Tis mijn tante mijn tante mijn tante, mijn tante Margreet.

The Story Of Alvarenga by Lucija Gregor.
“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 language of memory and dreams.

Posedai tot felul de obiecte electrice by Suzana Lascu 

“So, I had an idea for the radio play. The inspiration is drawn from this poem: http://www.romanianvoice.com/. It’s an anxious text that’s been written by a Romanian postmodernist novelist (my personal favorite) who came quite close to winning the Nobel Prize in Literature during recent years. The importance of the poem is represented by the clash in the perception of a man upon a woman as a confusing entity encompassing a multitude of features and stereotypes, the reflex of the male gaze being that of adopting a simultaneously contemptuous and deifying attitude towards her contemporary authority. Dealing with a gender by then emancipated psychologically and competent technologically is the main theme here, backed up by a fascination with the subconscious of the subject matter. Furthermore, the title means “you were posessing all sorts of electrical objects”, which makes me feel it absolutely fits within the values of our feminist group of electronic musicians.

The Mud Is the Flower by Vanita & Johanna Monk.

The Mud Is the Flower.
Or: How I Killed my Mother and Father.

A radio play by Vanita and Johanna Monk.
With music by Boterklontje.
Featuring the voices and sounds of:
Vanita Monk, Johanna Monk, Margje Ottevanger and Linda Nijboer.
A surrealistic violent dark comic incest rape revenge fantasy.
Content warning: incest, sexism, gender confusion, violence.

Phone Play Love by Mina Kim.

Mina Kim is an artist whose works explore leftovers from digital technology with the perspective of sociology and interactive media design. The methods of her practice range from creative coding, circuit bending, and audiovisual performance. Her in-progress project ‘off technology R&D’ investigates the error, failure, and residue of the development of digital technology. Through her projects, Mina aims to find a way to coexist with digital debris in our digital society. She exhibits and performs e-waste instruments she created in her last project.

She is a member of ‘Fruit From the Forest’ – experimental sound project, and ‘RE#SISTER’ – female/femme/non-binary electronic music & sound community in Rotterdam. Currently, she is based in The Netherlands and South Korea.

About the work: I opened my old cell phone. I found the sleeping sounds, music, and voices in it.