Example of artists played on my show include: AS1, Koova, Das Muster, Komarken Electronics, Mandroid, The Hidden Persuader, Hadamard, Crotaphytus, Defekt, The Exaltics, Microthol, Cody Commando, MetaComplex, Dr. Siak and others in the same vein. Shows often feature showcases on artists, guest deejays, label features and more. You can join the chat room every week over at Electro Empire's forum.

Only the 3 most recent shows will be up on Soundcloud at any time. Many of the posts following this one are outdated and dead links from Soundcloud. You can find an archive of the show at www.dvsnme.com

www.soundcloud.com/dvsnme is updated weekly with a downloadable recording of the show.

2010 - the year we make contact...

Robothek on radio ZuSa from Lüneburg (near Hamburg) is the brand new radioshow for all electronic music freaks in the whole universe. Robothek contains a lot of (70’s) Rollerdisco, (80’s) Italo-Disco, Chicago- & Detroit-Trax, (80’s) Electric-Boogie, obscure tunes, deep electronix soundscapes and Minimal-Elektronik/Wave.

In Germany the show is transmitted through antenna on the frequencies 95.5 MHz (Lüneburg area, Winsen), 88.0 MHz (Uelzen area) and 89.7 MHz (Wendland), the cable frequency is 96,65 MHz (Lüneburg, Uelzen, Lüchow, Dannenberg, Winsen, Egestorf and Hermannsburg) and worldwide via internet live stream.

Robothek: www.myspace.com/robothek
Live stream @ Radio ZuSa: www.zusa.de

First show: 21.12.2010 at 8 PM (London) / 21.00 CET (Berlin)

Live stream:
http://radio.elektrana.net/

Latest shows are available on soundcloud.
http://soundcloud.com/mutant-disco

Facebook:
http://www.facebook.com/home.php?#!/gr. … amp;ref=ts

Summer special pt. 1.

Play/download Mutant disco #84 - 09.07.2011.
http://soundcloud.com/mutant-disco/muta … ri-ahel-84

Playlist Mutant disco #84 - 09.07.2011.

01. White elephant - Sir John (Mark E remix) (Redux records)
02. Debukas - Set myself on fire (20:20 vision)
03. Ebb & Flow - Emotion (Mena music)
04. Debukas - Some days (20:20 vision)
05. Fernando - Non stop (Fabrizio Mammarella remix) (Under the shade)
06. Processory - Recovery measures (Hannulelauri remix) (Sugarcane)
07. Wolfram feat. Haddaway - A thing called love (Legowelt mix) (Permanent vacation)
08. Massimiliano Pagliara - In order of more depth (B.H.F.V. remix) (Live at Robert Johson promo)
09. Hannulelauri - Dysfunction (alternative version) (I'm a cliche)
10. Crackboy - Speakwrite (Tigersushi)
11. Pip Williams - Fraction (Shameless toady)
12. Damabiah - En attendant mieux des hommes (Natura sonoris)
13. Fritz Kalkbrenner - Right in the dark (Henrik Schwarz remix) (Suol music)
14. Class B band - Strange wolves (Dead seal dub) (My favorite robot records promo)
15. Discodeine - Grace (Etienne Jaumet mix) (Dirty records promo)
16. Eddie Mars - Future (Uno)
17. Narctrax - Unweave the rainbow (Voltaire)
18. Carter bros - Full disco jacket (main mix) (Rush hour)
19. Discodromo - Mercurio (original mix) (Discaire)
20. Cristophe - The force (Lukas mix) (FutureBoogie recordings)
21. Futurisk - Lonely streets (Complexxion version) (Cititrax)
22. Nakion - Osaka Tom (Tigersushi)
23. Glass figure - Whale's tears (707 edit) (Satellite of love)
24. Retro/Grade - Escape sequence (Deconstruction records)
25. Washed out - Echoes (Sub pop)
26. Deep haki - Amber leaf (Manuscript)
27. The 2 bears - Take a look around (original mix) (Southern fried)
28. Dj T. feat. Cari Golden - City life (Maceo Plex remix) (Get physical music)
29. When saints go machine - You and the gang (Alejandro Mosso remix) (!K7)
30. The exaltics - One circle (Creme eclipse promo)
31. Hannulelauri - Box of box (Populette remix) (I'm a cliche)
32. Lord of the isles - Don't reach (demo) (CD-R)
33. Cristophe - The force (Julio Bashmore piano mix) (FutureBoogie recordings)

Link: http://rwm.macba.cat/en/research/compos … re/capsula
Related info: http://rwm.macba.cat/uploads/20130606/C … s9_eng.pdf

The focus of the ninth episode in this series is a project entitled 'Two Discrete Generative Systems' by Mark Fell and Joe Gilmore. The works referred to in the title were developed separately and first heard together at Enjoy ArtSpace, Leeds, UK, on 29 April 2013. The recording presented here is an ambisonic room recording of the event which was open to the public. It is hoped that the works and their combination respond to some of the key themes addressed throughout the series.

Gilmore's piece, presented on four loudspeakers, explores behaviours generated by a flocking algorithm. These behaviours are used to control the frequency and amplitude of four oscillators. The piece is presented as a series of 'studies' of fixed duration followed by one minute of silence. In each study the conditions of the flock are predetermined. Flocking is a description of the group bahaviour of  living things such as birds, fish and bacteria. In flock simulations, the motion of each agent is dependent on the conditions governing the  overall behaviour of the flock, and also on the interaction between autonomous agents. The three main conditions governing movement are avoidance, alignment, and coherence. Although flocking exhibits somewhat chaotic motion, in reality there is a complex set of behavioural interaction occuring between individuals in the flock.
   
While Gilmore's piece explores tonality with multiple loudspeakers, Fell's contribution by contrast uses a single speaker, centrally placed, playing rhythmic structures with a percussive single sound principally derived from the Linn kick drum. Among the arrangement of speakers a computer is placed on a plinth, this displays a collection of sliders that are used to generate and change the rhythm that is played. Audience members take it in turns to change the sliders and make patterns. The algorithm used to produce to rhythmic structures is based around groupings of durations and repetitions of temporal intervals. This simple structure generates a number of distinct patterns.

You can find the complete series here: http://rwm.macba.cat/en/composingwithprocess_tag

If you enjoyed this series, you may also be into PROBES, by Chris Cutler: http://rwm.macba.cat/en/probes_tag

A deliberate attempt to vindicate techno-pop as one of the most important genres of the last century.

Link: http://rwm.macba.cat/en/curatorial/terr … op/capsula
Related link: http://rwm.macba.cat/uploads/20130528/1 … ns_eng.pdf
By the time mainstream pop music really became electronically based in terms of synthesizer/sampler instrumentation and editing (first with R&B and hip-hop, then mainstream pop), the techno-pop synth sound would be utterly abandoned by both pop and underground electronic cultures (techno, house, etc.). In this sense, techno-pop constitutes an isolated and rarely discussed 'lost weekend' from standard pop practices. Techno-pop is most often dismissed as a shade of new romanticism, punk or electro. However, I believe its strict emphasis on electronics and critical rejection of rock culture (at least in the beginning) make techno-pop in and of itself one of the most important, albeit short-lived, genres of the last century. Then again, my views are admittedly warped by an upbringing in the rural Midwestern US, where electronic music was not only scarce, but phobically abhored by most people.

Terre Thaemlitz, 2013

More features with Terre Thaemlitz: http://rwm.macba.cat/en/research/compos … tz/capsula

Follow us at: http://twitter.com/Radio_Web_MACBA

http://www.mixcloud.com/BeyondTheSpeaker

Weekly music for Spacers, Robots and Freaks with extensive commentary.

stream: http://mixlr.com/desert-expedition-headquarters/

    the mission has coming to an end

so far with ~7h 23min of sound material with this chapter #10 it will reach the final hour of the trip and remain in silence forever

Previous:
http://www.mixcloud.com/adidaskiller/pl … ion-mixes/

The PROBES Auxiliaries collect materials related to each episode that try to give a broader – and more immediate – impression of the field. They are a scan, not a deep listening vehicle; an indication of what further investigation might uncover and, for that reason, most are edited snapshots of longer pieces. We have tried to light the corners as well as the central arena, and to not privilege so-called serious over so-called popular genres. This music selection continues to explore probes into pitch, this time through its effective obliteration through ceaseless movement, sliding tones, and radical portamenti which defy all quantization.

Previous episodes: http://rwm.macba.cat/en/probes_tag

Link: http://rwm.macba.cat/en/research/memora … on/capsula

Playlist: http://rwm.macba.cat/uploads/20130313/M … II_eng.pdf

The first electronic music studio in the Netherlands was founded in 1956 at Philips Research Laboratories in Eindhoven. This studio moved to the Utrecht University in November 1960, and was then called STEM (Studio voor elektronische muziek, but 'stem' also means 'voice'). Gottfried Michael Koenig became artistic director of STEM in 1964. Instead of just a studio, STEM became a large institution for production, research, education and preservation of electronic music that had a pioneering role in the development of voltage control techniques, algorithmic composition, digital sound synthesis and electronic composition theory. In 1967, STEM was named Institute of Sonology.

Frits Weiland, who was a staff member at STEM practically from the beginning, immediately understood the importance of setting up an archive. This analogue tape archive now is one of the main archives of electronic music, and contains master tapes from compositions produced at Philips starting in 1956, until the late eighties, when analogue recording techniques gradually disappeared.

Since I started to teach analogue studio techniques at the Institute of Sonology in 1993, I have felt a great responsibility for this archive. An important aspect of that responsibility is to have and maintain a set of top quality tape recorders that are capable to play back the material from the archive.

Digital transfers and reconstructions of early electronic music compositions have led to remarkable CD-releases with works by composers such as Henk Badings, Dick Raaijmakers, Tom Dissevelt, Edgard Varèse, Gottfried Michael Koenig, Luctor Ponse, Ton de Leeuw and Jan Boerman. However, the music selection for contains many unreleased treasures from the archive too. Kees Tazelaar, February 2013

If you enjoy this mix, you may also be interested in our interview with Kees Tazeelar: MEMORABILIA. COLLECTING SOUNDS WITH... Kees Tazelaar. Part I
http://rwm.macba.cat/en/research/memora … ar/capsula

You can find other installments of our series on sound collecting here:  http://rwm.macba.cat/en/memorabilia_tag/

Until now recorded in the Garden and a Theatre but searching form more places. I tried the Wassenaar city hall and the Dunes but the internet was not fast enough so I keep on looking.

Old episodes:
http://www.spreaker.com/user/4661582

New episodes will be announced on facebook on the spot 1 min before broadcast so be sure to follow me if you like the live broadcast:
http://www.facebook.com/bazreznik

Curated by Mark Fell and Joe Gilmore. Narrated by Connie Treanor.

Each episode of this series is followed by a special accompaniment programme of exclusive music by some of the leading sound artists and composers working in the field. This show presents two process-led works by American composer Keith Fullerton Whitman and Swedish artist Carl Michael von Hausswolff.

More info: http://rwm.macba.cat/uploads/20130325/C … .2_eng.pdf

00:01:11 Keith Fullerton Whitman 'Nadra Phalanx', 2012 (77'44'')

01:18:55 Carl Michael von Hausswolff 'Cairo IV (undone)', 2010 (28'13'')

Previous episodes: http://rwm.macba.cat/en/composingwithprocess_tag

Link: http://rwm.macba.cat/en/research/memora … ar/capsula
Playlist: http://rwm.macba.cat/uploads/20130311/M … es_eng.pdf

Produced by Roc Jiménez de Cisneros and Rubén Patiño

For several years, Kees Tazelaar (1962) has been the head of one of Europe’s most important electroacoustic music archives, but he shies away from the label collector. As he explains, his interests are informational rather than exclusive, and he has more of an archaeological urge than an urge to completion.

Tazelaar's artistic and academic career is closely linked to the prestigious Institute of Sonology in the Netherlands, one of longest-running research and production hubs on the European electroacoustic music scene. The Institute, which has been based at the Royal Conservatory of The Hague since 1986, was born from the ashes of the Philips Research Laboratories in Eindhoven in 1967, and inherited an extensive collection of tapes by electronic music pioneers in the Netherlands. As a result, the archive is an interesting snapshot of the burst of activity and experimentation that took place mid-century – not just in the Netherlands but also in many other studios around the world – under the auspices of universities and private labs (Bell, IBM, Philips), during a fascinating period of transition in which industry research into acoustics mingled with the early milestones of electronic music.

A composer and teacher (lecturer in Sonology since 1993 and Director of the Institute since 2006), Kees is also known for his work on the restoration and conservation of essential works of twentieth century electronic music. He has participated in reconstructions of works by Gottfried Michael Koenig, Jan Boerman (who taught him composition), Iannis Xenakis, György Ligety and Luctor Ponse, although his star project remains Edgar Varèse's 'Poème Électronique'. As an artist, restorer, administrator of the Sonology archive, and an expert in all things related to the history of the legendary 1958 Philips Pavilion, in this interview Tazelaar discusses the challenges of restoration, the limits of intervention and the concept of artistic responsibility in reconstructions, the importance of the medium and its maintenance, and digitalisation. And although he inevitably ends up circling back to the word collection every now and then, there’s no doubt that he uses it in the open rather than restrictive sense. Tazelaar’s approach is ultimately pedagogical, closer to the test tube or the microscope than the butterfly net or auction house. As we can see from ambitious restoration projects such as 'Popular Electronics: Early Dutch Electronic Music From Philips Research Laboratories' (1956 - 1963), his 2004 four-CD project that unearthed forgotten and unreleased works by the pioneers of early Dutch electronic music, Tazelaar does not stop at creation and dissemination, he also sets up links between generations which would otherwise probably remain cut off from each other.

You can find the complete series here: http://rwm.macba.cat/en/memorabilia_tag/

You may also be interested in the following podcasts:
MEMORABILIA. COLLECTING SOUNDS WITH... Kenneth Goldsmith. Part I
Kenneth Goldsmith, founder of Ubuweb, takes us on a journey through his personal history as a collector of sounds that spans from his childhood to adult life and the creation of Ubuweb.
Link: http://rwm.macba.cat/en/research/memora … th/capsula
SON(I)A #168. Wolfgang Ernst reflects on the possibility of going beyond the concept of the archive by exploring some of the practices around what is now being called the 'anarchive'.
Link: http://rwm.macba.cat/en/sonia/wolfgang_ernst/capsula

This is where pitch becomes weightless and all that is solid melts into air: futurism, noise, electricity, ecstasy and uncertainty. We look at the lure and power of sliding tones.

Link: http://rwm.macba.cat/en/curatorial/prob … r_/capsula
Playlist: http://rwm.macba.cat/uploads/20130221/Probes3_eng.pdf

In the late nineteenth century two facts conspired to change the face of music: the collapse of common practice tonality (which overturned the certainties underpinning the world of Art music), and the invention of a revolutionary new form of memory, sound recording (which redefined and greatly empowered the world of popular music). A tidal wave of probes and experiments into new musical resources and new organisational practices ploughed through both disciplines, bringing parts of each onto shared terrain before rolling on to underpin a new aesthetics able to follow sound and its manipulations beyond the narrow confines of 'music'. This series tries analytically to trace and explain these developments, and to show how, and why, both musical and post-musical genres take the forms they do. PROBES #3 continues to explore probes into pitch, this time through its effective obliteration through ceaseless movement, sliding tones, and radical portamenti which defy all quantisation.

Transcript (PDF): http://rwm.macba.cat/uploads/20130206/0 … pt_eng.pdf

You can find the previous installments of this series here: http://rwm.macba.cat/en/probes_tag

Link: http://rwm.macba.cat/en/curatorial/inte … eb/capsula
Playlist: http://rwm.macba.cat/uploads/20130211/1 … ns_eng.pdf

It all began for me in Saginaw, Michigan, where radio was the primary portal to instantaneous information in the world. A decade before satellite TV emerged and approximately thirty years before the internet transformed the way people receive their news and entertainment, my father bought me a cheap portable radio with shortwave, weather, police, and AM/FM bands. I was nine years old. I had other radios to listen to, but this one was different. It offered me more than the standard AM medium-wave frequencies which dominated the device in the sixties (FM was insignificant at the time). I was captivated with the possibilities of shortwave reception and so began my obsession with the radio. For me it was an explosive, vital source of an almost endless variety of sounds. Combine this fact with the ever-changing reception possibilities of geographic movement and it could be argued that the radio is the most unique and resourceful electronic sound instrument ever devised. By 1980, I was experimenting with sound collage, utilizing snippets of television and radio sounds incorporated with my original music and field recordings.

In May of 1983, I traveled to Marbella, Spain, with my brother and a friend. The plan was to spend a few weeks in a flat owned by a cousin and then move south to Morocco. We spent the days busking the streets with guitars to support our food and drink. In the evenings I would scan the local radio. I began to record snippets of music from Radio Tangier International from Morocco, which I was receiving in Spain on a portable cassette radio recorder. The variety of music they were programming was astounding: jazz and be-bop, Egyptian and Lebanese orchestral classics, Moroccan folk music, Indian film soundtracks, late sixties psychedelic rock, French chanteuse, etc. I had never heard anything so diverse transmitting from one source. After recording selected songs, I began capturing the commercials, bumper music spots, station IDs and news broadcasts. This process continued as I crossed the strait of Gibraltar and landed in Morocco where I spent the next two months.

Listening to local radio stations is a logical and effective way to immediately tap into the possibilities of what music styles exist in a country or region. My original intention of recording radio was to capture a snippet of a song so that I could play it for a clerk at a local record store to find out the artist name and song title and then purchase that album or cassette. As I began to record radio segments consecutively onto cassette, I noticed there was a strange, yet beautiful and informal sound collage being formed. Then I began manipulating the radio for this effect intentionally. My aim was to create audio collage in real time, although I eventually became quite adept at editing segments together (Radio Algeria has more than 70 cuts, Radio Sumatra over 100 edits). Radio Morocco was the first collage I assembled in the regional/national radio source format. After recording many hours of meticulously selected audio, I simply sequenced my favorite segments together to form an hour long mix which I felt represented the most satisfying listening experience for me. I had no idea that, 21 years later, it would become the first commercially released locale-specific radio collage. I employed a combination of AM, FM and shortwave broadcasts which featured everything from local Berber music to popular Moroccan and Egyptian songs and international news stations like the BBC, Radio France, and Radio China.

You can find the previous installments of this series here: http://rwm.macba.cat/en/interruptions-tag/.