Show 603: Postcards from ISISTANBUL by 2/5BZ, aka Serhat Köksal (

Selected set pieces from Gozel Radio’s 2014-2016  broadcasts : ” Postcards from ISISTANBUL ” .
New global power complexes demand new multi-sensory ways of seeing power and sensing one’s own position in it: new sets of sensory politics. Following the concept of “altered states”—a geopolitics spectralized by sensory overload and dispossession and by the relocation of power in the post-democratic or post-digital era— the 2/5BZ works ” SERHILDUB vs. ISISTANBUL ” reconsider what is (or was) referred to as  Sustainable ISISolation States, TISA-ISIStanbul Hologram Doctrines, Spywarezullah Harassment Agencies, Golden Age Palaverel Universes, Eurottoman and Nattoman Empire/Autonomie of Hardcore Ultra Modernism.
2/5BZ, aka Serhat Köksal, has worked as a multimedia artist with various releases in video, music, and literary formats since 1991. The work often balances on the verge of trash, and continuously engages with remakes and collages of music, cinema, speech, and field recordings. 2/5BZ has performed live audiovisual performances under motto ”NO Touristik NO Exotik” in 91 cities in clubs, festivals, squats, and exhibitions.

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Show 602: Otitis media 29 (excerpt): Con-(fi)-re 02 (Radio Student)

2014-11-03-om-29-con-fi-re-02-33469 (1)
Paul B. Preciado calls for the universal use of dildos in order to denaturalize sexuality, to infect it with a thing that is not a copy of a penis but an object that is both a way to appropriate the ass as the universal passive and non-reproductive organ that all people have and a way to multiply sexual acts, distributing them throughout the whole body. In this radio show, simply called “OM 29 – Co-Fi-Re (Conceptual Field Recording) 2”, I’ve tried to create an analogon to this notion of denaturalization, which this time comes in the shape of denaturalization of the machine of mechanic reproduction, the recording device Zoom H2N, which is no longer used only as a device to reproduce reality, but a device which directly addresses the feelings of a subject who holds it. Denaturalization comes hand in hand with the fact that on the secondary level the recording device is still doing what it was devised to do ñ it records ñ but its primary practice is interwoven with the subject, who is afraid of walking in the dark in the foreign country and in the fields xe has never walked before. Subject knows what can xe expect, but xe never experienced it before. The flow of affects is pouring in xem, but the only thing to reassure xem that xe will be all right, is the device, which was primarily meant to only reproduce reality. The recording device Zoom H2N stops reproducing reality and stops being a substitute machine for capturing reality and becomes something else. (Andrej Tomaûin)

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Show 601: Dive (Wave Farm / WGXC)

Dive into the Wave Farm pond to hear a different sort of radio waves this week. Zach Poff’s Pond Station is a set of hydrophones at the bottom of one of the ponds at Wave Farm in rural New York. The solar-powered webstream runs from dawn until dusk, and, occasionally, artists interact with the waves. Hear, listen to artist Zach Poff explain the pond station, and hear artists Ralph Lewis and Jeffrey Leppendorf play with the pond sounds. Also, Neptune’s “Marconi’s Belief” opens the show.

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Show 600: Special Collage by Chuse Fernandez (Tea FM)

600 is a wonderful number. Can you hear it?

The Radia Network emerged from a series of meetings, clandestine events, late night club discussions and a lot of email exchanges between cultural radio producers across Europe.
The topics vary and the reasons for forming a network are many, but Radia has become a concrete manifestation of the desire to use radio as an art form.
The approaches differ, as do the local contexts; from commissioned radio art works to struggles for frequencies to copyright concerns, all the radios share the goal of an audio space where something different can happen. That different is also a form in the making – radio sounds different in each city, on each frequency. Taking radio as an art form, claiming that space for creative production in the mediascape and cracking apart the notion of radio is what Radia does.
On 3–7 February 2005, there was a first meeting of radio stations in Berlin under the banner of NERA (New European Radio Art). The decision was taken to start a broadcast season the following April, and an email discussion list was set up on which the name Radia was finally settled on.
The originally Radia found members were 9 radio stations and now we are 29 radio stations, webradios and art-radio projects that broadcast the Radia weekly show and produce shows in turns.
Can you hear it? This is creativity and sound art. This is RADIA. Welcome.

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Show 599: Noisy Casseroles by Geronimo, lyl6baz, ArtU ( Radio Panik )


Mardi 12 juillet 2016, 8h du matin. Bruxelles, Quartier Européen, en pleine semaine de négociations autour du TTIP, ce traité entre les États-Unis et l’Europe discuté depuis des mois dans le plus grand secret. La population s’indigne et exprime son mécontentement à travers « TTIP Game Over », une série d’actions de désobéissance civile. 300 personnes se postent devant le lieu des négociations, casseroles et cuillères à la main, pour faire du bruit à l’arrivée des négociateurs. Pendant que le peuple bat la casserole, à quelques mètres, trois individus, situés dans un espace parallèle, créent un autre bout du réel. Quand un slogan est crié à tue-tête sur le trottoir, incitant la fin des négociations, la voix lointaine d’un objet perdu se remémore son terrible chemin vers une grande surface. Quand une cuillère frappe le tintamarre sur une casserole, un ongle gratte le dos d’une poêle striée.
Ce trio explore la situation sonore en portant ce réel dans une fiction radiophonique, comme témoin in situ et acteur de ce prolongement. Le dispositif utilisé reprend celui des activistes : casserole de métal, poêle en fonte, bidon d’huile, boîte de conserve, etc., tout ce qui peut faire du bruit. La démarche consiste à offrir une expérience sonore au public non présent sur place : celui qui écoute la radio, en l’occurence, ici, une radio libre bruxelloise, Radio Panik ( Le collectif a travaillé sur un dispositif d’ustensiles de cuisine et de micros contacts permettant de nuancer les sonorités, de démontrer la portée de la casserole, cet objet de tous les jours et de tout le monde, dans sa dimension musicale.
La démarche est empreinte d’un esprit de liberté et d’une idée de réappropriation : les différents objets-instruments se sont passés de mains en main durant la performance et chacun a pu les expérimenter selon sa sensibilité. Cette pièce sonore est une improvisation.

Tuesday July 12, 2016, 8 am Brussels, European quarter, in the midst of a full week of negotiations about the TTIP, this treaty between the United States and Europe, which has been discussed for many months in deepest secrecy. The population reacts and voices their disapproval through civil disobedience demonstrations, known as “TTIP Game Over.” Three hundred people take up positions at the site of the negotiations, pans and spoons in hand to create a hullabaloo at the arrival of the negotiators. While the people beat their pots and pans, three individuals situated in a parallel space, create another version of reality. While a slogan is shouted loud enough to be heard across the land, encouraging the end of negotiations, the lone voice of a lost object looks back on its terrible journey towards a supermarket. While a spoon hits on a casserole, a nail scratches the back of a grill pan.

This trio explores the auditory soundscape, transporting this reality into a radiophonic fiction, as a witness in situ and as an agent of this ongoing event. The devices used are similar to the ones used by the activists: metal pans, cast-iron pans, oil cans, cans etc., anything that can make a racket. The objective is to recreate a sound experience for the public who is not on site: the radio audience, a community radio from Brussels, Radio Panik ( The coalition has worked on a device based on kitchen tools and contact microphones creating fine nuances of sound, to demonstrate the significance of the pots and pans, these everyday tools for everyman, showcasing their musical dimension.

The proposed procedure is characterised by freedom and an idea of appropriation: the different objects-instruments were passed from hand to hand during the performance and everyone experienced them according to their own perception. This sound piece is an improvisation.

Geronimo | lyl6baz | ArtU
Radio Panik (Bruxelles)

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show 598; Xylotheque by Eli Gras (radio Worm/Klangendum)



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.


Locutions: Jesús Brotons, Eli Gras.

Mastering: Albert Guitart (<>

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.

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Show 597: Minigolf (Orange 94.0)

In the very end of last year the viennese radia team discovered the undervalued sport “minigolf”. Memory serves its function in the mother tongue, Minigolf inspired Yoga and Family Affairs will await you in this show. An acoustic golf-course in 18 holes filled with emotions, advanced rules, deep insights into the structure of black holes and Sieghardt Quitsch by Florian Bauer, Maria Herold, Barbara Huber, Lale Rodgarkia-Dara and Karl Schönswetter.

Special appearance: Maria Sulzer, Kaspar, Aria Rodgarkia-Dara, Veronika Mayer and Fiona.

Hole 1: Kick-off
Hole 2: Minigolf Championship

Hole 3: Miniature Golf Poem
Hole 4: Dangerballs
Hole 5: Family Affair

Hole 6: No one’s interested

Hole 7: Rules
Hole 8: What’s your name?
Hole 9: Overboard
Hole 10: Emotions
Hole 11: Minigolf Yoga

Hole 12: Ambiguousness
Hole 13: Reminisce
Hole 14: How to built a miniature golf course?
Hole 15: The black hole
Hole 16: Sieghardt Quitsch
Hole 17: Brotherhood
Hole 18: Final

You can listen to this transmission @ cultural broadcasting archive.

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Show 596: our act to time has come by [q_a] (Radio Corax)

political protest is always about delivering a message. about sending a signal to the public.

in this piece i tried to catch the signals to the public of a day in frankfurt, 150318, when the new ecb-tower was opened to the public and when massive protests took place. i made some soundwalks this day and this piece is a version to listen to the music of the streets wrapped up for radio.


[q_a] is a sound artist from halle/saale. he experiments with special soundscapes, random noises and acoustical devices, mostly cello. he is a member of the improvisation group “sohne” with whom he performs since 2013. Also he played at improhazard-festival 2014 and 2016 and at blurred edges festival 2015 and 2016. Starting from october 2016 he will study time-based-arts at the burg giebichenstein kunsthochschule halle.

he publishes via:

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Show 595: Quinnilicious by CFRC

This CFRC produced show had one contributor this time around, our own Quinn Giordano (The Programming Manager provided the name for this episode). Quinn provided five pieces, in order, with explanations:

Overcast Soul

“Overcast Soul” was composed as the result of a very long stretch of grey days prior to the first holiday break of my first year at Queen’s University. An exam season spent studying through the nights and meandering off to strange corners of Youtube for interviews with my favourite Jazz musicians, composers, directors and artists, had transformed me into a nocturnal, isolated and somewhat depressed person. The sound of the piano loop that was recorded and eventually used on this track was a sound that had been stuck in my head for days as I would leave my building to find coffee and non-nutritious snack foods, serving like a representative of my languid mood and temporarily abstract routine. The loop itself was slowed down in order to correspond to a particular manner of sauntering that I had taken to on my coffee breaks. I set against the backdrop of this piano loop an entirely separate vocal collage composition, titled “Voices of Jazz” in order to practically represent the warm, incessant murmur of voices that I would hear throughout the day from passing through public spaces on campus and leaving old interview recordings running continuously while I would compile and review exam notes. As they did in those contexts, the voices on “Overcast Soul” are woven together such that the content of the spoken words are generally lost and only the pure sound of the speech itself can remain. Overall, the sound of “Overcast Soul” evokes images of damp pavement, pale grey skies, somber people and a perpetual movement forward. It is a snapshot of a formative time in my life.

Saturday February 27

“Saturday February 27” was composed by crudely cutting a lengthy recording into two-minute long blocks and layering the segments on top of each other in order to create a single fragmented impression of the evening. Emily paints, I play piano and together we talk about our lives. Rather than documenting the meeting in its entirety, this rough-cut approach captures an attitude associated with the event and the nature of Emily’s painting.

Black in Daylight

“Black in Daylight” features a minimalistic drumbeat buried beneath a thick orchestral rendering made from excerpts of the music of Luciano Berio and various other composers that I admire. The music represents a personal and philosophical struggle to grasp at happiness and truth, a concept that can be heard discussed in the background vocal track featuring Dr. Cornel West. Mimicking the form of Charles Ives’ “The Unanswered Question”, where a lone trumpet repeatedly poses a question or “serious matter” to a serene, natural backdrop of gorgeous strings and woodwinds, “Black in Daylight” poses its own question, except in this case it contends with a fiercer, more complex setting of individualistic musical elements competing loudly for supremacy. Here, as with Ives’ “The Unanswered Question”, we find no clear answers, just deeper tensions and frustration as the question posed is drowned out by alternate attractions.

Requiem No. 1 and No. 2

“Requiem No. 1” and “Requiem No. 2” were composed as a reflection on the idea of dying and leaving one’s body. I had been overcome by a memory from high school of a classmate who tragically died before graduation, his funeral, which incidentally had been held on my birthday, and then the funerals of several of my relatives. I began to imagine what death might feel like in comparison with the act of falling asleep or entering a state of deep meditation and was then compelled to reflect on my own inevitable death and what music I would choose to be played at the funeral that would follow. These compositions feature a synthesis of many pieces and brief moments of music that I had chosen in response to that morbid, nagging question.


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Show 594: o u r t i m e t o g e t h e r by Isabelle Stragliati (Radio Campus Paris)

o u r t i m e t o g e t h e r

o u r t i m e t o g e t h e r
an audio collage / a radio piece / a sound diary/an impression / a perception of this very time/July 2016

“What is the chance to meet through experiences, events, etc. ? It seems that time is what will ensure that we can meet.”

Gibus in Le Jardin, Radio Brume – Grenoble, 1998

with field recordings and voice by Isabelle Stragliati, a few vinyl rareties, and excerpts from the following tapes archives and pieces:

DJ Sprinkles ‎– Sloppy 42nds (IS Orlando Tribute Version)
Sloppy 42nds is A Tribute to the 42nd Street Transsexual Clubs Destroyed by Walt Disney’s Buyout of Times Square
On IS Orlando Tribute Version, Sloppy 42nds is stretched 12.0616 times
Ultra Red – Cruise Control
Ultra-red defends the LA park gay cruising scene on their vinyl debut, ‘Ode to Johnny Rio’
Le Jardin (Radio Brume, Grenoble, 1998) with the voices and works from Sophie Decoret, E.N.O.S., Emmanuelle, Gibus
Julian Beck – Je n’ai pas le droit de voyager sans passeport
Gongs of Cambodia and Laos, recorded by Laurent Jeanneau – Kink Gong
Suaves Figures – Nouveaux Gymnastes
Augusto de Campos – Cidade City Cité
Ultra-Red – Movement for Airports-Single Version
Chang Fo Ji, recorded by Laurent Jeanneau – Kink Gong
Square Dance – Jerome Tillié à L’Eurovision : Luxembourg 2001 Instrumix

And extracts from the following texts:
Voisins / Neigbors by Dorothy Allison
Chez moi by Philippe Corbé
Don Quichotte / Don Quixote by Kathy Acker
Vision myope depuis la Baie des Anges by Charles Danzig

Extra snippet from

Isabelle Stragliati is a sound artist, field recordist, radio producer, musician and dj living in Grenoble (France).
Coming from the visual arts, she turned to the medium of sound in 2002 through DJing, as an extension of her approach to film editing (under the moniker Rescue). She then practiced numerous aspects of radio production ( radio host, producer, music programmer, technician and program director) before reconciling it with her creative work. Her productions use field recording, documentary, musique concrète or techno, and have been broadcast on national radios (France Culture, Radio Campus France), in festivals and events in Europe (Longueur d’Ondes, Futura, Brouillage, Take You There in France, Radiophrenia in Scotland, CinemaInYourHead in Luxembourg) and in contemporary art centers (CNAC de Grenoble, La Criée à Rennes, Casino Luxembourg).
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