Janneke van der Putten at USB (Barcelona, 28.09.18)

(Photo par Gabriëlle Barros Martins.)
Janneke van der Putten is a visual artist and performer based in Rotterdam, The Netherlands. Her practice includes listening experiences, performances, sound and video, image / text / textile documentation, workshops, musical projects and the creation of platforms for cultural exchange. Her voice is her main tool, guiding her through physical and sonic explorations in different landscapes, using techniques learned during years of study. Her music moves away from the usual parameters of the modern, where amplification and synthesis are the norm, and focuses on the simple resonance of the body, in the here and now. By interacting with specific sites and local contexts through their personal experiences, they investigate the (human) responses to their environment and their relationship to natural phenomena and transitions, such as the aurora.
   (MAREA festival Ravenna 2018.)
She graduated from TXT (Textile), Gerrit Rietveld Academy (Amsterdam) and completed her MMus in Art Research, Royal Academy of Art and Royal Conservatoire (The Hague). Between 2009 and 2015 she received Dhrupad singing lessons (traditional classical music from North India) with Marianne Svašek and Amelia Cuni, and is self-taught in several extended vocal techniques. The project ‘Invisible Architecture’ with Christian Galarreta, for which they published a vinyl in 2014, has been presented at, among others, the Contemporary Art Museum (Lima). In 2016 and 2017 she was co-curator of the Aloardi Festival ‘Peruvian New Music & Arts’, WORM (Rotterdam). Van der Putten regularly presents her work in the peninsula and has already appeared in several places in Barcelona, ​​Madrid, Seville, Malaga, Murcia, Pontevedra, Bilbao and Zaragoza. In 2018, for example, she performed at the Barcelona Symbiotic Union, an independent initiative at the University of Catalonia, as well as at the Archipelago festival at the Reina Sofía Museum in Madrid
(Photo TAAK – Cobra Museum, 2018.)
The piece broadcasted in TeslaFM is the recording in Symbiotic Union of Barcelona, made on September 28, 2018.

The Ka band

A piece that refers to the attempts of Johannes Kepler to decipher the code of interplanetary communication through mathematics and musical waves. We explore Kepler’s thoughts on his 1619 theories from his book Harmonice Mundi, to the modern day discoveries of the Kepler ship that are transmitted from sidereal space to Earth through the Ka band.
The piece is composed of five movements with different musical themes inspired and extracted from his work Harmonice Mundi written in 1619.
1 tetrahedron-fire
2 octahedron-air
3 cube-the earth
4 icosahedron-water
5 dodecahedron-cosmos or ether

The monologue dares to make us think about the relationship between mathematics and music, and how they are built to effect a mental and physical understanding in us, and to question whether the space we occupy (the Earth) is also trying to communicate with the other celestial bodies that are in the same galaxy. Astronomy and the exploration of the sky have been constant since the appearance of human beings on our planet. Thanks to great thinkers like Kepler, we have the scientific basis to advance in the creation of new technologies to be able to learn to listen to the Universe. Perhaps, we will find another kind of bands (frequencies) that until now we have not been able to receive. What would Kepler do today with the technology we have in our hands? Would the search for this information still be out there in the galaxy or would it seek here within our planet the solutions to the mystery of the invisible but very powerful vibrations …?

Created on May 12, 2011.

Voice: Shakira Benavides

Composition: Shakira Benavides and Rosalind Harvey.

20 Years of Avantgarde, Industrial & Electronic Music in Spain, 2nd part

PT. 2

120:47 Entr’acte – No es deixi vestir per una màquina (Del LP recopilatorio “Domestic Sampler UMYU”, Umyu 1982)
124:09 Segunda Época del Hombre – Estado Natural de Comportamiento (Del LP recopilatorio “Conspiración”, Discos Proceso Uvegraf 1986)
125:30 Javier Segura – No Mires Atrás (Del Lp “Javier Segura”, Jaja Records 1983)
129:44 Vagina Dentata Organ – Chant Premier (Del CD “Un Chien Catalan”, WSNS 1994)
132:40 Xeerox – Untitled 7 (Del LP retrospectiva “1979 – 1981 [Recuerdo Espectral De Un Viejo Decorado Eléctrico], Anòmia 2013)
138:00 Diseño Corbusier – Internada (Del LP “Pérfido Encanto”, Auxilio de Cientos 1985)
140:00 Esplendor Geométrico – Neuridina (De la K7 “Eg1”, Discos Esplendor Geometrico 1981)
143:55 Anton Ignorant – Banal (de la K7 recopilatoria “Rythmetic – Compilacion Internacional”, Fusion D.E. Producciones 1986)
148:00 Hegemonia – Sherehzade (Del CD album “Arabian Nights”, PSM Music 1996)
149:36 Macromassa – Viejo León en Paris (Inédito, disponible en el Podcast “Los Hechos Pérez, Material Extra”, archive.org)
152:44 Javier Segura – El Hombre Moderno (Del Lp “Nostalgia De Lo Humano”, Jaja Records 1986)
157:38 La Fura dels Baus – Ninsey City (Del Lp “Noun”, Virgin 1990)
161:18 Mecanica Popular – Baku: 1922 (Del Lp “Baku: 1922”, Grabaciones Accidentales 1987)
165:14 Diseño Corbusier – Golpe de Amistad (Del Lp “El Alma de la Estrella”, Auxilio de Cientos 1986)
168:58 Lineas Aereas – Benelux (Del 7 pulgadas “Landschaften / Benelux / Radiotron”, Discos para Desayunar, 1983)
172:20 La Caida de la Casa Usher – Insecticidios (De la K7 homónima y autoeditada, 1984)
176:58 Logotipo – Teoría del Contacto (Del LP recopilatorio “Domestic Sampler UMYU”, Umyu 1982)
179:55 Metal y CA – Datos (Del 7″ “Datos”, Lollipop 1982)
184:42 Aviador Dro – Varsovia en Llamas (Del 7″ “Nuclear, Sí”, DRO 1982)
187:59 Décima Víctima – El Signo de la Cruz (Primera Maqueta) (1982)
190:10 Los Iniciados – Soy el Vacío (Del Lp “La Marca de Anubis”, DRO 1982)
192:49 Macromassa – Yo No Soy el Ornitólogo (Del recopilatorio “The Last Eccentrics”, Sculptured Sounds 1994)
195:59 Oviformia Sci – Fashion Magazines (Instrumental) (1981) (Del Lp retrospectiva “Hablamos de Nosotros”, Elefant 2014)
200:26 Linea Vienesa – Isla de las Sirenas (Ulises) (Del Lp recopilatorio “Non Plus Ultra 1980-1987″, Domestica 2012)
203:59 El Ultimo Sueño – Perdido en el Túnel del Tiempo (Del 7” “El Túnel del Tiempo”, Grabaciones Accidentales 1982)
207:06 New Buildings – Historias para Largos Recorridos (Del 12″ “Your Message”, Klamm Records 1984)
210:17 Fanzine – Sin Complicarme [Originalmente en Maquetas (1982-84)] (Del Lp soundtrack del film “El Futuro” de Luis López Carrasco, La Fonoteca 2015)
214:16 Claustrofobia – Paris Nostalgic (Del Lp “Arrebato (Música per a Vetllades D’Intriga)”, Wilde Rekords 1984)
219:51 Uvegraf – Refractiva Ocular Expo N.° 1 (Del LP recopilatorio “Conspiración”, Discos Proceso Uvegraf 1986)
224:50 Terminal – Antigen Australia (Del 7″ “Antigen Australia”, Sonido y Tecnica SA, 1981)



“Only through time, time is conquered”, T. S. Eliot.
“To be in the outskirts is also to be inside”, Pablo García Casado


Dispolitopia: dystopian and political
Through the figure of the flâneur we will work the dramaturgy of sound in abandoned spaces, recording certain sounds, noises, or voices, with mobile technology and including them in the work we produce. We will work on studying voices and other sounds. We are interested in these spaces that are stuck or paralyzed in a certain historical moment. All space conceived as mere transit. How the ruin survives, the structure, despite the irremissible passage of time. With urban exploration we make contact with bodily sensations caused by walking: chills, a certain sense of insecurity. This is how we will translate it to sound, to musical emotions, to our own poems, to the sound work we do.











Photos: Alicia G.Nuñez

A non-place, as Marc Augé already exposed in the field of anthropology or Ballard in that of science fiction, is an intermediate space that does not provide us with identity, it subtracts it in a certain way. We are interested in the relationship of these concepts applied to poetry: “There is no time for poetry”, written by Carilda Oliver Labra. Gender itself is a non-place among literary genres. Poetry is the margin, note to the margin, musicality, body, experience, game of repetitions that give other meanings to the signifier itself. Thus we work the poetic genre: weaving a sound space that gives meaning to those residual spaces, victims of acceleration by capitalist processes or the inordinate advance of neoliberalism. We are interested in emphasizing how these urban spaces affect the environment, in how they abound after certain historical processes, grow, destined to disuse or to shelter those affected by the social context. How nature takes sides, seizes them with their branches, trees growing inside them. How time has been eating space at the time, we are interested in stopping for a moment. Forget the fear it arouses, consider it a lie.

VOC·DAT it’s made up of the poet, multidisciplinary artist and journalist Alicia G. Núñez, the experimental musician Daniel Álvarez and the plastic artist and poet Ángela Gemio. It is also the acronym of Alejandra Pizarnik’s verse: “Vértigo o contemplación de algo que termina” (Vertigo or contemplation of something that ends).

They work in the field of contemporary sound art, experimental electronic music and poetry. Among his research is the work of authors such as Gloria Fuertes, Virginie Despentes, Adrienne Rich or A. Pizarnik and his own. His live shows are random and improvised in real time. Each sample of its production is unique in performatic terms.

Photo: Bubalú

The piece broadcasted here is a field recording work that was done for the “24H Fonografía del Mundo” call of the UQAC – Université du Québec à Chicoutimi.
VOCDAT was selected for this call and did a field recording and live recording in Konvent Zero .
The band at that time was conformed by Alicia G. Núñez, Daniel Álvarez Martínez and Ángela Gemio. To this day only Dani continues with it.
Alicia G. and Ángela Gemio have embarked on a new path with a band called LiTTiO X, with the same mutant spirit and noise generator.


20 Years Of Avantgarde, Industrial & Electronic Music in Spain

Text by Víctor Nubla

The album presentation of Abstracte, a compilation of strange music made in Barcelona between 1981 and 1986 that Domèstica Records has just released, served as an excuse for DJ Dani Blue and DJ Gonzo when they were invited to select the soundtrack for the release party, preparing, if not the defining dj-set from that era, at least a very comprehensive and complete one. Their research allowed them to gather tracks from those two decades (1975-1995) and, in addition, decided to extend the field of study from solely Barcelona to the entire Spanish state.
The result is this three-and-a-half-hour lasting travel through time, a fascinating journey through the musical underground of cities in an extremely important period, with respect to the transformation and shift in paradigm experienced by western popular music in those years. These changes might as well be summarized as: the dissolution of the fringes between academic music and popular music, the implementation of electronics into musical creation in an arch that began in research laboratories and ended up in domestic electronics, as well as the coexistence of repetitive minimalist models within the song format including improvisation and abstraction.
These two decades also coincided with the beginning of the crisis in the music industry, simultaneously with the proliferation of DIY publishing, the consolidation of the cassette format as soon as this duplication technology allowed editing without leaving your home, and the global (online) networks of self-produced music exchange. As a result, bands and musicians who did not “exist” for the industry and the press before will become, paradoxically, the first generation to internationalize and spread the strange music that was made abroad.
It is a time that can be documented from singles, cassettes, compilations and more than a few albums. It is important to pause for a moment to talk about compilations, as I believe they can serve to give a general idea of ​​what was happening since they are essentially transversal and also produced in an often collective and international network. The production of compilation discs and cassettes in the Spanish state is remarkable since the 70’s (partly because of the logic generated by certain musicians on the difficulty of accessing a “normality” of diffusion). In the 1980’s moreover, with the worldwide network of cassettes now in full blossom, these compilations could contain just local music or more and more often, be totally international.
Necronomicón, Terra Incógnita, La Zona, Domestic Sampler Umyu, Vita Nova International, Voices, Notes + Noise, Missing Children, Conspiración, Zamizdat Trade Journal, Independent World, Loopy But Chic, Luna y Panorama de los Insectos, Fix Planet, Veterinarios del KO’s, Barcelona Ficción-Romance, Alter Músiques Natives are some of the names of these well-known compilations until well into the 90’s, published in Belgium, as well as in France, USA, Spain, Italy, Germany. Almost never were they released in the capitals of these countries, because one of the phenomena adjacent to the internationalization of these kinds of movements is that many of the active small independent labels were in smaller cities back then, far away from the mainstream. Easy access to domestic production and universal mailing systems brought a territorial horizontality never seen before (except in the case of mail-art, obviously).
Domestic labels that more often than not were created by the bands themselves to release their own music spread rapidly, and in our territory as well as in other countries they did so exponentially. On the other hand, these “bastard” musicians lacked easy access to concert scenes in any of these countries, but there were bands operating in an electronic pop scene that were more or less maintaining themselves by passing through clubs and festivals. These groups adopted the systems of production and distribution of the scene that couldn’t be more industrial. It should be noted that although the use of the same media and “do it yourself” philosophy is something that all these bands shared, not everyone made music with the same intentions and objectives. There was a shared political attitude in the sense of means of production and tools of diffusion, and in many cases the music was not made with a political will but, in other cases, they were indeed so.
Therefore, we can speak of a temporary yet happy coexistence between forces that wanted to occupy the space of other forces (renew the aesthetics of popular music, reach the mainstream market) and the forces of chaos, which aimed to go back to square one and start with a clean slate rather than taking advantage of existing structures. The only issue when it comes to demonstrating this claim is that in Spain, traditionally, there were never any existing structures, even for the most integrated of musicians (paraphrasing Anton Ignorant).
That said, digressions aside, and taking into account precisely this period of happy coexistence and cosmopolitanism, the music you will hear in Gonzo & Dani Blue’s set is the music that, during those years, I heard in my house, in friends’ houses, in bars where musicians met and in clubs where bands played sporadically. This was the music we produced on our own labels and the music of other likeminded spirits scattered throughout the country. It was these cassettes, singles and compilations that current labels who are interested in this period of popular Spanish music history now try to recover and restore that what, mysteriously, has been hidden away, concealed from following generations. An eclectic period of great artistic freedom, full of audacity and uninhibited experimentation.

English translation by DJ Watusawa

PT. 1

0:00 Fluence (aka Pascal Comelade) – A Few Reasons to Stay – A Few Reasons to Split (Extracte) (Del LP “Fluence”, Pôle Records 1975)
6:55 Eduardo Polonio – Arsilah (Del LP “Acaricia la Mañana”, UM 1984)
9:15 Jep Nuix – Dit a dit, pas a pas (extracte) (Del 2CD recopilatorio “Alter Músiques Natives”, G3G Records 1988)
12:40 Luís Delgado – El Llanto de Nouronihar (Del LP “Vathek – Procesos Electrónicos Para Instrumentos Acústicos”, Grabaciones Accidentales 1986)
14:00 Música Esporádica (feat. Suso Saiz) – (Del LP homónimo, Grabaciones Accidentales 1985)
19:45 Orquesta de las Nubes (feat. Suso Saiz) – Basura del Coral (Del LP “El Orden Del Azar”, Linterna Música 1985)
23:35 Javier Segura – Desolación (Del LP “Nostalgia De Lo Humano”, Jaja Records 1985)
24:20 Comando Bruno – Landler (Del LP “Muestras Sin Valor”, Discos Esplendor Geometrico 1986)
26:50 Matavacas – S’oda Gargarian (Del 2CD recopilatorio “Alter Músiques Natives”, G3G Records 1991)
29:20 Oriol Graus – Oketus (Extracte) (Del Lp recopilatorio “InfArt ’90”, Discmedi 1990)
32:33 Luís Mesa – Hot Wheels (Del LP recopilatorio “Conspiración”, Discos Proceso Uvegraf 1986)
33:43 Interaccion – Claroscuro (Del LP recopilatorio “Conspiración”, Discos Proceso Uvegraf 1986)
37:40 Alien Mar – Obstinación (Extracte) (Del LP “Sinfonía Translúcida”, G33G Records, 1991)
40:34 Secreto Metropolitano – Esparadrapo (Del LP recopilatorio “Domestic Sampler UMYU”, Umyu 1982)
44:40 Klamm – Fluide (Del Lp “África Roja”, Klamm Records 1983)
46:05 Juan Teruel García – Claustral (Del LP recopilatorio “Conspiración”, Discos Proceso Uvegraf 1986)
49:45 Diseño Corbusier – Meta Metalic (Del LP “Pérfido Encanto”, Auxilio de Cientos 1985)
53:04 Víctor Nubla – Este Es el Famoso Chiste de las Dos Vacas (Del LP recopilatorio “La Zona”, Discos Esplendor Geometrico, 1988)
55:50 Koniec – Bellezas (Del LP “Senza Parole”, Promos 1984)
58:10 Näif – Cristall No. 2 (Del LP “Atlas”, Filobus Records 1982)
63:32 Finis Africae – Radio Tarifa (Del LP homónimo, Grabaciones Accidentales 1985)
68:24 Juan Belda – Pierrot (Del LP homónimo, Grabaciones Accidentales 1986)
72:45 Mohochemie – Silente Moho (Del 2CD recopilatorio “Alter Músiques Natives”, G3G Records 1995)
76:34 Derribos Arias – Lo Que Hay (Del Lp “En la Guia, en el Listín”, Grabaciones Accidentales 1983)
80:15 Macromassa – Sorpresa (Del LP “Los Hechos Pérez”, G3G 1992)
85:35 Neo Zelanda – Alemania Mix (Del Lp “Mix Zelánea”, Auxilio de Cientos 1986)
88:20 La T – Wood-Blood (Del Lp “Dark Fields”, Klamm Records 1983)
92:06 Klamm – Nueva Orden (Del Lp “África Roja”, Klamm Records 1983)
93:55 Alphaville – Nietzsche (Der Geisteskrank) (Del 7″ “Paisajes Nocturnos”, DRO 1982)
96:26 Zush + Tres – Viruses (Del Lp “Evrugo Mental State”, Grabaciones Accidentales 1989)
98:00 Aviador Dro – Nuclear Sí (Versión Maqueta) (1981)
101:25 Los Iniciados – Un Fin De Semana Tranquilo (1982?) (Del 2CD recopilatorio “Druidas Quimicos”, Lollipop 1999)
104:05 Pascal Comelade – Nicaragua (Del Lp “Paralelo”, Parasite 1980)
106:50 Juan Belda – Ytak (Del LP homónimo, Grabaciones Accidentales 1986)
110:57 Derribos Arias – A Flúor (Del 12″ “A Flúor”, Grabaciones Accidentales 1982)
116:10 Arte Moderno (aka Javier Segura & Juan Belda) – Ninette en New York (Del 7″ homónimo, Jaja Records 1982)