http://youtu.be/SxLyS-SrTK0

UNSURPASSED SERVICE AND STYLE

BIZARRE no.19 BOOTS n' SHOES by "Torrina"   pg. 11
I used to have to walk around my lounge, with a heavy thick book balancing on my head and my arms straight to my sides. my FIANCEE insisted in this, and in fact it was he wo trained me in the perfection to be attained by the patient girl.


S.C.U.M.

As a child I travelled the world on BCL radio and was fascinated by the music and languages of distant countries with fading phenomena.

Once, while checking the shortwave band, a ‘pheeew’ noise passed by. 

The frequency range was very wide,and the overall frequency was heard to rise in a continuous sequence of changes.

What was that sound?

Jamming 2025 is an attempt to recreate that experience from memory.

Biography:

Phew is a musician based in Tokyo, Japan. While fronting Aunt Sally, one of Osaka’s earliest punk groups, Phew played a critical role in developing Japan’s underground music scene. Phew’s oeuvre spans a vast array of experimental sounds: from no-wavey synth-hymns; to poppy, shoegazing, industrial undertones; to eerie incandescent drones. Since the 1970s, Phew’s dynamic, compelling voice and her commitment to unfettered experimentation has been critical in shaping the sound of avant-garde music both in Japan and internationally.

https://phewjapan.bandcamp.com

Phew - Jamming 2025

Ute Wassermann interweaves her voice with field recordings of birds, insects, frogs – of creatures that move across the boundaries between air, water and earth and finds new and different resonance places far away from their original environment. Fragile, seemingly natural sounds, such as the buzzing of bees under water, can be transformed into technoid drones. Snippets of soundscapes ghost through objects.  Does the singer retain her identity or does she become the ‘other’? The boundary between self and environment becomes fluid, so that the latter itself becomes an illusion in favour of a more complex reality. The binaries of animal and human, object and human, nature and technology are turned upside down in favour of interwoven relationships based on reciprocity.

Ute Wassermann: voice, bird whistles
Felix Blume: field recordings 

Biography

Ute Wassermann is one of the outstanding contemporary vocal artists of our time. She combines composition, improvisation and performance art to create her own form of Gesamtkunst, in which environmentally relevant themes play an essential role. At the centre of her research is the continuous and uncompromising exploration of her voice. Ute Wassermann’s singing goes far beyond the human voice and manifests itself in multidimensional sculptural sounds that oscillate between electronic, animal, inorganic and human qualities. She takes this to the extreme by creating a visceral sound space through the use of different types of microphones. In addition, she expands and alienates her voice through the use of bird whistles, lo-fi electronics, resonators, field recordings and objects.

She has been touring the world as an improviser and performer of contemporary music for many years. In the last ten years, she has increasingly realised audiovisual performances, installations and compositions for soloists and ensembles.

“Imaginary Habitats” is a co-commission between Goethe-Institut Glasgow and Radiophrenia. We are grateful for their support.

Photo credits: Cristina Marx/Photomusix

https://utewassermann.com

Ute Wassermann - Imaginary Habitat



Year of the Dragon. A mother draws a circle. Spins round. Pins everything but the tail on the donkey. She wants to know how the dragon makes fire, gets inside it. On the inside things slow.

Written in the Year of the Dragon, Zara Joan Miller’s long poem traces fire across a year. The figure of Saint Margaret, who freed herself from the belly of a dragon, is relocated in living voices that challenge structures of oppression today. A year of feeding fire, of dousing and soft loving. A mother waits in disguise by the fire exit.

Biography

Zara Joan Miller is an artist working across poetry, performance and film. Her work seeks to unravel boundaries between human and non-human nature, often playing with movement and sound as a way of reimagining a body’s rhythm. Zara is the author of poetry collection BLUE MONDAY (JOAN Publishing, 2022), which was also released as a duo LP with cellist Ute Kanngießer (Reading Group 2023). Her work has recently been presented at Barbican Centre, Muse Gallery, Horse Hospital, Cafe OTO (London), In Vitro (Brussels), Default

https://zarajoanmiller.com

Year of the Dragon is co-commissioned by Radiophrenia, TACO! and blurt. blurt is an experimental platform supporting artists to develop text-based works for live reading and performance, and synchronous live-to-air broadcast on rtm.fm. In this testing-site for testing text, four artists and artist-groups consider radio broadcast as an expanded form of publishing. This co-commission is supported by the Outlands Network Exchange programme.

https://taco.org.uk/About-Us
https://outlands.network/


Zara Joan Miller - Year of the Dragon

Tape letters between two friends, one living in a blanket fort, the other in a house of paper, and both deeming each other’s homes unsound, can’t seem to agree on who should visit the other. So instead, one of them builds a house they can meet in, out of the safest material: Noise.

Biography

Yara is a musician and puppeteer based in Beirut, Lebanon. She incorporates accordion, metallophone and electronics in her live performances. In addition to her musical work, she has participated in exhibitions where she featured sound and video installations including ‘Sonatina for 19 Music Boxes’ (interactive sound installation), ’The Cut-Throat Finch Preludes’ (tape loop installation), ‘I Liked it Better When We Lived on See-Saw Hill’ (video installation) and ‘Lapses’ (interactive sound installation). Last year she released  ‘Mr. Samuel’s Teatime Stories for Good Kids and Confused Adults’ – A puppet film in four parts.

https://yaraasmar.com/

https://yaraasmar.bandcamp.com/album/stuttering-music

@microwave.blues

Yara Asmar - I am building a house

“Administrative Embrace” grants unprecedented access to the inner workings and concealed logic of the enigmatic Office for Joint Administrative Intelligence. This transmission crosses rustbelt landscapes, pedestrian tunnels, flyovers, debris fields, and timelines, charting states of decline, delirium, immortality, and heroic obedience. Listeners are invited into the vast and impressive O.J.A.I. world headquarters. Through spoken word, modular sounds, architectural and bureaucratic fictions, lists, timelines, and ambient musical accompaniment, “Administrative Embrace” offers an hour-long exploration into institutional conjuring, information overload, camaraderie, and magic.

Produced by O.J.A.I. in 2024/25 for Radiophrenia Glasgow

Text and voice by Gary Farrelly
Sound and mix by Chris Dreier
Piano by Tim Löhd

Biography

Office for Joint Administrative Intelligence (O.J.A.I.) is the collaborative practice of artists Chris Dreier and Gary Farrelly based in Brussels and Berlin. The work is fuelled by recurring fascinations with architecture, infrastructure, finance, esoteric practices and institutional power manifesting in postal correspondence, installations, sound, performance and walks as well as limited vinyl editions and publications. The work has been presented at Hugh Lane Gallery (Dublin), Damien & the Love Guru (Brussels), Centre Wallonie-Bruxelles (Paris), Marres House for Contemporary Culture (Maastricht), De Garage (Mechelen) and Contemporary Art Center (Cincinnati, US), among many others.

O.J.A.I. produces a monthly music radio show for Dublin Digital Radio and for Cashmere Radio Berlin.

https://jointintelligence.org/    
@jointintelligence

OJAI -ADMINISTRATIVE EMBRACE

Budhaditya Chattopadhyay - Sonic Psychogeographies II

"PERFECTLY YOU should come with some sort of advisory label because it carries a very potent load. From the onset of this piece the viewer is taken immediatley into a luxury salon of visuals and backdrops that sedate with champagne pinks and prozac blues. The narrative is a melange of voices overheard at an exlusive expensive sleepover, where nymphette cupie dolls exchange gestures and coy nuances in a cascading art fantasy. Occasionally the adorable main characters are visited by a dry look boogie man who playfully manipulates in a game of mind control. There are also sequences where two stylized vintage puff daddies are played to the hilt by Marc Brandenburg and Krylon Superstar. The two are suspended in their own brand name characterization, poetically built around a sort of Chanel for Men hallucination. 

Some of the members of the cast are actually underground rockstars making them suitable for their roles in PERFECTLY YOU, that consist mainly of role playing.  The actors partake in self styled dialogues that range from cafree bantor to just sighing in angst or delight. Specific parts of a scene such as a character sighing are edited and dubbed into the already perplexing soundtrack to heighten the viewers buzz. Their is a beauty in each of the actors faces that beholds a strange impact. As if Pasolini himself was in charge of casting armed with a crew from Max Factor and a costume designer named Brigit Neppl who summons her creative look from a parimiter somewhere between Betsy Johnson and Clockwork Orange. The costumes are a integral part of the visual side effects. A plastic bag complete with a superply made logo works as a chasity-defiance get up along with the more maticulously povocative loin cloths made to fit in chaste perfection. Two of the characters that capture the crafty sinister aspects of youthful beauty are Namosh and Gina. Namosh's features appear on the big digital screne with the same timeless resonance of Fellinni's Satyricon, while Gina exudes a younger diabolical Romy Sneider. Their faces and gestures are too charismatic to be backround players in this Plastic bag with cool logos exlpoding inevitable. Their are no appearant seems evident to see the significance in why all these themes and styles are solicited in PERFECTLY YOU. Maybe it is pure hommage. The movie winds down with the hypercreativiy of the first sequences in final scene still a sleep over at this point the characters are more subdued and more German.

The piece is laced with some dazzling synthetic logos perhaps designed as a scheme to trick the viewer that these are actually clues to navigating the visual and aural landscape of this sublime piece. But as I mentioned before it should come with a warning label. The viewer may find the film intoxicating and experimental, and need a moment or two after viewing to recollect and ponder the sense of unawareness we have of the subconcious mind and how it likes to play."                                                                                        
Martin Deckert - Mudd magazine 



S.C.U.M.

PERFECTLY YOU

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