fugitive frequency, season 5 episode 5: fantasia (fantasy club mix)

Mickey Mouse as the Sorcerer’s Apprentice from Disney’s “Fantasia” (1940). Mickey is poised on a cliff dressed in robes and pointing towards a constellation of stars in the night sky.

Anticipating an upcoming trip to Indonesia and Malaysia, this mix features artists from or connected to so-called “South East Asia.” Recorded live at fugitive radio’s safe house in Berlin, it digs into labels including [Bandcamp]: CHINABOT, DIVISI62, Yes No Wave Music, SVBKVLT, Post World Industries and more, conjuring up a kind of fantasy club for a diasporic imagined community.

Tracklist
01. “Peritonitis Miasma Roses” – Neo Geodesia
02. “Belit” – Uwalmassa
03. “Mezame” – Takkak Takkak
04. “Joget Sumatera” – Rani Jambak
05. “Arrival” – 33EMYBW
06. “Nusa Fantasma (Y-DRA Remix)” – Filastine & Nova
07. “As if you whisper” – Wanton Witch
08. “Fosarune” – Rani Jambak
09. “GODLY TORMENT” – LnHD
10. “Chai” – FAUXE
11. “唄ヨォー” – KASAI
12. “Basement 2” – Aryo Adhianto
13. “Isi 10” – Wahono
14. “Hantaran” – Sipaningkah
15. “MAKAN SUMPAH” – bani haykal
16. “Notified” – Moslem Priest & Mysteriz
17. “Taranta” – Sabiwa
18. “133” – Nakibembe Embaire Group with Gabber Modus Operandi & Wahono
19. “Jalan Jakarta” – Sven Simulacrum + Nova
20. “HIERARCHY IS NATURE” – rEmPiT g0dDe$$
21. “Call of the Tahuri” – Animistic Beliefs
22. “동살풀이 Dongsalpuri” – bela
23. “Pelog Baru” – Bamboo Mystics

fugitive frequency, season 5 episode 4: songs

An ensemble of singers and percussionists celebrating Hari Raya in a mall in Singapore, 2024.

A bunch of songs exhumed from the hard drives that document novel moments of singing, music, musicking and of course karaoke recorded across numerous projects over the last five years!

01. fugitive theme song (2021)

02. “Boung Soung: Dances And Songs For Peace And Prosperity” – Prumsodun Ok & NATYARASA, documenta fifteen (2022)

03. “If a radio broadcasts in a forest…”, outside broadcast for Forest Chatter Hybrid Chatter (2020)

04. “Mumbo Jumbo” –  Jazz So What (edit), recorded on Jamulus during lockdown (2021) 

05. Suva Das performing and fugitive radio’s inaugural radiophonic picnic (2020) excerpt

06. Dham Dham Riddim percussion jam, DreamSpace Academy Music Lab (2024) excerpt

07. Mercy Mercy Me Karaoke (2021)

08. Clara Nune’s “Canto das Três Raças” , recorded during a rally held in the lead up to the Brazillian Presidential Elections, 29 October 2022, São José do Vale do Rio Preto, while in residence at Residencia São João.

09. Hari Raya at Geylang Serai Market, Singapore (2024)

10. “I would prefer not to” – Shusheela Mahendran (2021)

11. Athens Womens Strike 8 March 2023

12. “Raindrops” (2023)

13. Eid parade Yogyakarta, 16 June 2024. Many thanks to Riar Rizaldi & Natasha Tonti for their hospitality.

14. “language (it’s really hard to)” (2023)

15. “Techno Uncle”, Pasar Chowkit, Kuala Lumpur, August 2022

16. G Mohan Samugam (tavil and nagaswaram), Sri Maha Mariamman Temple, Kuala Lumpur, August 2022

17. Arpita Akhanda singing spontaneously at “speakeasy”, Jan van Eyk Academy, 20 January 2023. Coincidently this live broadcast also had the theme of “songs”.

fugitive frequency, season 5 episode 3: Dham Dham Foundations

Four figures peer into the screen of a laptop.

Dham Dham began as a three day workshop, “Thalaam Riddim Reapers” to introduce free digital music productions tools at DreamSpace Academy during Dinacon 3, 2022. In 2024, it evolved into a 10 day “bootcamp”, Dham Dham Riddim and in June 2025 it will rejoin Dinacon at Sea Communities and Les Village to lead a research Node, “Sonified Plastics”. This episode revisits conversations, field recordings and music made in Batticaloa to tease out some of the ideas and context that gave rise to the “Dham Dham Method”. Featuring the voices of: Dinoj M., Lucinda Dayhew, SajaS, Kishoth Navaretnarajah, Andrew Quitmeyer and Hannen Wolfe. Music is from the Dham Dham Riddim EP (2024) [Bandcamp], alongside recordings made in Batticaloa during Dinacon 3 and Dham Dham Riddim.

As suggested by Kishoth Navaretnarajah, co-founder of DreamSpace Academy, the “Dham Dham Method” is somewhat elusive but it is shaped by the role of music, (digital music) skill-sharing and cultural exchange in “peace-building” in post-war, post-genocide Sri Lanka. This is related to cultures of commoning, the use of free/libre and open source tools and informal processes of collective learning. This was necessary for the circumstances in Batticaloa, had already declared itself bankrupt by the time Dinacon convened there in July 2022, and was in the midst of a fuel, energy and political crisis, as President Gotabaya Rajapaksa was usurped just days after we arrived. Indeed, I propose that making technology accessible and malleable and developing digital literacy via music is foundational to the Dham Dham Method. It is inherently collaborative, open to differing skill sets and is all for having fun—which is crucial to the learning process. And as Dinoj and SajaS discuss, it promotes reciprocity—once you have learnt something you are encouraged to pass it on.

An important aspect arose from the enthusiasm of participants in Dham Dham Riddim. This might simply be due to making time and space and finding a legitimate reason to pursue people’s passion in making music. This is something that Dinacon co-founder Andy Quitmeyer touched on during a address delivered at DreamSpace, where he expressed his frustrations with academia because it put up so many obstacles to simply pursuing one’s curiousity.

Passion, enthusiasm and curiousity are also ideas that DreamSpace invests in, as it encourages and facilitates a post-war generation to pursue their interests in order to become “change-makers”, empowering themselves and their communities. For DreamSpace and Batticaloa, this is inherently entrepreneurial as there is a need for youth to make an income and local opportunities are slim. So, leveraging the affinity between people who share similar interests is crucial to developing friendships, networks and opportunities, and underscores the Dham Dham Method. “A bunch of weirdos hanging out together” is how Luci phrases it, or as Dinoj M. puts it: “working together to get things done.”

fugitive frequency, season 5 episode 2:A Close Listen to Rojak Radio Rojak

SAM Residencies “Out of Office”, 17–19 January /24–26 January 2025.


“A Close Listen” is an audio fanzine documenting Rojak Radio Rojak made for SAM Residencies “Out of Office” programme during Singapore Art Week, 17–26 January 2025. It features excerpts from two live broadcasts: “What’s in A Voice?” with Suvani Suri [Instagram] and “Learning Together – Alternative Pedagogy and Art Schools” with Engy Mohsen [Instagram], both supported by Angela Pinto and Seline Teo from SAM Residencies. The centrefold is a sound piece “Do you have in mind someone else, or do you sometimes think of them as yourself” (2024) by Huijun Lu [Instagram].

We were all SAM residents in 2024, but we didn’t all meet, so radio became a third space to connect. Both Suvani and Engy produced “scripts” that were the basis of these live broadcasts, which remain accessible on GoogleDocs. Suvani’s is here and Engy’s is available here. With radio as the stage we uncovered some interesting resonances and overlaps in our interests in sound, voice, pedagogy and ephemeral spaces.

fugitive frequency, season 4 episode 12: 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. It spans genres including punk, metal, mash-ups, club music, electro-acoustic improvisation and folk forms, over one hundred releases. All are free to download at 320Kbps with a Creative Commons Non-Commercial Share Alike license with lossless versions for sale on Bandcamp.

Wok came of age during the collapse of Indonesia’s Soharto regime known as the Reformasi, 1998, and became involved in punk collectives in Yogja, including the activist art group Taring Padi, embedded in an anti-capitalist, share culture. As Wok recalls in an informative interview with Wok by artist/curator Aki Onda from 2023:

In Indonesia at that time, underground music scenes such as punk, indie-rock, death metal, industrial music, hip-hop, and electronic music were developing. We learned how to organize these subculture movements with very minimal resources — how to produce albums and release them, organizing gigs, publishing zines, building and expanding networks et cetera. Some of our friends brought zines, books, bootleg tapes, and VHS from abroad, and those were great inspiration.

Senyawa are probably the label’s most well known artists, a collaboration between vocalist Rully Shabara and musician and instrument builder Wukir Suryadi that Wok fostered. Their album Alkisah (2021) was released simultaneously on 44 labels during the Covid pandemic, with each label producing its own formats, arwork and a varied selection of tracks, further pushing the idea of what decentralized music publishing could be. Stems of the album’s songs were made available for remix, encouraging a deeper engagement and further disseminating Senyawa’s music. Another notable release following on from these ideas is Latent Sonorities (2023), an album that brought together artists to work with a collection of Javanese gamelan at Rumah Budaya Indonesia (House of Indonesian Culture), Berlin.  They devised ways to best record these courtly instruments to develop a “royalty-free” sample bank with tuning instructions as well as researching and documenting their histories and cultural significance. More than a sum of its parts, “latent sonorities” is method of engaging with sonic heritage and provenance, as discussed in a podcast conversation with Project Leader Morgan Sully from September.

This mix draws from Yes No Wave Music’s back catalogue of electronic and experimental releases and was mixed live with Rekordbox software and a Pioneer DDJ-FLX4 controller. Also a shout out to Lloydfears [Instagram] & 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. Senyawa/Wahono – “Alkisah II (Dalam Dua Bagian)”
03. Gabber Modus Operandi – “Jathilan Titan”
04. TerbujurKaku – “Rekayasa Cinta”
05. Bottlesmoker – “BA ALUK”
06. JFK – “Stabber”
07. Senyawa/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”

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.

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 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