Show 557 – “The Valley” by Baby Kruger – Radio Campus Bruxelles

encar fcbk BbKruga2 (1)

 “The Valley”
Une expérience psychomagique

Dans cette navigation initiatique, la frontière entre le réel et l’imaginaire n’est pas définie. Est ce un rêve? Pas vraiment.
C’est une autre réalité qui jaillit d’une expérience concrète et ce, dans un but de transformation.
On commence par l’acte psychomagique, on s’adresse ainsi à l’inconscient.
Plus l’acte sera difficile à réaliser, plus il sera bénéfique.
Un point périlleux est atteint, on rencontre ses propres démons qui se révèlent être des alliés. La danse s’installe, les percussions servent la transe-formation.
La liberté est aussi dangereuse qu’exaltante, mais parce qu’elle est essentielle, on reste, on se familiarise, on agit, on décide et on s’explore.
Il reste, comme lors des rêves, des souvenirs. Puis les choses s’apaisent, mais la réflexion reste. Et puis on finit par comprendre que tout est déjà là, tout est possible, il suffit de reprendre le pouvoir.
Chacun peut poser les mots qu’il souhaite : voyage ou transe onirique, aventure fantastique ou chamanique, pour moi c’est simplement un appel à la conscience.

– –
” The Valley “
A psychomagic experience

In this initiatic travel, the line between what’s real and what’s imaginary isn’t well defined. Is it a dream? Not really.
It’s another reality poping out from a down to earth experience, in order to achieve a transformation.
We begin by the psycho-magical action, we talk to the unconscient.
The more difficult the action will be, the stronger the benefit will be.
A perilous point is reached, we meet our own demons and they turn out to be our allies. Then the dance starts, the drums are the tools of the trance-formation.
The feeling of total freedom is as exciting as it is dangerous, but, as it’s an essential part of the process, we stay and get used to it.
Some memories will remain, like after a dream, then the effects will decrease, but the brainstorming stays.
Finally, we end up acknowledging that everything has always been here, that everything is already possible, we just need to take our power back.
Everyone can define it with his own words : trip or dreamy trance, fantastic or shamanistic adventure. As far as i’m concerned it’s a call to consciousness.

– –
Baby Kruger

Nathalie Garcia is a French electronic musician and sound designer, based in Belgium.

Her conceptions of sound and music are versatile enough to work in a wide range of application such as film making, theater, sound art, post production and live performance.

After several years at the forefront of the Industrial Rock scene of Bordeaux within the sulfuric and avant-gardist band “Black Hole” which she joined at the age of 18, she courted the electro scene. She became a DJ, composer and promoter of events.
Then she went on to perform her own live electronic music where the efficiency of her mighty breakbeats combined with rich harmonic tones were worked clearly with electroacoustic and electronica values.
In the meantime, she creates the new project “White Drama”, which integrates an abstract hip hop touch and a vocal work, to serve us a unique tapestry of sound in a strange language.

As Nathalie was receiving the 1st price of acousmatic composition at the Conservatoire Musical de Bordeaux, Baby Kruger recorded the album “Selkie” for the Miami-based Schematic Records, which was founded by Josh Kay of Phoenecia and released the EP “SIIS” on the german label Doumen Records.

She is actually working her magic on different fronts like radiophonic projects and has just ended the first part of a serie of hybrid documentaries on the animistic practices.

She also organizes spatialization concerts and lectures with her Brussels-based collective “Maldita”.

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Show 556 : Sounds of Between; J.B. Imbert for radio Grenouille

Image_Radia_Les sons-de-lentre deux


Sounds of Between

Where are these sounds?
Between the words.
It is the chinks which we throw.
They sometimes hide behind.

The harmful garbage of our broadcasting.

Microphone swallows sounds, all of them, the parasites, and in spite of our closed gates, it receives undesirables.

All between ours speeches about the world, between words, this universe made of breathes and tongues smack, is too transmitted, stowaway of the waves.

There are almost more than words.

These connections, these hesitations, these parasites, these chairs which creak are here for the foreground, taking the place which we usually refuse them.

All the sound materials used here were recorded in the Radio Grenouille Studio.
Mixed at Euphonia.

……………….Jean-Baptiste IMBERT


Les Sons de l’Entre Deux

Où sont ces sons ?

Entre les mots.
Ce sont les interstices que l’on jette.
Ils se cachent parfois derrière.
Les détritus nuisibles de la communication radiophonique.

Le microphone avale les sons, tous les sons, les parasites et malgré nos portes fermées, il accueille les indésirables.

Tout ce qu’il y a entre notre évocation du monde, entre les mots maîtrisés, cet univers porté par des souffles et des claquements de langues, est lui aussi transmis, passager clandestin des ondes.

Ils sont presque plus nombreux que les mots prononcés.

Ces liaisons, ces hésitations, ces parasites, ces chaises qui grincent sont ici au premier plan, prenant la place que nous leur refusons d’habitude.

Tous les matériaux sonores utilisés ici ont été enregistrés au studio de Radio Grenouille.
Mixé à Euphonia.

………………Jean-Baptiste IMBERT



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Show 555: Fuck Art: it’s DeadPeoplesRecords

DeadPeoplesRecords is a montage sound artist. He spends many hours scouring the forgotten corners of of the human condition searching for abandoned, redundant and ignored audio. DeadPeoplesRecords enjoys the relationship that the human voice has with recorded and transmitting mediums while flippantly celebrating the absurdity of the ordinary.

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Show 554: Hertz-eer (XLAIR)

In honour of our precious friend Martine Ketelbuters (1966-2015) – head teacher of the RITCS Radio Department (2002-2015)

“Radio play loves edges, radio play loves Martine…”

Words spoken by Gregory Whitehead, both friend & source of inspiration for Martine: his work is the biggest source of inspiration for this tribute.

Martine Ketelbuters; Gregory Whitehead; Joris Vandamme; Dieter Van Dam : Hertz-eer (met fragmenten uit o.a. ‘In the end’, ‘Nothing but fog’ en ‘The Big Sloppy’ van Gregory Whithead, ‘ik zal het u vertellen’ van Joris Vandamme en werk van Martine Ketelbuters) – een montage van Dieter Van Dam door Martine Ketelbuters; Gregory Whitehead; Joris Vandamme; Dieter Van Dam – Eigen Opname RITCS – [0:19:08]

Martine Ketelbuters

(Herz-eer in ENG = Herz-honour, but in Dutch also means pain of the heart or sadness)


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Show 553: DIYChurch @ Kinderhook & Caracas AUGUST 4 Conference of Gnomes 2012 & Two poems read by Steven Warwick


Sicherheitsdienst im Auftrag der BVG – Steven Warwick.

was an exhibition in August 2012 @ Kinderhook & Caracas Berlin.

In this recording you will hear excerpt from the Conference of the Gnomes 2012Kleingarten Anlage Treue Seele about security
v.FF – White People Scrap Metal, JanJan1, F. Knight / Cavaliere, Farfour, The German Voice of David Hasselhoff.

V.FF were squatting the Kleingartenanlage for that summer and started to turn it into a meeting point for all the lost true souls. A year after the city started building the new highway there.

Source kleingartenanlage treue seele ,
Run time 29min


Listen to our adventures every monday on from 7 – 9 pm ((CEsT / GMT+1)). A special guest per session/interviews in the wild Berlin landscape// terrible and delicious music and sounds////live sessions, and juicy turntable tunes.

more infos to this show can be found here:

Kinderhook & Caracas

Steven Warwick


Francesco Cavaliere




Topics DIYChurch, Radio23, Room111, Steven Warwick, Kinderhook & Caracas, Berlin, Sicherheit, BVG, Yorckstrasse, JanJan1, Security, Frank O’Hara, Richard Brautigan, v.FF, JanJan1, F. Knight / Cavaliere, Farfour,The German Voice of David Hasselhoff, Beat, Poet, Conference of the Gnomes 201
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Show 552: cancelled

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Show 551: Seth Cluett’s The Exercise of Memory (Wave Farm WGXC 90.7-FM)

Writes Cluett, “I grew up rurally in the foothills of the Berkshire mountains on the eastern border of New York state and the states of Vermont and Massachusetts. Though I was at the periphery of three minor cities, each had colleges and local radio programming, leaving me at the center of the overlapping zones of their respective radio broadcast regions. When the whether would shift, the access would change; the pattern of expected scheduled programming was tethered to the randomness of the weather within the loose pattern of the four seasons. The material presented in this work represents common sound memories to each of the places I’ve lived in the last 7 years: the city of Troy in the state of New York, the city of Paris in France, the borough of Hightstown in central New Jersey, and the town of Oxford in the southwest corner of Ohio. Sirens, bells, rain, snow, wind, birds, footsteps, and traffic represent substantial areas of overlap between the soundscapes of each home. The work ebbs and flows between these geographic markers with the randomness of weather, finding pattern in the blurry boundaries of memory recorded as sound.”

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Show 550: James Joyce. The Sound of Words.


What better way to know James Joyce than his invented words. He was born in Rathgar, on the outskirts of Dublin, in 1882. Although he spent much of his life living and working on the continent — he died in Zurich, Switzerland, in 1941 — Joyce maintained close ties with Ireland, and used it as the setting for all of his major literary works, including A Portrait of the Artist as a Young Man (1916), Ulysses (1922) and Finnegan’s Wake (1939).

Known for his playful and endlessly creative use of words, Joyce invented a whole host of often fairly outlandish words and phrases in his writing, a handful of which have made their way into the more obscure corners of the dictionary. The stories behind seventeen of his most brilliant and most bizarre inventions are explored here.

With the help and support of Bernard Clarke from Ireland. A radioart documentary by Chuse Fernandez.

A TEA FM Radio Workshop Production. 2015.

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Show 549: Une ville sans cloches est comme un aveugle sans baston, un asne sans cropiere, et une vache sans cymbales

Une ville sans cloches

Alice Just / Flavien Gillié / Liv / Sylvain van iniitu Une ville sans cloches est comme un aveugle sans baston, un asne sans cropiere, et une vache sans cymbales.

This edit tells the story of a day of improvisation at E42.A8, creation and meeting around an inspiring place, in the peace and quiet,


at the farm.

file under : Improvisation, electronics, found objects, field recordings.
editing and mixing by Flavien Gillié.


Is first a place ;

A place where we try to create the conditions that make an improvisation possible, a pretext for meeting, but also an end in itself.

A place on the fence : not useful anymore for its previous purpose, and yet without a new and definitive form

To take the time ;

To think not in terms of composition and efficiency, but rather in terms of freedoms-constraints, texture-range, inside-outside, games-interactions, pulse-stretch, moments-intensity, diversion-obviousness, amazement-oblivion, silence-saturation, space-sound +++


Alice Just / Flavien Gillié / Liv / Sylvain van iniitu Une ville sans cloches est comme un aveugle sans baston, un asne sans cropiere, et une vache sans cymbales.

Ce montage retrace une journée d’improvisation chez E42.A8, création et rencontre autour d’un lieu inspirant, au calme,


à la ferme.

file under : Improvisation, electronics, found objects, field recordings..
Montage, mixage, Flavien Gillié.


Est tout d’abord un lieu ;

Un lieu où nous essayons de mettre en place les conditions de possibilités d’une improvisation, prétexte à rencontres, mais aussi finalité.

Un lieu entre deux eaux ; qui n’est plus utile à sa fonction première ; et qui n’a pas encore trouvé de forme définitive ;

Y prendre le temps ;

Y penser non pas en termes de composition et d’efficacité, mais plutôt libertés-contraintes ; textures-tessitures ; intérieur-extérieur ; jeux-interactions ; pulsation-étirement ; moments-intensités ; détournements-évidences ; étonnement-oubli ; silence-saturation ; espace-sonore +++


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Show 548: Stretch Limo’s and Moeras


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;

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