Radikal Sounds: The Self-Organization & Politics of DIY Sound in Greece

Radikal Sounds is a self-organized sound collective based in Greece, founded in December 2021. The collective’s mission is to share knowledge about using audio equipment (for recording, organizing concerts, etc.) and sound processing, which are essential to the creation of DIY punk music.

Additionally, beyond just recording bands from their local scene, Radikal Sounds are passionate about organizing workshops, film screenings, and discussions that explore radical ideas and viewpoints on sound and music. For collectives like Radikal Sounds, embracing Do-it-Yourself and Do-it-Together is not just about rejecting the overt commercialization of music; it’s also about fostering a self-managed, anti-capitalist stance against mainstream culture and social hierarchies.

So far Radikal Sounds has worked on releases by bands we have already reviewed or mentioned on our website, such as Manestra, Morgan Freegan, Υvridio, DEEPxCUT, and Χωρίς Θάνατο (review of their debut album coming soon!).

This conversation is part of a larger series of interviews in which we look at how various self-organized studios and recording collectives operate while staying true to the core punk ethos. The first two installments shed light on the British punk scene, with conversations that featured punk veterans Bri Doom (Studio Black Cloud) and John Youens (South London Punk Collective).

Now, we turn our attention to Greece, diving into one of the most politically active and radical segments of the European DIY punk scene.

Can you share the story behind the formation of Radikal Sounds? What inspired you to come together and focus on DIY sound production?

To give a better perspective, it is crucial to mention that Radikal Sounds consists of two people (as a core). We are Tsili and Vasili. The origin of Radikal Sounds is connected with the recording of Manestra’s release. Tsili was part of Manestra and Vasili was a close friend to the other two band members. We were both sound engineers to different degrees. Tsili took over the recording part and Vasili was responsible for the mixing and mastering of the release.

We had a lot of fun with the whole process, but we were also very happy and excited with the result, so we decided to continue in a very natural way by creating a self-organized structure. We do not know if there are or were similar groups, but at least to our understanding such groups were missing from the DIY scene.

How do you define the mission of Radikal Sounds and what are your long-term goals for the collective? How do you see your place as part of the Greek DIY scene, which has always been very political and self-managed?

This question helps us to clarify what we mean by “such groups were missing from the DIY scene”. We think that what distinguishes us from other DIY groups are the objectives of Radikal Sounds. These objectives are divided into three parts.

First, there is a significant dependence on people with “expertise” or professionals to produce a record or even organize a DIY concert. So the primary goal is to spread knowledge about sound in general, to eliminate this dependency and to make the DIY scene self-sufficient (at least eventually). We live in a time where all this knowledge and stream of information is easily accessible online, although we feel it is important to communicate this knowledge in a more vivid and collective way, such as workshops or meetups.

Secondly, we want to give DIY bands and artists the opportunity to have access to proper equipment and generally make the whole production process more accessible. For example, one obstacle a person or band may face is the cost of recording and producing their own music.

Finally, we want to create a network of people interested in DIY sound that will help us decentralize the way we work, while creating relationships of mutual aid on the projects we work on.

We are lucky to have inherited a DIY culture that has paid a lot of attention locally to the anti-commercial aspect of the punk ethic. It is important for us to keep this politics alive in our scene.

You’ve recorded and mixed a number of great DIY punk records by Greek bands, some of which we’ve reviewed in DIY Conspiracy. Can you give us an overview of your process when working with bands and the resulting releases? Were there any specific challenges like technical problems or conflicting visions with band members?

The process is pretty straightforward. First, we meet with the band members and have a discussion about the political standards our group has established. This includes reviewing the lyrics, as we do not want to promote any kind of discriminatory speech. If these standards are met, we move on to the recording stage. There is a lot of thinking that goes into this stage. What equipment will we need? Do we have that equipment? If not, are there other groups or people who can lend it to us? Where will the recording take place? What aesthetic are we going for? Etc. Of course, this discussion will be accompanied by recommendations for the band on how to prepare for the recording (setting up their instruments, changing strings, etc.).

Recording takes selection, mixing, and mastering involves a lot of back and forth communication with the band. In general, we try to make the whole process from recording to final release a collaborative one. We try to involve the band as much as possible and explain every aspect of the process. Of course, this is not always fully possible, as the whole process is time sensitive and explaining everything can take a lot of time, which unfortunately is not always available.

Regarding your second question, the work of a sound engineer revolves mainly around technical challenges and problems, so yes, we have encountered several problems. However, it was never such a big problem that it ruined the whole recording session (yes, once we forgot to record a kick drum, but it was not noticeable! Hah!), but it makes us really happy that our work and skills are getting more and more accurate to what we want to achieve with each project. Also, we never had conflicting visions because that is something that is discussed at the very beginning.

Tell us about the costs involved in your project and the usual costs for bands to record, mix and master a record in Greece. What do you think about donation based (so called Prix Libre) shows, festivals or even band merch and records? How would you define anti-capitalism in punk and music production?

A rough cost for recording, mixing and mastering per track in the market would be around 150-200€ (and this is on the cheap side). Of course this is not the case with Radikal Sounds. We fully support the donation based system and this is how we work. There is no fixed price for “our work” as we don’t consider it “paid work”. The donations from the bands we work with are used to purchase equipment for future recordings or for workshop needs. We do not profit from what we do as a group, nor do we intend to.

Based on the above, since bands do not have to break the bank to make a record, combined with the political aspect of “no profit”, we have extensive discussions about the price of the released digital or physical copies. A bare minimum is that all digital copies must be available for free or with a free donation (the free option must always be available). Regarding physical copies, each medium has a different cost and we cannot ignore that. In this context, we are still trying to promote the free donation scheme, although this has never happened so far (yes, everyone we have worked with is GREEDY! Or just poor—like DEEPxCUT! Hah!). In most cases it is agreed that the physical copy should be sold for about the same price as it costs.

Understandably, money is involved in every aspect of our lives, and this is a huge barrier for most. Donation-based systems minimize this barrier to some extent by not excluding people who can’t afford to pay (like DEEPxCUT).

We do not profit from what we do as a group, nor do we intend to.

What types of audio equipment and sound processing techniques are central to your work? Can you tell us about the equipment and backline used in squats and self-managed spaces in Greece? Is it mostly second-hand and repaired stuff, do the bands usually bring their own backline to the shows, etc.?

The first part of the question can only be answered in general terms. The main difference between a recording session and a concert is the need for an external sound card to record the signal from each source (microphone, instrument, etc.) and process it with a DAW (Digital Audio Workstation). The main focus when recording is to get the most accurate and clear signals from the sources (amps, instruments, drums, etc.). You can save a lot of mixing time if you do a good recording from the start, and it will certainly sound better.

The idea of “fixing it in the mix” is something we like to avoid saying. Because the mixing of these signals is done post-factum, the processing techniques that can be used are limited only by the resources of the computer. We mix everything “in the box,” meaning we rarely use outboard effects, so everything happens inside the computer.

In a live situation, most squats and self-organized spaces that organize concerts do not have access to high-end equipment. High-end equipment costs a lot of money, and it is not needed, as cheaper equipment can still fulfill the scope of events. So don’t expect fancy digital mixing consoles, stacks of sound systems, or a collection of monitors. And based on that, basic equalization and sometimes compression is more than enough.

The equipment that is used is, as you said, used, repaired, or donated by a person. It is not uncommon to find do-it-yourself equipment, such as speakers. It is also common to rent equipment if the available equipment does not meet the needs of the show. Some recent shows we have attended have seen the introduction of digital mixing consoles and the use of tablets to control the mixers. In a DIY context, this is the most advanced technology related to sound that we have seen.

Following on from the last paragraph, there is a lot of planning involved in organizing shows, both by the organizing collective and the bands, in order to gather the necessary equipment. So it is not uncommon for bands to bring their backline or part of it and share it with the other bands.

Could you tell us more about the workshops and educational initiatives you organize? What are some key skills or knowledge you aim to impart? Did you learn everything by trial and error or have you had any formal training in sound engineering?

So far we have organized only one workshop related to cables for audio signal transmission. The greater scope is to organize workshops that can cover the basics of any aspect of sound. Like mixing, recording, acoustics, equipment, etc. We have a lot of ideas for the next workshops (acoustic treatment, drum mixing etc.).

However, having an idea is easy compared to the work needed to make these workshops possible. More precisely, we are trying to have a specific format for each workshop. A presentation of the theory followed by questions leading to the practical part of the workshop. Finally, the aspects covered in the workshop should be accompanied by a brochure. Each step is time consuming in a different way. Writing the brochure requires a lot of research. The presentation needs to be simplified and explained in a way that is understandable to everyone, whether experienced or not. In the end, organizing the practical part of the workshop takes a lot of planning.

We have very different backgrounds in sound engineering. I am self-taught, while Vasili had the privilege of studying at an academic level; sound engineering and sound studies. However, nowadays the web gives easy access to information. So theoretically you can study anything if you have the ability to filter out false information, which requires some experience, and to connect the dots as different parts of the knowledge are in different parts of the web.

Can you share some resources for people who book and organize shows, but don’t really know how to operate with the backline, all the cables, mics and the mixer at shows? How difficult is it for someone with no prior knowledge to learn how to make a good live sound for a punk band?

Of course, this question cannot be answered in a few paragraphs. As mentioned before, the web is an unlimited source of information. A person just needs to search (and find) the right things to focus on.

An oversimplified guide is to become familiar with these concepts:

• Audio signal levels and which cables to use for each (covered in our first workshop, unfortunately the brochure is only in Greek).
• Microphone type and placement based on the source.
• When to use DI and phantom power.
• Audio signals flow from source to monitors and PA.
• Gain staging.
• Equalizer and which frequencies are important for each source.
• Dynamic processors (compression, gate etc.)

A person with a basic understanding of the above concepts can handle most gigs. The difficult part is gaining the experience needed to mix a show on the fly. With experience, this is also possible.

What are some other DIY sound collectives, recording studios and similar projects in Greece that you would like to mention?

Without wanting to underestimate any collective, we would like to mention just one, as it has a direct connection with Radikal Sounds. We would like to thank the self-organized studio Mihani (μηχανή = machine), which can be described as one of the most important studios for the DIY scene (and more) in Thessaloniki.

Unfortunately, after more than 20 years of operation, there is a great chance that it will come to an (anticlimactic) end due to the rapid gentrification of the area in which it is located. So far, all recordings of Radikal Sounds have been made in this very studio.

What’s your favorite format for listening to music? Vinyl, tapes, CDs, downloads, or streaming? And why? What are some of your favorite punk records of 2023, both in terms of sound production and political message?

Tsili: My favorite format is vinyl. The main reason is the ritual that needs to be followed, which makes me actively listen to each album instead of using it as background noise. 2023 has been extremely busy for me and I’m ashamed to admit that I haven’t really had the time to listen to many albums, at least actively, so I’m going to widen the scope to “all time”. My favorite album based on sound production is Fifteen Counts of Arson by His Hero Is Gone and based on political message Γενιά του χάους’s self-titled.

Vasili: Personally, I love vinyl as well. I like the way it sounds (often less compressed mastering and rounder bass frequencies), although not every release sounds better on vinyl to my ears. Also, the feeling, the ritual behind playing a vinyl record, and the fact that you most likely want the music on a vinyl record for yourself, adds a special meaning to the experience of the listening session.

On the other hand, I usually discover music through streaming platforms, and if I really like something, I download it to properly categorize it in my collection so that I can listen to it again in the future.

As for the 2023 punk records, I haven’t listened to a really good one, although I have to admit that I’m a bit tired of punk nowadays, hahah. It feels a bit too repetitive while lacking fresh ideas. What shocked me in 2022 though, since we are talking about good punk releases, was SOUL GLO’s Diaspora Problems. 10/10 for me. Production, musical ideas, politics. That’s the shit.

These days I am also really into Melt Banana’s Fetch album. Killer record. Oh! And the first half of the new Loma Prieta was nice! (here’s your 2023 record hehe)

More information about Radikal Sounds is available at their blog (English and Greek) and Facebook page.

Source: diyconspiracy.net