fugitive frequency, season 4 episode 11: plays Yes No Wave Music

typographic illustration of Yes No Wave music

A live mix of selections source from legendary free music label Yes No Wave Music, founded in 2007 by Woto “Wok the Rock” Wibowo in Yogjakarta. Here is an informative interview with Wok by artist/curator Aki Onda from 2023. Also a shout out to Lloydfears [Insta] & Bonebroth from whom I swiped the idea of asking Wok to leave a voice note. Listen to their great mix of “club music based on folk music“ from around the world on Kiosk Radio here.

Tracklist
01. Yennu Ariendra & J “Mo’ong” Santoso Pribadi – “Raja Kirik (Dog King)”
02. Wahono – “Alkisah II (Dalam Dua Bagian)”
03. Gabber Modus Operandi – “Jathilan Titan”
04. TerbujurKaku – “Rekayasa Cinta”
05. Bottlesmoker – “BA ALUK”
06. JFK – “Stabber”
07. Prontaxan – “Kekuasaan”
08. Mother Bank – “Jalan-Jalan”
09. Barakatak – “Musiknya Asyik”
10. Y-DRA – “1.2. Banjir Rob”
11. rEmPiT g0dDe$$ – “HIERARCHY IS NATURE”
12. Lynn Nandar Htoo – “Unlawful”
13. Pisitakun – “10/05/2010”
14. Y-DRA – “No-Brain Dance”
15. Asep Nayak – “Nayaklak Werni Wamena Aworok Haok Nen”
16. rEmPiT g0dDe$$ – “EROTIC RAPTURE”
17. Uma Guma – “Satu Kali Lagi”
18. Raja Kirik – “ACT III. Perangan”
19. Gabber Modus Operandi – “Hey Nafsu”
20. Haingu – “Nahanduka Na Eti Nggu”

“‘DJ Report/DJ Backlash’: Unsound 2024 Noise…”, Cyclic Defrost.

An obscure projection of Unsound festival logo on the outside walls of a warehouse. foto: Michal Murawski, 2024.

My DJ-focused report about Unsound Festival, 2024 themed Noise has been published, somewhat sentimentally, in Cyclic Defrost. A publication that began as zine affiliated with the Frigid chill club nights in Sydney, circa the late 1990s and early 2000s. It was via Frigid that a first heard, sometimes met and occasionally befriended artists involved in abstract and experimental club music. Very happy to have completed this circle somehow and be warned: it’s a long read!

So while Unsound presented numerous notable concerts, club nights, installations and a discourse program, my focus here is on the festival’s DJ sets. Once in Kraków, I sensed a backlash against DJ culture, as people voiced to me their disdain for the popular Boiler Room platform, complained about the exorbitant fees headlining DJs charge and generally begrudged those who, to paraphrase British producer aya, “make a career out of playing other people’s music”— albeit admitting to having done so herself. Are such criticisms warranted? Let’s cut to the chase.

Read more at Cyclic Defrost.

Foto: Michal Murawski 2024

fugitive frequency, season 4 episode 11: 200 Suaves b2b DJ BACKLASH, MISS READ Berlin 2024

Illustrations of a figure in a balaclava (200 Suaves) layered over a black magpie (fugitive productions). Another layer of text reads: "Teoria falta barrio"-

200 Suaves [Instagram] from Mexico City going b2b with fugitive radio’s DJ BACKLASH recorded live at the opening party of MISS READ Art Book Fair Berlin, at Haus der Kulturen der Welt, Friday 11 October 2024. The recordings were made by Eddie Choo from lumbung radio and Station of Commons and 200 Suaves’ alter-ego, Icnelly representing Radio Nopal. They have been edited to fit the time slot.

critical radio

The founders of coletivo digital, São Paulo are gathered around a life-size cut-out of Luiz Inácio “Lula” da Silva, in the run up to the Brazilian presidential elections 2022.

foto: Coletivo Digital, São Paulo October 2022.

First published in German in Springerin “ArtGPT,” issue 1/2024.
Later printed in English as a zine for MISS READ Berlin Art Book Fair & Festival 2024 and as a supplement to my contribution to WAVES: Radio as Collective Imagination (2024).

–

When I initiated fugitive radio in 2020, during the first year of the global COVID19 pandemic, it seemed like everyone was making a podcast, but I wondered who was listening. As “if a radio broadcasts in a forest…,” quipped Sophea Lerner, co-founder of the independent radio platform {openradio}. Curious about the sociabilities arising around (experimental) radio technologies, fugitive radio made a series of live “performance–radio” broadcasts for Pixelache Helsinki Festival #BURN____2021. Since 2021, it has a produced a monthly podcast, “fugitive frequency,” for the radio communities Colaboradio on Freie Radios Berlin-Brandenburg and Helsinki Open Waves. It is also active with lumbung radio/Station of Commons, a platform founded for documenta fifteen (2022), and πNode, a community formed around an ad hoc network of radio infrastructures in France. I have further developed fugitive radio’s collaborative live broadcast events across residencies at Helsinki International Artist Programme (2022), Lanchonete.org (São Paulo, 2022) and Jan van Eyck Academie (JvE) (2022–23).

At an assembly held during documenta fifteen, it was suggested that net radio is a kind of low bandwidth activism taking up digital space in a largely privatized and commercialized World Wide Web. While this may be so, fugitive radio claims that the critical front is not at public facing websites, rather “critical radio” [1] emerges in the kinds of organizing, skill sharing and community building that occurs alongside the production of content. Hack-labs and live broadcast happenings facilitate sharing, co-learning and generate enthusiasm for alternative networked-sociabilities. While such gatherings are often premised on pursuing free and open (source) culture and promoting digital commons, it is arguably conviviality that shapes the micro-politics of experimental radio activity.

counterculture
During my time at JvE, Charles Esche, director of the Van Abbemuseum, suggested that a turn towards audio in exhibitions was in response to “the focus on visuality in visual art.” He proposed that sound in what is traditionally the domain of visual arts, transgresses the separation of senses that occurred during modernity and the distinct disciplines defined by art academies and conservatoires. If exhibitions are making radios appear, how might they critique conventional aesthetic, intellectual and institutional practices?

“Instagram is my portfolio,” a visual artist once told me. In the 1990s the World Wide Web became the graphical interface for the internet. With the advent of social media in the early 2000s, notably Facebook, Instagram and now Tik-Tok, it seems that much of net culture has become by default visual culture. In 2022, I met with Coletivo Digital, a rare group still active in Brazil who recall the optimism of the early World Wide Web. They suggested that the emancipatory and experimental drives of open culture movements had coalesced in net radio. Indeed, I propose that current (net-)radio practices are a counterculture to prevailing pics-or-it-didn’t-happen social media engineered relations.

“Make friends not art” was a phrase that memed during the Jakarta-based collective ruangrupa’s takeover of documenta fifteen (2022), also known as “lumbung one,” valorizing of the social aspects of art-making over its commodified objects. Friendship was thus politicized as it determined the communities, practices and issues leveraged through infrastructural art power. This was notable as evidence of antisemitism alongside racist and transphobic attacks rocked the event, leading to censorship, withdrawals and the resignation of Documenta’s Director General Sabine Schormann. Nevertheless, solidarities resolved among those remaining and initiatives, such as lumbung radio, are ongoing. Organizations have since proposed to “learn from lumbung,” a reference to an Indonesian community rice barn, emphasizing the pooling and redistribution resources among inter-local networks and collective planning. [2] I think it would also be wise to learn from the Humboldt Forum.

normalization
I first encountered plans to re-house collections from Berlin’s Ethnological Museum and Museum of Asian Art in an architectural monument recalling Prussian imperialism at the conference “Postcolonial Justice”, University of Potsdam, 2014. [3] At panels about the restitution of sensitive objects, I learned of Tanzania-born Mnyaka Sururu Mboro’s campaign to return human remains held in these collections. In July 2017, Bénédicte Savoy, an art historian specializing in restitution and provenance, resigned from the Humboldt Forum’s advisory board stating:

The architecture signals that history can be undone. But people who ask for the return of stolen objects are told that history cannot be undone. [4]

Her sensationalized departure sparked debate about Germany’s colonial legacy. Groups protesting the Forum included: No Humboldt 21, Decolonize Berlin Alliance, Africa Avenir and Barazani. The Coalition of Cultural Workers Against the Humboldt Forum (CCWAH) formed in 2020, objecting to the crowning of this public-funded building erected on the site of East Germany’s former parliament, with a privately funded golden orb and cross. Bearing an inscription that demands “the living and the dead kneel unconditionally before Jesus”, they opposed the Forum’s assertion of Christian domination. [5]

After a series of staggered openings, the Humboldt Forum was inaugurated on 20 July 2021 as a space for criticism and debate, discursively reframing its problematic collections. While the CCWAH announced that they would “refuse to participate” others resigned to work with it—I suspect because precarious artists cannot afford to refuse a paying gig, especially migrants whose visas are dependent on such contracts. Indeed, the Forum welcomes critical readings of its collection by so-called “People-Of-Colour” whose participation validates its means of knowledge production, neutralizing the potency of their critique. Activists I’ve met complain that the Forum has appropriated their language, community-building methods and commissioned work from thinkers whom they reference. After much pressure, the Forum announced a restitution deal with Nigeria in 2022 to return over 1000 objects, including two prized “Benin Bronzes.” Recently a friend disclosed attending a free hip-hop dance class at the Forum, confirming that despite lingering disquiet some dissenting artists had normalized their relations with it.

solidarity
Even in the progressive capital of Berlin, solidarities among its creative scenes are uneasy. At the time of writing, the war in Israel–Palestine has divided the city which is home to significant communities linked to this conflict. The artist and broadcaster Nathan Gray calls it “the new Berlin Wall.”

In January 2024, the Berlin Senate adopted an anti-discrimination clause as a condition of cultural funding. With an emphasis on antisemitism over other forms of racism, such as islamophobia and anti-blackness, the Senate controversially chose a working definition promoted by the International Holocaust Remembrance Alliance (IHRA) adding an extension that conflates persecution of Jewish people with criticisms of Israel. Many are anxious about this curbing of free speech and artistic expression as wars escalate worldwide, and noticeably it is Palestinians who have been silenced. As Jewish critics of Zionism question if they are being subject to antisemitism by German police when arrested for protesting the war, those from countries where support for Palestine is the norm, call out the hypocrisy of German institutions’ decolonial interests. In response, a campaign to “Strike Germany” has gained traction. Recalling the Boycott, Divestment and Sanction campaigns against Israel declared antisemitic by the Bundestag in 2019, it demands that the state “protect artistic freedom,” “focus the fight against antisemitism” and “combat structural racism.”

When I moved to Berlin in 2017, curators I met sought to politicize their practices. Now some admit to being strategically silent, contributing to a climate of self-censorship and antagonism that recalls East Germany’s Stasi era or McCarthyism in the United States. As spaces holding multiple perspectives are dramatically reduced, what are the alternative platforms for critical debate?

While German mainstream media echoes the state’s unequivocal support for Israel, a group of artists and intellectuals are providing counter-narrative resources. Learning Palestine have so far compiled two twelve-hour radio programs, “Until Liberation I & II”, collaborating with Bethlehem-based Radio Alhara. Birthed in 2020 among friends isolating during the pandemic, Radio Alhara takes its name from the Arabic word for neighborhood. Interpersonal organizing and low operating costs afforded it to function beyond the “constrains of social media and corporate controlled networks” and it was welcomed among a globalized cultural community as a forum where otherwise silenced Palestinian voices—and music—are made audible. Since first airing in October 2023, “Until Liberation” has been rebroadcast on several sympathetic platforms including lumbung radio, suggestive of participating radios’ (infra)structural solidarity.

(an)optics
At JvE I learned that optics is a primary concern of exhibition-making—exhibitions must look “professional” regardless of intent. I suspect fugitive radio’s critique is indulged in such contexts precisely because of its low visibility—indeed there is nothing to see! But who listens? My friends and peers assure me that they follow online, however, I predict fugitive radio’s legacy will be publishing; it produces podcasts and publishes zines that leave a trace of critical radio practice in contemporary art.

I’ve found some affinity between experimental radio makers and independent art book publishers and fugitive radio has participated in several related fairs including: Under The Leaf, Helsinki (2022), The Fabulous Books Are Bridges, Rotterdam (2023) and MISS READ, Berlin (2023). Not long ago I ran into a curator of book events clutching a copy of Rebecca Ruth Gould’s Erasing Palestine (2023) concerning the IHRA. When I asked if he should be seen with this book in Berlin, he laughed and replied that it was not a problem on a book display, “but if it were an exhibition…”. His remark indicates tiers of visibility that are subject to differing scrutiny and censorship. After all, who reads books these days?

As an “anoptic” practice, might radio modulate the functions of art institutions as instruments for the commodification of creativity and the enforcing of state interests? Collaborating with community-developed platforms fugitive radio promotes alternative sociable medias. It approaches radio not as a mass media, but rather as a catalyst for coming together to discuss, experiment and play. Co-opting the discursive impulses of institutional art to co-produce responsive micro-media—promoted by word-of-mouth and distributed hand-to-hand—could critical radio circumvent authoritarian oversight and the performative pressures of corporate social medias under which professionalized art is subsumed?

January 2024

–

[1] A term proposed to me by Amanda Sarroff, writing advisor to Jan van Eyck
Academie.

[2] For example: “Learning from lumbung Public Forum on documenta fifteen” 23–24
January 2023, Jubilee, Brussels; “Lumbung Practice” temporary masters programme,
Sandberg Instituut, De Appel and Gudskul.

[3] Gesellschaft für Anglophone Postkoloniale Studien, “Postcolonial Justice”, 29 May–1
June 2014, Potsdam and Berlin.

[4] Cited in dpa, “Expertin: Humboldt-Forum verschweigt Ursprung seiner Sammlungen”, Monopol, 21 July 2017.

[5] Noëlle BuAbbud, “Nightmare at the Museum: An Interview with Coalition of Cultural Workers Against the Humboldt Forum,” Berlin Art Link, 5 February 2021.

fugitive frequency, season 4 episode 10: sonic heritage with Morgan Sully

Morgan Sully AKA Memeshift, a tall lanky figure with straight, dark shoulder-lenght hair that hangs down from under a beanie, a stands bent over a number of electronic devices connected with a tangle of audio cables.

This month’s episode is a conversation with Morgan Sully, an artist and organiser based in Berlin. Morgan records and performs music as Memeshift [Bandcamp] and also initiated “Latent Sonorities”, a “transcultural musical proposal” to explore notions of musical heritage, tuning systems and instrument-building among other things. Our conversation was recorded during a live broadcast at Refuge Worldwide Radio, Berlin, Saturday 7 September.

fugitive frequency, season 4 episode 9: Mixed Feelings II

A close up photograph of a hand holding a plastic cup. It contains cube shaped edibles alongside a plastic spoon and a straw which extends beyond the frame.


Yet another live mix from, this time from DJ Abstract Vortex 😉 More thoughts soon.

Tracklist
01. The Maghreban & Omar – “Waiting (Paul Woolford x Special Request Rework)”
02. Uwalmassa – “Untitled 01”
03. T. Wiltshire – “Outbound”
04. Nakibembe Embaire Group – “133 (with Gabber Modus Operandi & Wahono)”
05. Bamz – “LASER QUARTZ”
06. Gábor Lázár – “Source”
07. Cut Hands – “Stabbers Conspiracy”
08. Silvestre – “Sozinho”
09. Wahono – “Prambanan”
10. The Maghreban – “Dust”
11. Lorenzo Senni – “XAllegroX (DJ Stingray’s Molto Allegro Mix)”
12. Nakibembe Embaire Group – “140 (with Gabber Modus Operandi & Wahono)”
13. LCY – “2020”
14. Gábor Lázár – “Stream”
15. Client_03 – “Symmetry Finder”
19. DJ Rashad & DJ Spinn – “DJ Rashad & DJ Spinn Meet Tshetsha Boys”
20. Tirzah – “Hips (Loraine James Remix)”
21. Special Request & Tim Reaper – “Straight Off The Block (Tim Reaper Remix)”
22. The Maghreban & King Kashmere – “M25160”

fugitive frequency, season 4 episode 8: Mixed Feelings

A view from the crowd facing the stage in a music venue. The performers are not visible in white light. The audience is rendered in silhouette — one figures raises a phone.

Live mix by DJ Bandcamp.

Tracklist:
01. “Fosarune” – Rani Jambak
Rani Jambak is an artist based in Medan, North Sumatra and is of Minangkabau descent, her family migrating from West Sumatra. I’m interested in her work with field recordings, as a mode of environmental awareness and activism, and also how she thinks of sound as a means to connect with ancestors. “Fosarune” is her contribution to the Common Tonalities (2022) compilation, an outcome from the multi-year “Nusasonic” program, concerned with experimental music in Southeast Asia, 2018–22. Nusasonic was an initiative of the Goethe-Institutes in Southeast Asia, in partnership with Yes No Klub (Yogyakarta), WSK Festival of the Recently Possible (Manila), Playfreely/BlackKaji (Singapore), and CTM Festival for Adventurous Music & Art (Berlin).

02. “Salamander” – Takkak Takkak
A recent collaboration between Berlin-based Japanese producer Shigeru Ishihara AKA Scotch Rolex / DJ Scotch Egg and Vilnius-based Indonesian composer and instrument builder Mo’ong Santoso Pribadi, who is part of the duo Raja Kirik. Taken from their recent self-titled album Takkak Takkak (2024), released on Nyege Nyege Tapes.

03. “Untitled 10” – Uwalmassa
Uwalmassa is a group formed by Harsya Wahono, Randy Pradipta and Pujangga Rahseta who are also behind the visual arts and music collective DIVISI62 from Jakarta. This track is taken from their 2018 tour release Animisme (DISK15), featuring music “inspired by Indonesia’s urban slums, dangdut and pencak silat.”

04. “Sumergir (Toumba Remix)” – SIM & Sueuga
A recent release by Canadian-born SIM and Netherlands-based Sueuga remixed by Toumba from Jordan, put out by Sacrilejio Records in Lima, Peru. Taking cues from Jamaican dancehall, I suppose this track emphasises global connections, collaboration and genre hybridisation and mutation as evolution. Just don’t call it global bass!

05. “Wangga Rituals (Serial Experiments Edit)” – whypeopledance
From the Lithuanian collective/label’s 2019 compilation MATEDITERIA (MATERIÁ 005). I stumbled onto this gem of a track while searching for music by Aditya Permana, who is also on this compilation and who surface later in the mix as BAUR. I know nothing else about Serial Edits or whypeopledance, but I find this spiky collagist approach to “dance music and anti-dance music” a refreshing contrast to the slick productions that populate my playlists.

06. “Metallurgy Symphony (Simulacrum RMX)” – Dinoj M & SajaS
Dinoj M and SajaS who are involved in DreamSpace Records, Batticaloa are dear friends of fugitive radio. “Metallurgy Symphony” is from Upcycled Rhythms (2023), that repurposes found materials as musical objects. This remix is up on fugitive productions.

07. “Hantaran” – Sipaningkah
Taken from Langkah Suruik (2024), a recent notable release on Chinabot. Coincidently, Aldo Ahmad Fithra, is also Minangkabau West Sumatra, like Rani Jambak. He also invents and builds instruments, such as the “Tasauff”, that is inspired by three traditional Minangkabau musical instruments: the Tasa drum, Talempong gong and Rabab string instrument.

Lagkah Suruik, which translates as “step back” in the Minangkabau language, comes from a concept in the Silat Harimau martial arts philosophy. “The Langkah Suruik is the wisest step, choosing to step back and not fight,” says Sipaningkah. “However, I interpret Langkah Suruik as a way to see, search for and relearn the roots of our personal traditions, so that we can then use them in reading the current world situation.”

08. 나락 Pit – bela
From Noise and Cries 굉​음​과 울음 (2024) bela’s debut album on Subtext in collaboration with Unsound. Now living in Berlin, bela began developing the ideas for this album “about death” while living in South Korea. Bringing together Western influences guttural death metal growls and rasps and industrial music with the folk rhythms that rattled away in the background of state events and presented with the confidence and “cybernetic maximalism” of contemporary queer club music.

09. “African Sickos Ft. Citizen Boy” – Nazar
Taken the from the Amsterdam-based producer’s Territorial (2020), self-released during the Covid19 pandemic. Nazar is known for developing a style of “rough kuduro” that reflects on his family’s involvement in the Angolian Civil War (1975–2002) and I was drawn to his collagist aesthetics and as a counterpoint to sparser productions featured in this mix.

10. “MAKAN SUMPAH” – bani haykal
A Malay phrase that can be interpreted as “take an oath”, this is the closing track on the Singaporean artist’s recent release ANONYMOUS CURSES (2024) . In a country where protest is no possible, haykal has been steadfast in support of Palestine, and this album is dedicated to:

the people who are constantly spell casting, sending curses to end tyranny and injustices, those who tirelessly speak of resistance against the violence of colonialism, extractivism, occupation and apartheid.

I was fortunate to see haykal perform live at an event organised by Strange Weather in Singapore, where he set up on a small table, manipulating a drum sequencer and some effects, while performing his prose that he punctuated with ecstatic runs on the clarinet. Later, Yetpet [Instagram] played a sublime set, the memory of which serves as some inspiration for this mix.

11. “Necksnaps” – Wahono
I have somehow overlooked Harsya Wahono, and perhaps to compensate, his work keeps popping up in this mix. This is from an early release Abandoned Hi​-​Hats (2017) on Maddjazz Recordings , made when Wahono was living in New York after graduating from Berklee College of Music., Boston. Now living in Jakarta, Wohono is the founder of DIVISI62 and is also part of Uwalmassa, heard earlier in this mix. Like Sipaningkah, Wahono’s approach to percussion and drum programming draws on traditional Indonesian instruments and rhythms organised according to club production techniques.

12. “Kuvio” – Ø
An early release from the late Mika Vainio, taken from Metri (1994) released on Sähkö Recordings , a label Vainio co-founded with Tommi Grönlund. I was introduced to this album in the early 2000s by Miguel at Matéria Prima, Porto and it came to mind when returning to Finland this summer. In Singapore and Yogyakarta I became attuned to artists recalling industrial music and “proto-techno” experiments of the 1990s and I suppose this album aligns with those descriptors. Also it’s a lovely, minimal, analogue piece based around repetition and variation; a theme that emerges in this mix.

13. “Kutofaulu” – Wulffluw XCIV
From the first release by Sacrilejio Records in Lima, a compilation Expiation (2020). Wulffluw XCIV AKA Nikita Grunt music is described as “Avant Club”. From Russia he is the first non-African artist to release an album on Nyege Nyege Tapes subsidiary label HAKUNA KULALA, also in 2020. I think the textures are what drew me to this track, layered and detailed with sweeps and pans across the stereo field.

14. “Bussra” – ZULI
I am a fan of ZULI’s jarring rhythms and only learned recently the producer from Cairo had moved to Berlin, where he’s been co-organising a series of club nights, irsh [Instagram] with fellow artist and DJ Rama. This track is from Komy (2023), a collection of five club tracks released to make way for new material. Proceeds from the sales go to Medical Aid for Palestinians (MAP).

15. “Fanta Rouge” – Neo Geodesia
Listening to 2562 Neon Flames (2021) was something of a revelation. Saphy Vong’s compositions as Neo Geodesia made up of field recordings, samples and instrumentation a digital production were like nothing I had heard before. I mentioned this to Morgan Sully AKA Memeshift, who concurred saying that he was amazed at how much feeling Vong evoked in his music. This notion of “feeling” in digital music became something of a prompt for this mix, as it is such a difficult thing to qualify. Vong, based in London, is also the founder of the label Chinabot.

16. “Shikorina (Zilla Remix)” – STILL
From the remix collection of STILL’s debut album, I, appropriately titled I (Remixed) (2018) both released on PAN. I became aware of Simone Trabucchi’s moniker gradually via a Slikback remix that stayed for some time in my crate. I am curious about the breadth of the Milan-based producer’s work that spans publishing and visual art. This track is reworked by Don Zilla, manager of Boutiq Studios, Kampala. This is another track I was drawn to due to its layered collaged sound, reminding me of the dub/reggae productions of the likes of the Scientist and Lee Scratch Perry and the Bomb Squad’s hip-hop productions.

The point of connection for many of these artists is Nyege Nyege, and STILL’s following mixtape, video series and book project, KIKOMMANDO, arose out a two month residency at the Ugandan collective’s villa.

17. “Cluster Drum” – 3Phaz
The Cairo based producer is an affiliate of ZULI and this track is from a compilation featuring artists who played at the latter’s video series cum club night, irsh. Humorously titled did you mean: irish (2020) it was released during the Covid19 pandemic. With a reputation for reworking Cairo’s urban Shaabi sound, I first encountered 3Phaz performing a live set at Unsound Festival 2023, a highlight of its club program.

18. “160 (with Gabber Modus Operandi & Wahono)” – Nakibembe Embaire Group
The embaire is a large, long wooden xylophone found in East Africa, that is played simultaneously by multiple performers. The Basoga—an Eastern Bantu ethnic group—have a unique way of playing this instrument and the Nakibembe Xylophone Group are one of the last remaining groups who continue this tradition.

Fixtures of Nyege Nyege Festival, this track is taken from a self-titled 2023 release on Nyege Nyege Tapes with extra production by Gabber Modus Operandi (GMO) and Wahono from Indonesia. From the release notes:

The group needed to work out a way to combine their techniques with GMO and Wahono’s own musical approaches, so they fitted the embaire’s keys with audio-to-MIDI triggers that allowed them to capture the instrument’s swing without drowning out the sound itself. Then, Nakibembe recorded a series of freestyle performances that would demonstrate the range of the instrument; Wahono and GMO took these recordings and the MIDI data and used digital processes to distort and shift the sounds into dangerous new places, adding vocal improvisations from GMO’s Ican Harem. The Indonesian trio wanted to explore a more minimalist approach with Nakibembe, and on ‘140’ do exactly that, slowing down the whir of embaire clunks to a crawl and adding sporadic squeals and punctuating bumps. ‘160’ is even more unexpected, losing the embaire completely and feeding the raw drum data into synthesizers that pop and squeak with the same unmistakable energy.

I was very fortunate to have caught this grouping at CTM 2020 and this release seems to encompass many of the themes that arise out of this mix; repetition and variation, cross-cultural collaboration, tradition and (digital) technology. As the release notes conclude: “dance music is neither static nor bound to its contemporary apparatus, and conversation rather than colonization can stretch concepts beyond phony borders.”

19. “Terowongan Jadi Underpass” – BAUR
I recently met BAUR AKA Aditya Permana during a performance at Yes No Klub Yogyakarta, introduced to me as “a legendary Drum n Bass DJ from Jakarta.” Unpacking a kit of electronics that fitted snugly into a suitcase, BAUR unraveled a set of squelchy rhythms over which he layered distorted phrases and yelps. I was concerned with composition methods at the time and after his performance, I asked him how much of his set was improvised. He replied that he had released a cassette of “songs” that he then deconstructs live, before adding: “it’s my therapy, but it seems other people get something from it as well”—a reply that also solved a lot of my problems!

This funky track is lifted from a cassette release, Pecundang (2024) on DIVISI62 . Translated as “loser”, BAUR is a defiantly analogue project that draws on industrial music shared via tapes in the 1990s

20. “Sad Sunda” – Memeshift
Morgan Sully is a fixture of Berlin’s experimental music scene and this track is taken from this year’s Echoes (2024) on Chinabot, who curiously have also chosen to pursue the cassette medium. Echoes is a self-reflexive suite of music concerned with issues of home, migration and diaspora — memorabilia, ephemeral recordings and memories wired through electronic instruments. From the release notes:

“Sad Sunda”, [which] samples a cassette of ‘pop sunda’, a form of popular music that blends western pop and traditional instrumentation from Java, that his mother brought with the family to Hawaii when they fled Borneo. Composed on an Elektron Octatrack over three decades later, Sully cut the samples into small snippets and randomly resequenced them. The percussion is from Roland CR-78 samples and drum loops pitched down and resampled in the Octatrack; through the frenetic club beats, we hear his current life in Berlin, where he now lives, bleeds into the music of his past.

–
Notes
These notes a part of an ongoing task that concerns writing about mixing; about what comes up in the mix and to think about DJing as a kind of (sonic) research.

“Mixed Feelings” is about leaving Singapore, Sri Lanka and the South East Asian region. It was meaningful to be there, reconnecting with family and friends, finding new freinds and peers and generally being open to its influence. “Feelings” also refers to an aspect of (digital) music production. Soon after returning to Berlin, I caught up with Morgan Sully AKA Memeshift and was gushing about Neo Geodisia’s 2562 Neon Flames (2021). Morgan concurred commenting that it had a lot of “feeling” for a digital production and I wanted to think about this further. I associate feeling with “emotion”, another term that has connotations for music. I think about “soul music” or power ballads, where certain emotions — joy, fury, heartbreak, angst — are aestheticised and emphasised. It conjures up notions of authenticity which makes me wonder about “cold feelings”, and more reserved or disciplined emotional states. Descriptors such as “surgical” and “precise” are used to describe DJs who rehearse every sequence and can execute their mixes on cue. Do these lack feeling? When I listen to a mix I like to hear the artist’s hand: the tempo being shifted, a slightly off beat being coaxed into place. Which is not to say I don’t practice, but I also like to improvise, to play, to trust and develop my intuition and go with what I am feeling in that moment. Perhaps a more risky approach, as things could go wrong—more chance of “dropping the ball”. Actually, I have mixed feelings about this mix because there are some stand out blunders that make me cringe, but I ran out of time to make another!

I’ve continued to approach DJing like a game and the plan for this mix was to begin with Rani Jambak and end with Memeshift, going by key tracks from Takka Takka, bela, Bani Haykal, Dinoj M & SajaS, Wahono and BAUR. As I was pruning my crate for this mix, I realised I was preferencing tracks from artists who are friends, peers, or I have met or seen perform in recent months. Notably, many artists are from Indonesia. A set by Yetpet at a Strange Weather event in Singapore in July was a key point of reference; a well-curated and deftly executed mix of unfamiliar tracks. A friend described it as “chilled”, and while it may not have been stocked with “dirty bangers”, it was full of great rhythms and hooks and was somehow euphoric.

While I had a preference for tracks with a lot of percussion and space, I noticed I was selecting tracks for contrast and texture—not all slick club production, but also spiky playful productions (eg Serial Edits), coarse textures (eg Nazar) and space (eg Sipaningkah).  Only after did I realise that this mix was as much about labels as artist-acquaintances; Yes No Wave, Divisi62, Chinabot, Subtext, PAN, Nyege Nyege Tapes, alongside self-released tracks on Bandcamp. (Indeed, I was surprised to learn I’d published a mix under the same moniker a year ago.) 

 

fugitive frequency, season 4 episode 7: Subhas Nair, “The baton is in our hands.”

Subhas Nair, wearing a black COVID mask and tee shirt, both emblazoned with the URL: STATEVSUBHAS.COM

Subhas [Instagram] is a unique voice in Singapore, whose music and organising confronts issues such as capital punishment, the treatment of migrants workers, climate capitalism and racism while advocating for class solidarity. His activities have provoked the ire of authorities and our conversation took place as he awaits the outcome of a court case in which the State accused him of “promoting ill will between races and religions.” Subhas’ upcoming album is scheduled to drop when the verdict is announced.

If these issues concern you, take a look at the Migrant Worker Death Map, Singapore and consider supporting Migrant Mutual Aid Singapore.

If you like what you hear, sign up to receive details about Subhas’ upcoming album The State Vs Subhas Nair. You can also support Subhas via
Patreon.

Music used in the episode is on the major platforms Spotify and Apple, in chronological order:
Malabar (2021)
Riot! / Dumbshit! (2018)
PUNISHMENT (2018)
Bhasa (2021)
Long2befree (2021)
The Line (2020)
UTOPIA (feat. Migrants Band Singapore) (2021)
Blk101sunsetway (2018)
DMT (2021)
Time Of My Life (2021)
Some Nights (2021)

Our conversation was recorded 26 June 2024 while in residence at Singapore Art Museum, 1 April–29 June 2024.

Let Subhas take you on a tour of Singapore as he unpacks some of his music!

fugitive frequency, season 4 episode 6: Good Morning Geylang

A view of a carpark entrance through a silhouette of palm fronds. The leaves of the fronds match with the hazard stripes painted onto the speed hump and the strong parallel lines of the image made by the railings and gate,

“Good Morning Geylang”, a deep listening dawn mix and a meditation on migration, labour, infrastructure and place-making in Singapore. Made in residence at Singapore Art Museum, 1 April–29 June 2024.

The field recordings that make up this mix were recorded in the streets, rooftops and void decks around the neighbourhood where I am staying in Geylang. Singapore is undoubtably an air-conditioned nation however I’m not a fan of such climate controls. I prefer to keep the windows open and as my apartment is on the 4th floor of an old shophouse, I am at tree height. I’m often stirred before dawn by the sounds of birds chattering. Soon after I hear the first MRT commuter train rumbling off in the distance and as the city starts to wake it is often the sound of a garbage truck and its distinct pungent scent that brings me to my senses. I’m in an area where many migrant workers also stay and in the mornings I can watch them gathering in the street below, waiting to be taken in trucks to work sites around the city. I’ve been struck by the interplay of daily rhythms at this time of day. With reference to Henri Lefebvre’s notion of rhythmanalysis, I can discern  the circardian rhythms as night turns into day, the institutional rhythms of the train schedule and the rhythms of the working day. Singapore imports much of its construction and domestic workers from neighbouring countries including Bangladesh, Thailand, Sri Lanka and Indonesia. Their wages are lower than locals and they have few rights. There has been some discussion about constructions workers who are transported around in lorries with minimal safety, an exception to Singapore’s road rules, and there have been several serious accidents.

“Good Morning Geylang” is the first iteration of a live sound work I am developing. Comprised of field recordings I’m making in Singapore as a reflection on migrant labour/leisure. I’m thinking of it as a deep listening work to be performed in pitch black — picking up on a recent discussion of sensory deprivation following the debut of REFUGE at Singapore International Festival of Arts, by the Observatory in collaboration with Duck Unit, Rully Shabara and Justin Shoulder.

A list of artists I’m thinking about includes:
33EMYBW, specifically Mandala (2023)
William Basinski
Robert Curgenven
Philip Jeck
KMRU
Francisco López
Oval (early releases)
Steve Reich (early tape pieces)
David Toop
Chris Watson