Archive for the ‘ORE’ Category

An interview w/ DaveX

December 14, 2010

Episode 42 of the “Ore: Theatre Intangible” podcast features an interview with yours truly, as well as an opportunity to hear my solo set from this year’s “Circuit Benders’ Ball.” I share my unique and spastic methods of music-making, some ideas about sound, and even recommend some cool new albums. You should listen!

Ore: Theatre Intangible, E042

Circuit Benders’ Ball live footage

October 31, 2010

Here’s some video from the live Theatre Intangible set– obviously, you couldn’t see the circuit-bent Sega video behind us in the podcast– now you can! However, if you want the high-quality audio, you’ll need to download it here.

Circuit Benders’ Ball live improv– “Rust Bubble”

October 26, 2010

It’s taken me a while to mentally return from this weekend’s “Circuit Benders’ Ball” in Nashville, run by Ore: Theatre Intangible host Tony Youngblood. There were a number of terrific sets; I particularly enjoyed those from Robbie Hunsinger, Thriftstore Boratorium, Tim Kaiser, and Freya West. I’m not certain my own set was quite up to par, but seemed have been well-received regardless.

Capping the evening, however, went particularly well. I was invited to participate in a group improvisation with Tim Kaiser, Thriftsore Boratorium, Jeremy Walker, and Lola Wilson. I decided early to avoid a classic “Ore” pitfall, and keep my contributions relatively simple. Given that I had taken “Lawrence Welk’s Secret Shame” to the Ball as my instrument of choice, I knew that I would only be able to go so far in battling it’s rhythmic nature in an improvisational setting. I’ve found ways to extend it’s performance capabilities, but providing a steady beat is basically the heart of this device. That’s why I was pleased to discover ways to employ its natural electrical hum in useful ways during the opening portions of the improv session. What you’re hearing deep in the background is the rising and falling swells of electrical hum of the machine, bounded by rhythmic body contact touches altering the tone in subtle ways.

Later on, some audience members helped provide some additional tonal control, helping extend my circuit through their bodies. We got some great sounds, and made the whole bending process a lot more fun.

At any rate, be sure to listen to the recording. Tony got a really good capture of the audio, and did a fine job mixing everyone live. If you like it, download a copy for free and share it with a friend. Enjoy!

Want to hear me talk about tooth pain?

January 11, 2010

I know you do! That’s why you’re going to scoot over to the ~Ore~ Theatre Intangible site, and download a free copy of “The Sound of Teeth,” in which I provide the narration. After you check it out, be sure to drop back by here and let me know how much you enjoyed my Jimmy Stewart impression.

~ORE~ History, pt.2

December 18, 2009

If you’ve been reading my blog for any length of time, you’ll know that my first radio show was ~ORE~, which I co-hosted for two years with Tony Youngblood. Lately, I’ve been exploring the history of WDBX-FM, but Tony’s most THEATRE INTANGIBLE entry got me thinking about digging back into the history of ~ORE~. You’ll want to read the sister entry (fact: like ships, all blogs are female) before continuing here.

I’ve been with ~ORE~ in one fashion or another since it got started, at Southern Illinois University’s WIDB radio in 1998. By that time, I was a confirmed music obsessive, but I had yet to do anything with radio. Tony’s on-air collages caught my ear, and I started helping him compile raw material each week, which we would sift through during the live broadcasts. More often than not, the results were something of a trainwreck– but I gradually began to realize that I was building my listening skills, learning to improvise in a sound environment, and getting a serious education in composition as well. In effect, ~ORE~ was like experimental music bootcamp. The grind of producing a new episode each week with zero budget, amidst a full college workload was often intense. But ~ORE~ opened my mind to the possibilities of radio and music in ways that I hadn’t thought possible. I distinctly remember pitching one show idea to Tony that would take place entirely in engineering, re-routing cables and signals to see what would happen to the broadcast signal. Although we didn’t ever go through with this (admittedly rather hazardous) idea, the concept of multi-layered improvisation existing at all levels of the radio chain stuck with me– we could alter the music, we could alter the broadcast, we could alter the radios receiving it, we could alter the listeners… and they could alter us. The possibilities were simply staggering.

Tony and I had apparently soaked up Wu-Tang Clan’s greatest lesson, too– make it a franchise. Thus, the original ~ORE~ was endowed with “Prefab Audio Extrapolations” as a tagline. Even while fighting to keep up with a one-hour weekly broadcast, we were thinking of the future! At times, it seemed like anyone who was listening was actually AT the broadcasts, or helping make them. Although we were doing something amazingly different on the SIU campus, we didn’t exist in a bubble. Flyers and chalk were our outreach. Wednesday nights, we’d gather under the dim yellow lights of Faner Hall, and begin our amazingly huge chalk runs. We got our friends and family into it with us, making teams to cover as much of the 900-foot length of the breezeway as possible before the chalk bucket ran out. By morning, Faner was a pastel mess of dogs and cows spouting absurdist essays extolling the virtues of experimental radio, mixed with the inevitable Xeroxed flyers cooked up special for the occasion. Although the flyers rarely made much sense, we knew that they would reach others like us– weirdos, makers, noise-enthusiasts, record collector scum, freaks… our people.

When Tony graduated, I tried to carry on with ~ORE~ as best as I could. Now having found myself in the somewhat ironic position of being a more senior member of WIDB (I found this funny, because I had never officially joined), I made some effort to have a positive effect on the greater course of the station. But WIDB was floundering and directionless– and worse yet, it was splitting into two “factions”. On one side, WIDB had a core group of specialty-show DJs and music fans who were happy to continue WIDB’s long tradition of broadcasting in an oddball college radio format. They recognized that the freedom we were allowed for selecting our music brought with it a responsibility to showcase recordings and artists outside the mainstream, something that a commercial station cannot often do. On the other side, there were those who wished to emulate these same commercial stations, rendering WIDB little more than a warm-up “practice” space for those seeking jobs in corporate broadcasting. Worse yet, they wanted to cede more and more time to the automated programming, and were removing the specialty shows one by one.

The climate was rough, to say the least. WIDB had re-branded itself as “The Revolution,” an insipid and hollow slogan ironically describing whole days filled with nothing but a computer playing mp3 files in the back room for the bored, captive audience in the Student Center. I took to showing up at random times, shutting the PC off, and broadcasting miniature shows for anyone who would listen. Other DJs also stepped up to the plate– I heard others interrupting the automation as well, discussing the change over the air, or refusing to play the nonsense dictated by new programming rules.

But eventually, it got to be too much. I was tired, and ~ORE~ was beaten. I’d seen the new programming schedule, which literally crowned the station manager victorious by awarding him my old time slot. It reduced specialty shows by more than half, pushing them entirely to the weekends. The “Quiet Storm” broadcasting, which was arguably our most popular offering, was slashed dramatically. This was bizarro-world WIDB, and I wanted no part of it. On the night of the last ~ORE~ broadcast, the senior staff of WIDB was taking part in a pep rally on campus, attempting to out-shout other student organizations to show their spirit. I couldn’t think of a more fitting end to my days with the station– playing my favorite tunes to a dark student union, while the staff screamed about how amazing we were. After my last record was over, I posted some flyers to announce the occasion… and ~ORE~ Prefab Audio Extrapolations was dead.

Here’s some early flyer art for ~ORE~, and a bunch of other photos besides. I’ll do my best to explain them:

This was the core of the ~ORE~ family. I always liked this flyer, and felt that it represented us all well. Our “Mysterious DJ” was Will Bernel, AKA DJ Shad, AKA Willie Dynamite. I owe him a lot as a fellow DJ, and would love to chat with him again sometime!

This flyer is one of our “stealth” postings. Our flyers were often torn down by a campus Christian group, so I’d try to hide them in plain view for longer shelf life.

I love this one– “who gives a shit about our soundless room?!” Be sure to click these to see them large, okay?

On the surface, this one makes no sense whatsoever. In actuality, it describes the exact plot of “Doug’s Party,” our most infamous episode.

I re-worked the dialogue in this flyer many, many times, even employing it later at WDBX-FM.

I made this flyer in January of 1999, long before Franz Ferdinand would rip me off, lol.

Open these windows in a new tab– here, heeere, and heeeeeeeere— to see more of my flyer art!

Here’s Matty Smith, the station manager who was intent on turning WIDB into a total shitpile. As you can see, he was a complete tool. I got him to pose with a sign that had been posted at WIDB since I arrived, allowing me to subtly alter the content for greater veracity. Also present– a very young DJ Mo!

Here was Matty’s proposed schedule. See all the “pre-programmed” stuff? YIKES!

Long Live ~ORE~

I’ve got to imagine that WIDB is a different place now. New DJs, new ideas, and a couple solid webstreams have seen to that. Do yourself a favor and check them out— tell them DaveX said “hi”.

Theatre Intangible website goes live

December 14, 2009

My former ~Ore~ co-host Tony Youngblood has gone live with his THEATRE INTANGIBLE website, which will features downloads of ~Ore~ recordings and news about Nashville’s emerging avant-garde arts community. I have a long history with ~Ore~ so I’m naturally excited to see it finally have a place on the net– go check it out this afternoon. If you happen to be in the Nashville area, be sure to leave Tony a comment, too.

“Ore: Theatre Intangible” threatened at WRVU-FM! (and how you can help out)

July 28, 2009

Vanderbilt’s WRVU-FM has removed “Ore: Theatre Intangible” from the station schedule this week, completely stripping experimental music and sound art from their broadcast. The show, hosted by my good friend and former co-host Tony Youngblood, has been one of WRVU-FM’s most-active and participation-friendly broadcasts at the station since 2007. It almost goes without saying that it was one of a very few places for experimental musicians and enthusiasts to hear such sounds– and in the samey, corporate, pop country BS behemoth city of Nashville; “Ore” brought a desperately-needed infusion of new ideas.

Mikil Taylor, WRVU’s general manager (i.e., wet blanket), cited “sexually offensive comments” as cause for Youngblood’s dismissal. Here is his letter:

“It has come to my attention that some serious programming violations occurred during your show last night, violations I have verified. As you should have known, DJs are expressly prohibited from making sexually offensive comments on air, or knowingly allowing such comments to occur. Thus, I have no other course of action than to remove your privileges as a DJ at WRVU. Please note that you are no longer able to enter the station, and are no longer welcome at WRVU.”

Here’s the catch– WRVU has a 3-second delete system in place, which allows DJs to catch and remove fleeting obscenities from broadcast. Punch a button, and the delayed signal is clipped out before ever reaching the station’s transmitter. It’s a dumbshit device to be sure, only made necessary by dumbshit listeners too stupid to turn the radio off for themselves, and beloved by the dumbshit politicians and FCC chumps who have helped to create an environment of self-censorship in radio for decades. Still, Tony was aware of station policy. Like me, he’d rather live to fight another day– broadcasting experimental music is usually thankless enough without fighting a second front against censorship!

In short, he rode that delete button like a champ. Unfortunately, what Tony didn’t know is that the delete system only affects the transmitted FM signal… not the archived, antiquated RealAudio stream WRVU insists on using for its online broadcast.

Tony hoped an explanatory reply would be enough to reverse his dismissal, but I wouldn’t be writing all this if it had been, would I? Here’s his letter to Taylor:

“The only conclusion I can draw is that you must have reviewed the show from the RealAudio archive, which is not routed through the 3 second delete button in the signal chain. I know this because all of the examples of violations you mentioned were deleted by me with the 3 second delete key. I just listened to the archive to confirm that it does not delete the deleted sections. I also just called a friend who listened to the show via radio, and he confirmed that the sections WERE deleted in the radio feed. Another friend recorded portions of the show from his radio, and I can try to get a copy to prove when the delete key was hit if you’d like proof. This also suggests the very-disturbing possibility that every hit of the delete key in recent station history goes through the RealAudio link uncensored.

Every other week my show is a live freeform improv. I attempt to showcase the provocative, and the groundbreaking, but never the inappropriate. Most of the weeks, the improv is instrumental with no voices; but on rare occasions I develop a concept that involves voices. This particular show was intended to be a simple call in show with a very fascinating and interesting personality. Dave Cloud is somewhat of a local legend. If you’ve ever seen him perform live, you know how entertaining and challenging his act can be. I was attracted by his colorful character and thought he would make a fascinating participant. I very rigorously counseled Dave Cloud and the other performers before the show about what was appropriate material. I even brought up the story of the DJ’s who got kicked off the air because of discussing a “dirty sanchez,” telling my guests that it wasn’t enough to not say the 7 dirty words, that they must also not make sexually suggestive remarks.

That being said, a live call-in show is much more difficult to control than a dj set. Early on I could see things were getting out of hand. I had two options. I could end the show early and dismiss the guest performers or I could ride the 3 second delete key. I chose to ride the delete key. If you had an air-copy of my show for review, you would see that I used the delete key at even the smallest hint of inappropriateness. The delete-key notwithstanding, you might say that the more prudent decision would have been to end the show early or avoid a call-in show with such a risky guest. You would be correct. That is, of course, much easier to see in hindsight. Still, I made an error in judgment, and for that I am sorry. However, there is a big difference between an uncaring dj who has no regard for the rules and a rule-abiding one who made one mistake out of a hundred shows and tried to correct it.

I have been a dedicated and contributing dj for over two years at WRVU. No one values their show more than I do. I always take great care to leave the station in better condition that I entered it in. I contribute headphone adapters, ipod adapters, and mic clips when the station ones go missing (as they seem to do quite often). I pride myself in delivering a niche of music that is not otherwise being represented and in witnessing a growing experimental community that I helped build. I would never intentionally jeopardize that which means everything to me.

I was chief engineer at my college radio station WIDB in Carbondale, IL. I understand that complaints must be taken very seriously. When the station license is at risk, one must err on the side of caution. Better I lose my show than WRVU going off the air. Still, I stand by my claim that you cannot judge the over-the-air contents of my show by review the RealAudio feed (which does not preserve the muted sections). For proper review, we really need to hear an over-the-air copy. Yet, I could have used better judgment.

Therefore, I suggest a compromise. Suspend me for a month, a semester, even a year if you see fit. It would be a hardship, but much less distressing than losing my show entirely. If a complaint was made, the complainer would be appeased; and I would be able to return to my show with the commitment to never let something like this happen again. My show is not only valuable to me, but it serves a vital purpose in the community. It is a refuge and a conduit for experimental, avant-garde, drone, noise, and outsider musicians in the community. If it comes to it, I know I can count on support from participants, community members, and fellow WRVU djs with letters and e-mails addressed to the WRVU staff and advisers.”

In fairness, and without getting too much into specifics about the show, Tony DID make some mistakes. Number one, he invited someone on his show that didn’t care about WRVU as much as he does. I’ve had that problem before as well, though I handled it somewhat differently. That’s Tony’s second mistake– he should have booted the fucker, and played a CD. Better to have a crummy episode than no broadcast at all. Still, he TRIED to fix these things. Out of his many, many broadcasts, this is a true outlier– anything but a repeatable pattern of broadcasting abuse.

Since the dismissal, a lot of little electronic nastygrams have been floating back and forth, with hurt feelings on both sides. But you, dear listener, have still got a job to do. Write an e-mail and let Taylor know where you stand. Tell him that you prefer experimental music remain on the air at WRVU-FM, and that Tony deserves a second chance. Do it today, and maybe we can get “Ore” back on the air!

Here’s the relevant e-mail addresses and contact information:

Mikil Taylor
General Manager, WRVU

Sam Parler
Programming Director, WRVU

Jim Hayes
Assistant Director of Student Media, Broadcasting

Chris Carroll
Director of Student Media
offensive comments

Liveblogging! Commentary for “ITDE” 6/27/09

June 27, 2009

We’re live!

VNC — Fight/Destroy/Ambulance
VNC — Your Heart Cannot Stay Asleep
VNC — Field of Anchors
Andrew Coltrane — Death Letter
The Raytownian(s) — We Are In A Corporate State (pt.2)
Belltonesuicide — Your Mouth is an Open Sore
blanco estira nuestro (+) hermana Helice — position lines within an afternoon movement
Fried Marlenstahl — Etude pseudo-electronique #1
NXP — Spiders
Rez Epo — Seen Her in the Very Heart of the Ocean
Hanson Ono — Incomprehensible Frustration
Death Factory — Memorial
Douglas Ferguson — v96+7gDL
Melissa Lovely & Justin Waters Here and Thereian Duo — DIY ask DIY
Pony Payroll — Nah
Karthik Kakarala, DaveX, Tony Youngblood — LIVE @ WDBX-FM, 6/27/09
BIOS — After the Universe Consumes Us All the Singularities Felt Particularly Useless
Conure — Hobart
Jeff Gburek — Kreuzberg–Neukoln–Kleve
Praey — LIVE @ WDBX-FM, 6/27/09
Jeff Gburek — Grace-Hollogne-Liege
Yoshihide Sodeoka — Video Metal, “Evil Erector”
Yoshihide Sodeoka — Video Metal, “Psychedelic Death Vomit”
Yoshihide Sodeoka — Video Metal, “Electric Hair Doom”

I, Phone

June 1, 2009

My good friend and former co-deejay Tony Youngblood hipped me to the free download of one of his latest ~Ore~ broadcasts this morning, an all-iPhone-app improvisation experiment originally broadcast this April 26th, on Nashville’s WRVU-FM. It’s called “I, Phone” and I’m sure you’ll enjoy it.

From the ~Ore~ episode guide’s description:

Here we have six performers playing apps such as, RJDJ, Balls, The Zombietron, Brian Eno’s Bloom, the Thereminator, Mobile Synth, SpeakEZ, Ocarina, iPhone voicemails, Bebot, and more. William Davis from Oh No It’s Howard, his friend Brian Zimmerman, Ryan Adams from Sunshine Bros., Pimpdaddy Supreme, Irony from Nerd Prom on WRVU, and myself make one hour of pure iPhone goodness.”

Of course, experimental music obsessives will want to visit ~Ore~’s MySpace page as well– there are download links for many of the broadcasts, many of which are in the classic ~Ore~ model of an extended improvisation based on some bizarre theme. Some of my favorites:

“Good Sir” — Storytelling and weird music collide in slow motion. Listen gets to decide, success or failure?

“Turn the Page” — Wherein six vocalists find their behaviors controlled by inert objects. Namely, a stack of action cards making odd suggestions.

“Random and Nameless” — Maybe you have to be an ~Ore~ vet to dig this one, where all hell breaks loose and everything goes pear-shaped. Amusing for listeners, but probably a gut-wrencher at the time. Also notable for holding the current “most participants in-studio simultaneously” record.

It’s Too Damn Startling #6!

January 5, 2008

I missed contributing my “It’s Too Damn Startling” guest portion of Tony Youngblood’s “ORE Theater Intangible” last week, as you may have noticed. This week, I’m back with a nearly twelve-minute blend.

For this mix, I chose to work with the theme of human reaction to tragedy. Starting things off is Potpie’s “Blues for the Lower 9,” on “Proud To Swim Home,” a compilation from the New Orleans-based Backporch Revolution label.

An extract from Darren Copeland’s “They’re Trying to Save Themselves,” found on his Empreintes Digitales release “Perdu et Retrouvé,” follows. Constructed from recordings of news broadcasts made during the 9/11 attacks, Copeland’s composition is among the most heartrending works I’ve ever encountered.

Pogus Productions artists Dimitri Voudouris’ “Praxis” is the third piece, heard here in extract from the full 14’30” work. “Praxis,” meaning action, is partially created from a damaged recording of a memorial church service dedicated to the victims of Croatian genocide. As an example of a highly-complex electroacoustic composition, listeners need look no further– “Praxis” utilizes 556 separate “sound compartments,” each individually constructed and edited.

Finally, the mix closes with “Some Vowed Abstinence,” a disturbing track from the Edgetone release of “The Generation of Our Grandfathers.” Inspired by a documentary of the Nazi-era law which would lead to homosexuals being imprisoned and murdered by the German state, Conure’s album is an excellent (and sometimes reactionary) sound companion to the sense of absurdity and disbelief learning of such things can engender.

You can download this edition of”It’s Too Damn Startling” now, or catch it live Sunday morning from 2-4am on WRVU-FM, Nashville.

It’s Too Damn Startling #5!

December 23, 2007

I’ve just uploaded the 5th edition of “It’s Too Damn Startling,” my regular contribution to Tony Youngblood’s ~ORE~ Theatre Intangible radio show. You’ll definitely want to grab this one!

Going into my fifth edition, I decided that I really didn’t want to work with a lot of materials. I’d had a conversation with fellow WDBX-FM deejay Nick last night regarding my microsound leanings, and of my own temptations about working ever deeper within the waveform.

Of course, I’ve also been doing a fair amount of thinking about Stockhausen, as I have been taking a more active approach to hear many of his works of which I am unfamiliar. I decided to take a very small sample of one of Stockhausen’s works, and use it as the basis of a larger piece.

Following this rather vague plan, I ended up using a little less than two one-hundredths of a second of Stockhausen’s “Helikopter Streichquartett” as the sound source for a 3′ 33″ work of pulsing, chattering sound evolution. I’m quite pleased with it, and hope you will be as well.

You can hear “It’s Too Damn Startling #5” when today’s broadcast airs live from 2-4 AM, this December 23 on WRVU-FM. However, if you have plans to be handcuffed and left for dead during this time, you may download It’s Too Damn Startling #5 at your convenience upon rescue.


It’s Too Damn Startling #4!

December 16, 2007

I’ve uploaded the 4th edition of “It’s Too Damn Startling,” my continuing to Tony Youngblood’s ~ORE~ Theatre Intangible radio show, which airs live from 2-4 AM, this December 16 on WRVU-FM.

This week, Tony has no pre-conceptualized theme, so I thought I’d play with the idea of going into things blindly– which also perpetuates my approach to this morning’s “It’s Too Damn Early” broadcast.

For this short mix, I utilized extracts from some of the tracks I broadcast this morning, with the exception of Neil Rolnick’s “Breathing Machine,” which I had not used earlier. Selecting my extracts purely from the appearance of each track’s waveform, I began assembling the mix without the benefit of any sound output– using only the “look” of the waveform as my guide. It was not until after uploading the finished product that I allowed myself to listen to it– so what you hear is the first result, just as I heard it.

You may download the 4’15” long mix by clicking this awkwardly-rendered link, or simply content yourself with the list of sound sources below:

Neil Rolnick — Breathing Machine
Leo — Cute Drops
David Watson — Dexter no.1
Tom Nunn — Skatchmat
Judy Dunaway, Tom Chiu — Etude no. 1 for Balloon and Violin

A touch of DaveX

December 12, 2007

That’s what you’re going to find among the rest of Tony Youngblood’s 12/9/07 broadcast of “~Ore~ Theatre Intangible,” a Vanderbilt radio show I contribute to each week.

Original digital photography by DaveX

Actually, I don’t. Like an old person’s bowels, my offerings to ~Ore~ have been somewhat irregular. On the other hand, mine are much less disgusting as they enter your ears.

Enjoy a full download of this experimental broadcast, including a lovely six-minute mix of degenerating tones and voice from yours truly, by clicking the seven chance words after the double dash– britney spears crotch shots nude girls strip

I swear, I pick these words completely at random. The shame is yours for having a filthy mind. (more…)

It’s Too Damn Startling #3!

December 2, 2007

I’ve uploaded the third edition of “It’s Too Damn Startling,” my small contribution to Tony Youngblood’s ~ORE~ Theatre Intangible radio show. This week, the theme is “Degenerates,” which can be read as a noun or a verb– and will surely be used both ways in the broadcast. As always, I recommend you catch it live from 2-4 AM, this December 2nd on WRVU-FM.

If it does happen that you find yourself unable to operate a mouse until tomorrow afternoon, though, feel free to download the mix here.


This edition is exactly 6 minutes long, and features portions of the following:

Billy Murray — Save It For Me
Ross Bolleter — Piano Dreaming
Rune Lindblad — Party
Scott Smallwood — Debris
Mike Hallenbeck — Silent Night (Shepherds Quake)

It’s Too Damn Startling #2!

November 24, 2007

I’ve uploaded the second edition of “It’s Too Damn Startling,” my (hopefully) regular contribution to Tony Youngblood’s ~ORE~ Theatre Intangible radio show. Of course, I recommend you catch the broadcast live from 2-4 AM this November 25th on WRVU-FM– but if you miss it, or just want to add my every sonic leaving to your archive of DaveX-y goodness, you may download it here.

This edition is a little over 12 minutes long, and features portions of the following:

Sarah Peebles — Fast Kitchen
Joan LaBarbara — Solo for Voice #45
DaveX — Waiting at the Start
Boyd Rice — Untitled #2
Steven Flato — 48v
Ryan Gregory, Christine Jeanine — Rain
Frank Rothkamm — Temporarily Unavailable OR Descent Into LAX
Anna Lockwood — Rod Against Edge of Pane
Anna Lockwood — Deep Water Gong

DaveX on Nashville’s WRVU-FM!

November 18, 2007

As you may recall, I was invited by WRVU-FM host Tony Youngblood to contribute a regular feature to his experimental program ~ORE~ Theatre Intangible. I finally got around to actually following through on this, and have whipped up a 10-minute mix worthy of Commodore Vanderbilt himself.


This recurring feature, which I’m calling “It’s Too Damn Startling!” for lack of a better name, will center around a single theme or idea related to experimental music. This first instance was inspired by a recent e-mail exchange with School of the Art Institute of Chicago professor Eric Leonardson. In response to my questions about the nature of his “Locofone” broadcast, he said:“I’ve been touting the idea of radio as a medium better for ‘evoking the imagination’ than providing “information”.

Leonardson’s take on radio is very similar to how I approach my own show– less a clearinghouse for music trivia or hits, and more of an opportunity to bewilder and inspire.

Too many words hasten failure
Cannot compare to keeping quiet”

-Tao Te Ching, translated by Derek Lin

I am making this first edition of “It’s Too Damn Startling!” available for download, but I highly encourage you to hear it in it’s natural environment as well. ~ORE~ airs this morning, from 2 a.m. until 4 a.m., CST. Enjoy it live, or check the archived stream later on. Regardless, enjoy!