Klangendum is the name for the former Worm Sound Studio. We do the same but probably more; making radio, organising and producing radio art and events and organising residencies
Wednesday, June 12, 2013
Sara & Gyz
Also in may, sara Pinheiro & Gyz La Rivière, working in the worm studio, on their soundwalk -that will be presented on the 22th of june at the Radio radio Event @ worm. Here's Sara in a non-related situation.
FENSTER Im Studio
Peter & Joseph Simpson Studio Residency
In April Peter & Joseph Simpson (sorry i post this a bit late) visited our studio and had a good time trying out different old synths and some of the Yuri Landman snakes... We're waiting for some stuff that they made during those days. Here's a few pics.
Tuesday, April 16, 2013
Stig Noise in Worm Studio
A little film they made themselves about Stig Noise in the Worm Studio. This is the comment Jake send me after his visit;
"...aahhh man, it was great, and we made alot of good music,(...). we recorded our live band using a lot of the amazing mics you had available, and worked like that the first couple of nights so not to disturb people in the building too much, and then overdubbed a lot of basically amazing sounds using some of the amazing equipment you have there. thanks so so much (...)...
We 90% recorded the basis for our next split release, 3 full tracks and a bunch of bits thats coming out in September when we have a hefty tour of europe, greece, romania and serbia for 6 weeks.
We spent a couple of nights laying down the live elements of our music, 2 drumkits and bass and violins were overdubbed. then we got to mess around alot with some of the synths instead of our usual casiotone melodies, the finished mixs will be a mixture of both plus a whole bunch of soundscapes.... what a beautiful place! ..."
the stig noise set-up in the worm studio
Stig Noise in worm
Jelena Glazova in WORM Studio
Jelena Glazova worked in the sound studio last month. Material she worked on will follow. The photo is from her performance in Studio Loos, Den haag (Jelena in the middle). More info about Jelena HERE
Tuesday, February 5, 2013
Harry Taylor in WORM Studio
Harry Taylor was in the studio in january. I think he had a good time. More about that later. On one of his last days in Rotterdam Yuri Landman (who had invited him), Arnold van der Velde & Lukas Simonis came together in the studio with him to make this track. Mix is by Harry. (lukas also promised to put a mix together, if he does, we'll post it here as well).
here are some photo's of the cooperation. (with the red sweater; lukas, on the ground ; yuri, watching the troops; harry, photo\s by arnold)
Monday, December 3, 2012
Bruiloftslied radioplay on WIRE website
One of the plays we curated a few years ago can be heard on the WIRE website, it goes along with an article in the paper edition about the makers; Alisdair McGregor and Howard Jacques. McGregor and Jacques are featured in an article by Zakia Uddin in The Wire 346. IT'S HERE.
Tuesday, November 27, 2012
Galen & Planteidt do Hitler
Nicolai Galen (aka Nick Hobbs) and Dolf Planteidt were in the worm studio just last month. They worked on a radioplay called 'Hitler' (explanation below) which will be broadcasted by the Radia Network (the short version) and later Cafe Sonore (the long version)
RADIO WORM RADIOPLAY; 'Hitler'
A radio play created by Nikolai Galen (voices) and Dolf Planteijdt (soundwork) at the WORM studio in Rotterdam 29.10-3.11.12 with additional work at the Koeienverhuur Mobile in Amsterdam.
Based on a play text by Nikolai Galen.
With thanks to RadioWORM.
We asked Nicolai to tell us a bit more about the play and he did.
Nicolai about the text;
While choosing and writing the different texts which make up the text as a whole, I found myself attempting to grapple with some specific - and daunting - themes. Namely:
- Anti-Semitism: What is it? Where does it spring from? How on Earth has it survived and festered for millennia? Why did it explode so pathologically in Hitler's thinking and Nazism in general. Presumably most of us (me included) sometimes have proto-racist feelings of discomfort in the presence of people (perhaps immigrants, perhaps those of a different class) who seem especially other to us, whose presence, whose cultural differences can irritate us, even though, at the same time, we might (I hope) be irritated with ourselves for being irritated, for carrying such sick prejudices. Yet it's an awfully, unimaginably, inconceivably long way from such feelings to genocide. Yet, there are plenty of populist politicians and their followers around, happy to play with racism in its various forms (they're taking our jobs, they're thieves and pimps, they're incompatible with our ways and beliefs, they're diluting the national spirit, they've no wish to integrate, etc...) fomented by nationalism, by myths of cultural difference and superiority, by a national claim for us versus them, and for this land being our land and all that. Bigotry is alive, well and kicking, as an uncountable and shameful number of contemporary murders and 'cleansings', especially in the world's numerous 'conflict zones', testify.
- Hitler's popularity in Germany: How on Earth could such a pathetic, mad and manically-deluded man be so popular, and for so long? I could ask the same question about, say, George W. Bush, yet Bush isn't mad, was Hitler mad? And what does it mean to say that he was evil? And given that he was evil (in a way Bush can't hold a candle to) - radically evil - then how come he was so popular, so adored...?
- How could 20th Century European culture, in the form of Nazism, be so unimaginably violent, even sadistic, even without any kind of rational justification, however feeble? Most obviously, there was no military reason for the death factories, nor the destruction of swathes of the Soviet Union after those regions had been conquered. It was as if the (German) nation (as imagined by itself) was infected with blood-lust.
- What does it mean to say (as Jung does, amongst others) that Hitler was some kind of incarnation of the German collective psyche, of the national myth (made all the more absurd by Hitler being a puny black-haired guy, not a strapping blonde athlete)? What are the myths at the heart of Nazism, from where do they derive their power...?
All of which I could only scratch the surface of. And the more I scratched, the deeper I found myself in the bowels of Western Culture. And it's not a pleasant place...
Nicolai about the radioplay;
For the radio version of Hitler we found ourselves layering and treating voices in ways which led me to thinking that we were purposely giving voice to Hitler and the other protagonists without (anyway impossible for the medium) giving them body. The voices are disembodied. They float by like phantoms. The texts we chose for the radio play are particularly obsessed with death - one could say, with the factory production of phantoms. One could also say that Hitler aimed to make his Promethean utopia (which would of course have been the dystopia to end all dystopias) out of death (something he had in common with other great dictators). Perhaps out of death he thought he would be able to resurrect a new ('better' for das Volk at least) kind of life. Instead, out of death he only produced the final vast and awful nothing of silence and phantoms. The phantoms of the dead. The phantoms of those - people and cultures - that can never be resurrected.
But our terrible times are less different from those terrible times than perhaps we would like to believe. War carries on unabated in its demented fury, and some of those wars - those in the Middle East - have some of their roots in World War Two. And as we rape and ravage the planet, we also are leaving behind us silence and phantoms, with much more, and maybe much worse, to come. On the one hand it seems an absurd question to say, 'George Bush was a little Hitler' but I'm not so sure. The veneer may be politer, and the process of gaining power more 'democratic' (but not for the victims, they had no say in it); but was, say, Bush really so much less Promethean, especially when the juggernaut power of the USA is looked at as a whole.
But I don't want to single out the USA, many other states are just as bad, only not as powerful. Anyway, it seems to me that what happened seventy-odd years ago has rather faded from the memories of many, especially those for whom only the grandparents lived through that war. Trying to bring the horror of Hitler and his accomplices back to life seems to me essential. But let them stay only as voices, as phantom voices. The attempt to give them flesh (as in cinema) just doesn't seem to carry sufficient horror to be anything other than another entertainment, just another war movie. But when we only hear the voices, they enter our heads, we can't keep them out, and therefore we have to engage with them. We have to never forget them and we have to recognise that the times have not changed very much at all.
RADIO WORM RADIOPLAY; 'Hitler'
A radio play created by Nikolai Galen (voices) and Dolf Planteijdt (soundwork) at the WORM studio in Rotterdam 29.10-3.11.12 with additional work at the Koeienverhuur Mobile in Amsterdam.
Based on a play text by Nikolai Galen.
With thanks to RadioWORM.
We asked Nicolai to tell us a bit more about the play and he did.
Nicolai about the text;
While choosing and writing the different texts which make up the text as a whole, I found myself attempting to grapple with some specific - and daunting - themes. Namely:
- Anti-Semitism: What is it? Where does it spring from? How on Earth has it survived and festered for millennia? Why did it explode so pathologically in Hitler's thinking and Nazism in general. Presumably most of us (me included) sometimes have proto-racist feelings of discomfort in the presence of people (perhaps immigrants, perhaps those of a different class) who seem especially other to us, whose presence, whose cultural differences can irritate us, even though, at the same time, we might (I hope) be irritated with ourselves for being irritated, for carrying such sick prejudices. Yet it's an awfully, unimaginably, inconceivably long way from such feelings to genocide. Yet, there are plenty of populist politicians and their followers around, happy to play with racism in its various forms (they're taking our jobs, they're thieves and pimps, they're incompatible with our ways and beliefs, they're diluting the national spirit, they've no wish to integrate, etc...) fomented by nationalism, by myths of cultural difference and superiority, by a national claim for us versus them, and for this land being our land and all that. Bigotry is alive, well and kicking, as an uncountable and shameful number of contemporary murders and 'cleansings', especially in the world's numerous 'conflict zones', testify.
- Hitler's popularity in Germany: How on Earth could such a pathetic, mad and manically-deluded man be so popular, and for so long? I could ask the same question about, say, George W. Bush, yet Bush isn't mad, was Hitler mad? And what does it mean to say that he was evil? And given that he was evil (in a way Bush can't hold a candle to) - radically evil - then how come he was so popular, so adored...?
- How could 20th Century European culture, in the form of Nazism, be so unimaginably violent, even sadistic, even without any kind of rational justification, however feeble? Most obviously, there was no military reason for the death factories, nor the destruction of swathes of the Soviet Union after those regions had been conquered. It was as if the (German) nation (as imagined by itself) was infected with blood-lust.
- What does it mean to say (as Jung does, amongst others) that Hitler was some kind of incarnation of the German collective psyche, of the national myth (made all the more absurd by Hitler being a puny black-haired guy, not a strapping blonde athlete)? What are the myths at the heart of Nazism, from where do they derive their power...?
All of which I could only scratch the surface of. And the more I scratched, the deeper I found myself in the bowels of Western Culture. And it's not a pleasant place...
Nicolai about the radioplay;
For the radio version of Hitler we found ourselves layering and treating voices in ways which led me to thinking that we were purposely giving voice to Hitler and the other protagonists without (anyway impossible for the medium) giving them body. The voices are disembodied. They float by like phantoms. The texts we chose for the radio play are particularly obsessed with death - one could say, with the factory production of phantoms. One could also say that Hitler aimed to make his Promethean utopia (which would of course have been the dystopia to end all dystopias) out of death (something he had in common with other great dictators). Perhaps out of death he thought he would be able to resurrect a new ('better' for das Volk at least) kind of life. Instead, out of death he only produced the final vast and awful nothing of silence and phantoms. The phantoms of the dead. The phantoms of those - people and cultures - that can never be resurrected.
But our terrible times are less different from those terrible times than perhaps we would like to believe. War carries on unabated in its demented fury, and some of those wars - those in the Middle East - have some of their roots in World War Two. And as we rape and ravage the planet, we also are leaving behind us silence and phantoms, with much more, and maybe much worse, to come. On the one hand it seems an absurd question to say, 'George Bush was a little Hitler' but I'm not so sure. The veneer may be politer, and the process of gaining power more 'democratic' (but not for the victims, they had no say in it); but was, say, Bush really so much less Promethean, especially when the juggernaut power of the USA is looked at as a whole.
But I don't want to single out the USA, many other states are just as bad, only not as powerful. Anyway, it seems to me that what happened seventy-odd years ago has rather faded from the memories of many, especially those for whom only the grandparents lived through that war. Trying to bring the horror of Hitler and his accomplices back to life seems to me essential. But let them stay only as voices, as phantom voices. The attempt to give them flesh (as in cinema) just doesn't seem to carry sufficient horror to be anything other than another entertainment, just another war movie. But when we only hear the voices, they enter our heads, we can't keep them out, and therefore we have to engage with them. We have to never forget them and we have to recognise that the times have not changed very much at all.
Sun Araw in Worm Studio
I found these photo's hanging in my telephone, they are from last june (2012). It's the boys from Sun Araw doing all kinds of things with synths, mu-tron (theirs) and suitcases in the Worm studio. Hey boys from Sun Araw, made anything here worth listening to? if so, let us know...
here's a taste
1. software;
2. hardware;
(update; a reaction)
HAY GUYS
cameron from SUN ARAW here! just saw that
BLOG POST....yah mon, we are still editing the jams we did there and
planning an LP release of them hopefully SPRING/SUMMER, band name
"CELEBRATE MUSIC SYNTHESIZER GROUP"here's a taste
1. software;
Friday, November 9, 2012
New Record by Gonzo Almeida & Fred Lonberg-Holm
New Record by Gonzo Almeida & Fred Lonberg-Holm recorded at the WORM Studio.
For more info, SEE HERE
Thursday, October 11, 2012
Pedro Buschi track on FMA
Check here
Other stuff by Pedro;
HERE
and
HERE
Pedro was the first artist that worked in the (then) new worm studio, a year ago. He gave us this track (and we finally found it back so posted it).
Other stuff by Pedro;
HERE
and
HERE
Pedro was the first artist that worked in the (then) new worm studio, a year ago. He gave us this track (and we finally found it back so posted it).
Releaseparty Soundpiece with Machinefabriek, Pierre Bastien & Daisy Bell
Last tuesday we had a very nice party @ Worm; to celebrate the three records we released as a documentation/celebration of the Soundpiece Project we did last year.
the acts that we released all showed up and played a short show.
Here are some photo's that Theo Huijgens took;
Bastien
Machinefabriek
Daisy Bell
And here's the press info on the records. At the moment you can order them from the worm shop ;
WORM SHOP They will also be distrubted through 'the usual' channels , more info about that later.
Other thing;
There's only 200 copies of each record available...
and
If you order the threesome, you get a nice discount (but this only counts if you buy the records from the wormshop)
3 New Vinyl releases by WORM Records
Performer: Machinefabriek
Title record: 15/15
WORMREC 4276, 12”, yellow vinyl
Performer: Dyane Donck/Daisy Bell
Title record: Proverbs of Hell
WORMREC 4277, 12”, pink vinyl
Performer: Pierre Bastien
Title record: Entomology
WORMREC 4278, 12”, blauw vinyl
A threesome of coloured vinyl by WORM Records. These records are extraordinary not just because of their appearance (bright yellow, blue and pink vinyl), but because of their arising history as well. The a-sides of the records were recorded for Soundpiece, a soundinstallation under the floor of the Schouwburgsquare in Rotterdam.
WORM invited the composers Machinefabriek, Pierre Bastien and Dyane Donck/Daisy Bell to compose a piece for this. The results are three soundartworks/tape compositions that are made for public space, but are impressive as isolated piece of art as well. Something that stands out as well, is the different approaches of the three composers.The pieces were played at fixed times at the Soundpiece installation, for a month at the end of 2011.
On the 8th of october 2012, these records were presented in WORM with a performance of all three performers.
Dyane Donck/Daisy Bell
Daisy Bell is the new group of Donck. The live show involves a collection of electronic and acoustic instruments, harmony vocals, lots of live sampling and sound processing plus a video projection, illustrating each song with minimal, yet evocative imagery. All songs are based on poetry by William Blake. His texts provide the vocal spine of the compositions. These range from experimental musique concrete to pop "with a twist" with a strong intensity, dark atmosphere and raw beats.
Pierre Bastien
Bastien is very French, but lives in Rotterdam for quite some time now. His work finds its place on the secant of installations / robotica / visual arts on one side and soundart / jazz / improvisation on the other. Pierre is signed to the Rephlex label (the Aphex Twin playground) but also does projects for lots of other labels and works for dance and theatre as well.
Machinefabriek
Machinefabriek is the project of Rutger Zuydervelt. Machinefabriek’s music combines elements of ambient, modern classical, minimalism, drone and field recordings. He has a big discography, containing his own releases as well as releases on renowned lables.
Soundpiece
Soundpiece is a soundinstallation in the public space of the Schouwburgsquare in Rotterdam and covers an area of 30 by 30 meter through 32 speakers. It can be heard across the entire Schouwburgsquare at limited volume.
the acts that we released all showed up and played a short show.
Here are some photo's that Theo Huijgens took;
And here's the press info on the records. At the moment you can order them from the worm shop ;
WORM SHOP They will also be distrubted through 'the usual' channels , more info about that later.
Other thing;
There's only 200 copies of each record available...
and
If you order the threesome, you get a nice discount (but this only counts if you buy the records from the wormshop)
3 New Vinyl releases by WORM Records
Performer: Machinefabriek
Title record: 15/15
WORMREC 4276, 12”, yellow vinyl
Performer: Dyane Donck/Daisy Bell
Title record: Proverbs of Hell
WORMREC 4277, 12”, pink vinyl
Performer: Pierre Bastien
Title record: Entomology
WORMREC 4278, 12”, blauw vinyl
A threesome of coloured vinyl by WORM Records. These records are extraordinary not just because of their appearance (bright yellow, blue and pink vinyl), but because of their arising history as well. The a-sides of the records were recorded for Soundpiece, a soundinstallation under the floor of the Schouwburgsquare in Rotterdam.
WORM invited the composers Machinefabriek, Pierre Bastien and Dyane Donck/Daisy Bell to compose a piece for this. The results are three soundartworks/tape compositions that are made for public space, but are impressive as isolated piece of art as well. Something that stands out as well, is the different approaches of the three composers.The pieces were played at fixed times at the Soundpiece installation, for a month at the end of 2011.
On the 8th of october 2012, these records were presented in WORM with a performance of all three performers.
Dyane Donck/Daisy Bell
Daisy Bell is the new group of Donck. The live show involves a collection of electronic and acoustic instruments, harmony vocals, lots of live sampling and sound processing plus a video projection, illustrating each song with minimal, yet evocative imagery. All songs are based on poetry by William Blake. His texts provide the vocal spine of the compositions. These range from experimental musique concrete to pop "with a twist" with a strong intensity, dark atmosphere and raw beats.
Pierre Bastien
Bastien is very French, but lives in Rotterdam for quite some time now. His work finds its place on the secant of installations / robotica / visual arts on one side and soundart / jazz / improvisation on the other. Pierre is signed to the Rephlex label (the Aphex Twin playground) but also does projects for lots of other labels and works for dance and theatre as well.
Machinefabriek
Machinefabriek is the project of Rutger Zuydervelt. Machinefabriek’s music combines elements of ambient, modern classical, minimalism, drone and field recordings. He has a big discography, containing his own releases as well as releases on renowned lables.
Soundpiece
Soundpiece is a soundinstallation in the public space of the Schouwburgsquare in Rotterdam and covers an area of 30 by 30 meter through 32 speakers. It can be heard across the entire Schouwburgsquare at limited volume.
Tuesday, October 9, 2012
Machinefabriek @ Worm
Machinefabriek did his time too @ worm studio
SEE THIS
And we posted an edit on FMA.
If you want to hear the whole thing; it's called 'Doepfer Worm' released on cd on Entr'acte
(discription; Synthesizer based collages, partly recorded on vintage synths at WORM, Rotterdam. Not your average Machinefabriek release ).
(makes you wonder what a regular machinefabriek release is...)
looks like this;
SEE THIS
And we posted an edit on FMA.
If you want to hear the whole thing; it's called 'Doepfer Worm' released on cd on Entr'acte
(discription; Synthesizer based collages, partly recorded on vintage synths at WORM, Rotterdam. Not your average Machinefabriek release ).
(makes you wonder what a regular machinefabriek release is...)
looks like this;
Marco Cher-Gibard @ Worm Studio
Sorry for the long interval of posting! Finally we found some time to continue this blog and we have a lot of stuff in stock. Let's start with Marco Cher-Gibard who visited us in july...
We have posted two of his tracks tracks on Free Music Archive. See link below.
This is what Marco has to say about his time at Worm Studios, July 2012
During my residency at the Worm Studio, i used the time to experiment and record using the studio's vintage modular synth collection, and also to develop working methods in the studio. A favourite setup emerged using the Arp2500 series with a clocked sequencer i found in an aluminium suitcase. As a side project, I also took an interest in the local environment of the Artist in Residence accommodation on Hoornbrekersstraat where i did a number of field recordings.
Some of the work from the Worm studio has already appeared in a sound installation for the Link IV alumni exhibition at RMIT School of Art Gallery, which I installed on returning to Melbourne. I also plan to make use of the recordings in the future for live performance and recorded formats. Since returning home, I've becoming quite interested in an intersection between analog sound sources and digital processing techniques via max/msp. I used max to spacialise sounds for the installation, and am interested to investigate the area more.
Of the field recordings, i haven't used them publicly and am treating it more as a preliminary study. The site when i visited had a number of features such as a fire station just opposite and a bunch young neighbours who liked to barbecue, drink and sing when the weather was nice. The street clangs during the day to the sounds of mechanic shops, renovations and occasional sirens, while at night it the noise floor drops and the neighbours come home. As a stranger in the land i found all this quite interesting, especially the singing. I think i was surprised at first, to hear singing, because I feel we don't sing in public much in Australia, and rarely even in private. Maybe thats me?
The pictures didn't come out great, and i'm sure that there are lots of the Arp photos already (so please ignore those if you like) but they tell a story i guess.
The tracks come from the exhibition and are bounced down versions of the 4.1 mix. I have added some reverb to keep true to the spirit of the room they were produced for. Making them, both were initially played to accompany vocal tracks which i had processed using my own "sampling" instruments. However, in the end i stripped the vocal off hailin to focus on the synths. Rehab takes its name from its original version, which might not be hard to guess.
here's some synth porn pics by marco
and check out the tracks that Marco made @ worm;
Hailin
Rehab
We have posted two of his tracks tracks on Free Music Archive. See link below.
This is what Marco has to say about his time at Worm Studios, July 2012
During my residency at the Worm Studio, i used the time to experiment and record using the studio's vintage modular synth collection, and also to develop working methods in the studio. A favourite setup emerged using the Arp2500 series with a clocked sequencer i found in an aluminium suitcase. As a side project, I also took an interest in the local environment of the Artist in Residence accommodation on Hoornbrekersstraat where i did a number of field recordings.
Some of the work from the Worm studio has already appeared in a sound installation for the Link IV alumni exhibition at RMIT School of Art Gallery, which I installed on returning to Melbourne. I also plan to make use of the recordings in the future for live performance and recorded formats. Since returning home, I've becoming quite interested in an intersection between analog sound sources and digital processing techniques via max/msp. I used max to spacialise sounds for the installation, and am interested to investigate the area more.
Of the field recordings, i haven't used them publicly and am treating it more as a preliminary study. The site when i visited had a number of features such as a fire station just opposite and a bunch young neighbours who liked to barbecue, drink and sing when the weather was nice. The street clangs during the day to the sounds of mechanic shops, renovations and occasional sirens, while at night it the noise floor drops and the neighbours come home. As a stranger in the land i found all this quite interesting, especially the singing. I think i was surprised at first, to hear singing, because I feel we don't sing in public much in Australia, and rarely even in private. Maybe thats me?
The pictures didn't come out great, and i'm sure that there are lots of the Arp photos already (so please ignore those if you like) but they tell a story i guess.
The tracks come from the exhibition and are bounced down versions of the 4.1 mix. I have added some reverb to keep true to the spirit of the room they were produced for. Making them, both were initially played to accompany vocal tracks which i had processed using my own "sampling" instruments. However, in the end i stripped the vocal off hailin to focus on the synths. Rehab takes its name from its original version, which might not be hard to guess.
here's some synth porn pics by marco
Hailin
Rehab
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