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Episode Guide

Go to Year One (Episodes 0a-51)
Go to Year Two (Episodes 52-84)
Go to Year Three (Episodes 85-136)
Go to Year Four (Episodes 137-184)
Go to Year Five (Episodes 185-234)
Go to Year Six (Episodes 235-288)
Go to Year Seven (Episodes 289-339)
Go to Year Eight (Episodes 240-394)

Episode 428: Avant Distortions XI (10/16/2005) (every man) An avant garde DJ set meets an exploration with digital musique concrete. Jazz, databending, sampling, spoken word, and multiple layers of notes appropriated from countless modern jazz & classical resources are combined to bring you these 2.5 hours of aural deconstruction. It gets to the point where the source of the ingredients just doesn't matter anymore, it's the "what are they doing there?" and the "where are they going?" thoughts that can't escape your mind. Sometimes transcendental, sometimes confusing, and often it's all outright explosive! Never does a note overstay it's welcome (unless of course that's its intention.) It's new and fresh old stuff, recycled on medium, sequenced appropriately, and labored with love.

Episode 427: Sounds from the Salon II (8/14/2005) (every man / Glacial 23 / Widget) A continuation of last week's theme, but more dreamy and mellow. The sampling techniques and effects were a bit different from our last attempt, which kept the level of unpredictability alive, but this time the focus was mostly on composition.

Episode 426: Sounds from the Salon (8/07/2005) (every man / Glacial 23 / Widget) Sample-based music made entirely from 16th - 18th century compositions (the first era of the traditional French salons.) Lots of sampling techniques displayed here, which created a more dynamic listening experience. At times, things got intense, sound was exploding, going in and out of the proper key, somewhere between Heaven and Hell, as you indeed heard clouds and fire, and you indeed saw blue and red, and you indeed felt cold and heat. Transitions were smooth, themes were unpredictable, and the music was mind altering. The focus was mostly on soundscape, not composition.

Episode 425: Spirit Walk (7/31/2005) (every man / Glacial 23 / Widget) Slowly evolving improvisational compositions all peacefully transitioning through various themes. Like walking through a meadow at night, you are conscious only of your spirit. The sounds you hear take on a personal form. Your mind relaxed, your body numb, your spirit awakens. Somewhere near a fire burns, natives dance, beating their drums, chanting, calling to their gods, and you join along in the psychedelic prayer for spiritual guidance. It is happy, contemplative, and saddening, which is the case with all absolute truths. This could very well be an experiment in effort to answer the question "what do our souls sound like?"

Episode 424: Evangelical Army II (7/24/2005) (every man / Glacial 23) A continuation of the musical themes introduced in episode 422, but taking them to greater extremes in rhythm, drone, melody, and harmony. Whatever we felt worked well last time, we did more of it, diversifying the technique as much as possible within that boundary. It was often the sound of tranquility, sometimes love, but always transcending.

Episode 423: Wackily Aggrieve Lamentedly (7/17/2005) (every man / Glacial 23/ Widget / J. Kyle Moyer) Skiing uphill over grassy curves, smelling the children's laughter, at night, the question is asked: Is black key? We're glad he is, we've missed him so. There the four of them sit together, around a chess board, hands on deck, it's fantastic! every man, Kyle, Widget, Glacial, all mixed up into something different. Driving beats like hearts on a golf course, swinging consistently to the rhythm, turn up the bass, turn off the amp, Kyle turns that pornographic picture into sound, Mark Piuno is there but doesn't know it, third hour is the hardest but nothing crashes, third hour is the loudest, cymbals crash but symbols are nothing, almost there, reaching the peak, skis come off, very top, enter the lodge, sit by the fire, sun fades to moon. A building block on the evangelical army, with Beats in these poems, finding a home at last.

Episode 422: Evangelical Army (7/10/2005) (every man / Glacial 23) A mixing of two souls, into one spiritual formation. Above is below and within. What, the past? Tall... deep... tree... green... coiling sky... earth... stem... root... leaf... green... ooze... sun... damp light... dark... bright... branch... root, nor mind. What is "what is to come?" These wooden carvings await the roots, branch— not bright, out in innumerable living things, forever. Form to thrusting... sap soil... air, seed soil... from mysterious form, which sending of it that it is, what is, without is, is to come. What is above... below... visible, hidden... breathing... sucking bud... decay... laugh, tear... vein.. rain... mud. Its rising is in branching... leaf.. root... What is above is below, without is, within is in the past. Uncut within each unceasing carver's knife displayed in her endless shelves, continuous branching is forth. We say only from spiral void, its setting dark. The serpent coil, as the formless existence returns, twisting back beyond the formless life. Anagrams of "every man" and "glacial", this is the 23rd. Burroughs cuts up Leary's prayers. There are no lyrics, only music. The prayers are in song, no Beats in these poems - without words, trying to find a home.

Episode 421: RRX (7/3/2005) Playback of highlights from Recycled Rainbow X, featuring Thursday Club, Animals Within Animals, Henry James, and several minutes from the dada tape recorder.

Episode 420: Oaxacana Mountain Ride (6/25/2005) (every man) All music and sounds heard in this show came from (or were inspired by) the nature found within the Oaxacana Mountains in Mexico. Various musical recordings were sampled liberally, but heavily modified and mixed into an all together different context. Much of this was performed live, other sections were pre-mixed specifically for this theme, and few sections were a combination of both. Low key noise, trippy and heavily altered melodies, natural found sound collages, and a wide-dynamic range of volume. It would be unfair to call this program "mellow" but it clearly isn't over-the-top loud either. It's a good variety of sound, slightly more than half of it could be called "meditative," and the other parts, "disturbing."

Episode 419: Vehicular Commotion Disorder (6/19/2005) (every man / Glacial 23 / Widget) Automobiles, oil, safety, children, planes, commercials, and car horns. A total deconstruction of our transportation dependent world.

Episode 418: Buddy, the Bees, and the Bus (6/12/2005) (Negativland's David Wills) Field recordings, both live and pre-recorded, mixed and altered on the fly by David Wills, sent over to us live via the internet in hi-fidelity mp3 format. You hear children playing, cats meowing and growling, vacuums running, cars and buses driving by, people eating, bees buzzing, wind blowing, rain falling, and a good deal of creative sampling. This mix as a whole can be best described as ambient noise, akin to many of the more drone-ish sections from Negativland's first album (which David himself mixed on a reel-to-reel deck.)

Episode 417: Distintive Individual II (6/5/2005) (Glacial 23 / Widget) A continuation of Episodes 377 and 378 by g23 and Widget. This show featured mostly vinyl acquired since then (with a few older favorites thrown in for good measure), as well as a fair quantity of spoken Burroughs. Also featured a duet between Silver Apples and Meat Beat Manifesto playing the song "Lovefingers" in different decades!

Episode 416: RRX Afterparty (5/29/2005) (every man / Dirtgoddess/ Glacial 23 / J. Kyle Moyer / Widget, Hemanat, Jack Smiley, Ryan Kuehn, Lisa Miralia, Leia Alligator, stAllio!, Connie McCue) From stAllio!'s blog: "press the button was tons of fun; leia alligator had some electronic kids' book that he hooked into my kaoss pad & played through its fx. i was on the mic all night, spouting freeform bulldada along with everyman, kyle, people who called in to the show, and other guests such as ryan from thursday club. bulldada is pretty fun when they other people are doing it too; i at least need someone to riff off of if i'm going to be talking a bunch of nonsense for long periods of time. i had a lot of fun calling for price checks and clean-ups all over the galaxy, and our food-related riffs, inspired by all the food and grocery shopping in leia's book, eventually turned into an elaborate routine: i'm so hungry i could eat at subway! i'm so hungry i want to stuff your small intestines into your large intestines and eat them! i'm so hungry i want to chew your face off and smother it in frank's famous bbq sauce! i'm so hungry i could eat a whole batch of ecstasy rolls, or a bunch of condoms full of cocaine! at one point i tried to drive it into the realm of non sequitur (i'm so hungry i want to punch you in the face!)."

Episode 415: Coloring Outside the Lines (Special Edition) (5/22/2005) (Dirtgoddess)

Episode 414: Colorforms II (5/15/2005) (Colorforms) After the unexpected artistic success of the previous week's colorforms radio session, this week presented us with another challenge-- returning to that same glowing headspace without repeating ourselves, which tends to be a common situation for us. Somehow we seem to have pushed ourselves further than ever with this one, and old sounds became new again as they returned in different contexts and combinations. Interweaving guitars coalesce into new patterns of conciousness, then submerge back into ether. Melodic progressions stray further out than usual but always manage to return to the fold. Rhythmic and vocal elements are starting to surface more and more, but in that same subliminal manner that marks the best of what colorforms represents. We liked this one well enough that we posted it to the colorforms site. We hope you enjoy it as much as we do.

Episode 413: Colorforms I (5/8/2005) (Colorforms) A soothing series of oceanic waves encompassed the senses with a rain cloud on the horizon, looming and inevitable. Beautiful patterns of stonework turned themselves over to reveal their hidden undersides. The inner-workings of the machine clouded the clear night's sky with a thick, heavy mist; rich in deep hues and microscopic droplets of floating condensation. Subtle movements made together kept the carousel in fluid motion as familiar melodies emerged and ethereal voices responded accordingly.

Episode 412: The Bible and the UFO's (5/1/2005) (every man / Glacial 23 / J. Kyle Moyer) With every man arriving late, his sister San Fran had to fill in as host while special guest Dr. Vladisimo Caliente guided a philosophical discussion regarding the connection between religion and UFOs with the ethereal voices of the night. What was learned? Well, firstly, the question should be asked; what was asked? Was Jesus somehow linked to a higher intelligence? Well, yes of course he was but is the higher intelligence in question really aliens from outer space? Is the current way we interpret the Bible antiquated? Accounting for advancements in technology and revisiting the ancient text offered insight, as well as reviewing centuries-old paintings depicting Holy figures in close proximity to what would appear to be UFOs. The topics of the show ranged from the Bible/UFO connection, to the famed tour of Area 51 by JFK and Marylin Monroe. Some callers revealed personal accounts of encounters and abductions, while fighting the tears associated with such retellings. The question lingers... when the "end times" come, which side will YOU be on? Will you continue to believe in Jesus if he arrives in a spacecraft, or will you be fooled into oblivion by Lucifer?

Episode 411: Tlatseg (4/24/2005) (every man / Glacial 23 / Widget) The title of this show is "Gestalt" in reverse. No, it's not last week's show played backwards (which would be a stellar idear, really) but last week's concept somewhat in reverse, but not exactly. It wasn't Widget running the show, but the show running itself, business as usual, back to basics, but but but but . . . last week's show influenced this week's format, and so begins a new era for Press The Button. An era of deep listening, where each performer is all too aware of where the others may roam, careful to not step on toes, yet still expressing very deliberate audio, creative soundscapes, loosely based on each other's interpretation of each other's interpretation of the soundscape that just fed off that other soundscape, meditation, creating an infinite number of sounds (yet sounding like they are all the same.) Let's try that again. I mean, this was ambient textures meets juicy noise meets a DRONE OPERA UNDER THE SEA! This show exhibits further development of what has lately been referred to as "The Button drone." It ebbs and flows (and comes and goes) and that wasn't supposed to rhyme but instead make some bullshit pretentious point that no one actually believes when they see it in print, but change their minds when they sea it in sound, seeing the saw, up and down, see saw, children playing in the park in slow motion, Kyle says the sound provokes him to tear his face apart, it makes Jack "smiley smile", the goddess has something dirty to say, glacials have 23 more reasons to stay in Canada, and it's met the approval of every man. Tlatseg!

Episode 410: Gestalt (4/17/2005) (every man / Glacial 23 / Widget) A strictly improvisational performance with Widget acting as the leader, with every man & Glacial 23 following in her direction. This worked so remarkably well that selected hHighlights of this program are being used for a future Widget album release! Very mellow, meditative, respectful, mystical, and light on the noise. One fan's observation that these sounds were reminiscient of "classical music from another planet" wasn't too far fetched! We look forward to doing more of these kinds of shows in the future.

Episode 409: WRUW's 2005 Telethon (04/10/2005) (every man) Pre-recorded highlights from Press The Button shows in 2004, mixed with every man's telethon pitching. Very busy show, didn't get it recorded, not for sale.

Episode 408: This! (04/03/2005) (every man / Glacial 23) Disturbingly quiet at times, with quick, jerking, unexpected segues of loud collages of music, spoken word sampling, callers, prerecorded field recordings from the 1980's, and odd vocal sound effects made in real time on the mic. Often, however, it would go calm, with almost no sound whatsoever, and then out of the ashes comes classical music being played backwards, and then it stops, and you hear a man from the DEA telling you that crack kills, and more classical music (forwards this time) with a board game commercial from the mid-1970's playing in its entirety. The callers were present for the first hour, but not for the last hour and a half. Lots of juvenile profanity and bitching from teenagers logged onto Yahoo! chat-rooms took their place. This show was meant to be something else this week; it was meant to be that, and spontaneously became this!

Episode 407: Vocal Dischords (03/27/2005) (every man / Dirtgoddess/ Glacial 23 / J. Kyle Moyer / Widget, Jack Smiley, Ryan Kuehn, Leia Alligator, Vanler, Emanoise) A completely unplugged, meticulously outlined, all vocal Press The Button. The following review was written by Lisa Miralia: "After listening to the first 10 minutes or so, it became apparent that the direction you were taking on this vocal experiment was very different from what I had imagined it would be. I hadn't factored in sounds like swallowing... that was absolutely hilarious! The mouth and throat sounds like "mmmmmm" and lip-popping were so funny to listen to. I could hear you guys cracking up too, which made me laugh even more! The No-Yeah segment was interesting. A study in inflection. The 'This is...' part will probably make for good source material. The show began to hit its stride during the Lullaby segment. It was a nice contrasting of syllables by different voices - a good example of word deconstruction shown audibly. We normally think of words as written entities. This demonstrated words as sound. How tone, inflection, pitch are the vocal artist's palette for an aural canvas. And how the presentation of a word can dramatically change its implied and subjective meaning, regardless of what Webster's might indicate its objective meaning to be or how it is used in a phrase. The singing vowel drones were nice ambient interludes, painting a more abstract picture. I liked the mix of harmony and discordancy in the voices. One of my favorite segments was the word chanting. Choosing 3 or 4 words spoken at the same time with varied tone, patterns and syncopation. This broadcasted well. As is PTB's custom, the last 20 minutes or so of the broadcast (d)evolved into a free-for-all. I thought the train ride was entertaining, but was delighted when you suddenly switched gears and it became a bus ride. That was really funny! And good acting. Very believable. Good show!"

Episode 406: Hodgepodge Times Three! (03/20/2005) (every man / Glacial 23 / Widget) The show begins with the sounds with an innocent trip to the toy factory, which eventually turned more trip than innocent. It eventually explodes into electronic beats mixed with short-wave radios, and then some beautiful ambient drones partly inspired by Coil's Time Machine, followed by mashups of sound effects combined stuttering rhythm sections, and finally ending with a half hour's worth of the dada tape-recordings from Recycled Rainbow 9.

Episode 405: The Book of Language (03/13/2005) (every man / Glacial 23, Jack Velvet, Craig Chojnicki) It's times like these when you're left with the task of having to invent your own genre term for an otherwise indescribable style of music. I've heard one person describe it as abstract-industrial-ambient-tape-collage, and I'll accept that. This was quite a unique take reminiscent of our very early style of performance, but far more cohesive, deliberate, and matured, despite its clear intent of being spontaneous. A nice blend of digital-meets-analog, structure meets chaos, and noise meets silence. This was our first show performing with Jack Velvet, and most certainly won't be our last. <--- though at the moment, we cannot find our recording of this show!

Episode 404: Recycled Rainbow 9.5 (03/06/2005) Playback show of the recorded performances from Recycled Rainbow 9.5, featuring Trippy Town, Yeti Scalp, Steve Dracula, a solo performance by J. Kyle Moyer on the DJ decks using effects boxes and (some pre-made material specially for this set), and a good 25 minutes of people playing Ryan Kuehn's audio dadaist game made using a pizza box, scissors, several ping pong balls, a contact mic, and several effects boxes. The music crossed over several genres, from the noisy, to the psychedelic, to the absurd, to the new-school industrial beat-driven psyche that ended the final hour.

Episode 403: Per Chance A Rainbow (02/27/2005) (every man / Glacial 23 / Widget / Dirtgoddess, Ryan Kuehn, Jack Smiley, Lisa Miralia, Mike Cormier, Erin Peterson, Hetmana, Leia Alligator, and some girl I don't know) Post-Recycled Rainbow 9.5 improvisational performance. The first 90 minutes featured mostly every man, Glacial 23, Ryan Kuehn, and Widget (with Kyle performing over the phone.) Everyone was in sync, everything gelled right, and all the audio speed limits were obeyed! Very soothing, psychedelic, and emotionally powerful; with callers who really caught on to the vibe of the show. Musically, these were among some of the finest moments we've had to date! Drone, melody, tempo, and collage . . . all gelled together into an extremely edible format. The last hour of the show was complete insanity! All the other guests arrived, turned the energy level up a few notches, and the callers poured in and behaved accordingly. If The Boredoms got together with the Acid Mothers Temple and threw a fraternity party, I think it would sound a little something like this. Noise at an acceptable listening level meets random spouts of reverberated vocal harmonies meets spoken word absurdity.

Episode 402: Datafields (Beta) (02/20/2005) (every man / Glacial 23 / Widget) A first attempt to make an entire radio show "datafields" style. There is a very specific definition as to what a "datafield" is, probably so that it can be pushed, broken, and turned upside down . . . but first, the idea is to master the art within specified parameters. We specified the parameters for ourselves, as we also invented the term. A typical "datafield" is a lengthy field recording that gets increasingly digitally manipulated as it reaches its center, and then the manipulations become less present as it reaches its ending . . . so if it loops, one may never detect the beginning from the ending. Well, it didn't quite work out this way, but the results were darned interesting nevertheless! So this is "Datafields (Beta)" until we find our muse . . . in the fields. Each of us produced an hour long recording, each recording was startlingly different. So sayeth our now famous listener / reviewer Lisa Miralia, who was previously informed as to what the show was going to be about: "Hmm. I had a hard time following the description as it applied to what I was listening to. During the first hour, there were some nice builds of a background sort of screech/squeal that sounded both musical and like train wheels? It seemed to become more musical as the hour wore on . . . subway journeys? Towards the end, there were parts with children in them that I could tell were being altered." Yes, she was a bit confused by what we did, and rightfully so. We were confused as well. It was a mind trip of sorts, a mind fuck of other sorts, but entirely pre-produced with very little caller interaction, and very few dead-on examples of how we defined a true "datafield" to ourselves. The pieces that appeared on this show intrigued us nevertheless, and are currently being tweaked, re-visited, re-edited, and re-mastered for potential solo album releases. We felt they stood very well on their own, even if they missed the mark on what we were going for.

Episode 401: How Do You Field? (02/13/2005) (every man / Glacial 23 / Widget) Over 24 hours worth of field recordings digitally manipulated, delayed, cut-up, reversed, inversed, pitch-bent, crunched, and stretched into a 150 minute Press The Button program. The recordings came from quiet basements in Ohio, train rides, cheers and screams from a Pro-life / Pro-choice protest rally in Washinton D.C., various instruments and chants from center camp at Burning Man, and crashing waves from an unpopulated Atlantic Ocean at night.

Episode 400: Musical Weiners (02/6/2005) (every man / Glacial 23 / J. Kyle Moyer / Widget) A strictly musical remix of the completely unplugged "Damn Weiner Kollage" episode (which originally aired in late 2004.) This was the most challenging (and most rewarding) remix thus far. Note: None of the original source material was made using any musical instruments.

The following review was written by Lisa Miralia, one of the participants from the original Damn Weiner Kollage: "The evolution of this sound project just amazes me. The remixes keep getting better and more involved to the point that if I hadn't actually participated in the initial performance of the source material, it would be difficult to know that this broadcast had morphed from that. At times, I could clearly hear the source material object sounds, and at other times I had no idea where the new sounds were coming from or how they had been made. The first part of the show was spooky and suspenseful. I could have sworn there were musical instruments involved in this. I heard deep pipe/flute tones and what sounded like a bass guitar and a synthesizer. This segment became increasingly rhythmic and then transitioned into a beautiful section that sounded like gongs and bells.

Heading into hour two, the sound became rhythmic again and there were moments of percussive freak outs and pure noise. I began to sense the presence of callers as I could clearly hear a piano, maybe an accordion or synthesizer and some talking. Near the top of the hour, there was a stretch of spacey atmospheric ambiance beginning with what sounded like alien crickets and wind and other sci-fi noises.

Then the show seemed to transition again into a segment more electronically oriented, with glitches and this crazy loop that sounded like horses chewing. Mixed in during this last part of the show was a period of musical percussion with a strong southeast Asian/island feel.

The show ended with what sounded like some nice looped rhythm textures. There were definite differences in the musical remix segments, but they transitioned so smoothly, that I was well into the next segment before realizing it must be another person's work. Each segment was unique, each contained identifiable elements of the original source material as well as much that was totally new. Each had very musical elements as well. Fantastic work and big props to Everyman, Glacial23, Kyle, and Widget for your creative electronic expertising."

Episode 399: Look Behind You (01/30/2005) A terrible computer crash pushed the planned theme for this week a couple weeks back, so we winged it with alive mix of NOT-so-live Press The Button shows, allowing live phone callers to interact with NOT-so-live phone callers. Many fragments of old shows were mixed in, the most lengthy of which featured phone interviews with various theremin players who were attending the International Theremin Festival (by way of Uncl Rus.) No recording gear was brought in for this show, so no recording is available to order.

Episode 398: Silent Cage (01/23/2005) (every man) An audio montage tribute to John Cage without actually playing his music, but nevertheless inspired entirely by his theories. This was created in part from samples taken from old instructional records, which were in no doubt once played in some "Music Appreciation" class in 1963. Much of the instrumentation was spliced into small sections, digitally altered several unique ways, and then reassembled. Layers of "space sounds" added a nice texture underneath, and often mixed within would be smatterings of unusual spoken word (sometimes singing) taken from various theatre performances we have on tape. The theme was academic in nature, but retained a pleasant organic vibe. While some parts were dreamy, other parts were horrifying. A lengthy cut-up collage of a computer voice reading literature in several different languages layered on top of the same voice (later two, then three voices) singing "Daisy" and varying speeds. Ends on a mellow introspective note, with jingly tingly sounds quietly blending within the ether, a low buzzing drone beneath it, and a whispering wind washes it all away.

Episode 397: Zebras Gone Wild (01/16/2005) (every man / Glacial 23 / J. Kyle Moyer, Dirtgoddess, Lisa Miralia, Hetmana, Leah Alligator, Ryan Kuehn, Jack Smiley) What do you get when you put four women in WRUW's studio with mics and a lot of junk food? Don't try this at home, kids. : ) It was Zebras Gone Wild on this week's edition of Press The Button! Oh, the silliness, the chatter, the giggles, the sound effects! The show began with Fig Newtons and a discussion of soy milk, and from there ran the gamut of topics ranging from Australian travel stories to killer tomatoes. Aided by sugar and naturally eclectic interests and personalities, Dirt Goddess, Hetmana, Leia Alligator, and CultJam discussed things like the fine line between Dork and Geek, as well as breaking the story of how Cheney fired Bush (from the Weekly World News - people need to know the truth). The phone lines were open and calls were received from as far away as Florida and Tennesee. Although the show began with confusion and a seeming lack of structure, things gelled once Matt the PM called in utilizing some of the Highest Technology with his telco interface. His samples, sounds and conversation were the extra dimension the show needed to make it circular, or perhaps triangular, instead of planar. Like Egyptians building a pyramid. If that seems to make no sense, then perhaps this will clear things up:

Studio A orchids, leafless Fig Newtons, golden x-test poppy seed lemons soy tomato death glue stuck mating call telephoner Australian bush fire(d) by Cheney Moon Pie giggle shaking moonhead reflection sea turtle tropical truckstop, hot cup 'o joey down under mouthharp voice changer party favor cowlakazoo fruit bat dropping Dundee lick guarana pick-me-up. "Where it's at, I got Studio A and four microphones" Backing all this in Studio B were Everyman, Jack, Kyle, and Ryan providing effects and Songs in the Key of Girl Talk. Noisy boys' suitcase toys. Do you know what kind of flower you have?

Episode 396: Digital Weiners (01/09/2005) (every man / Glacial 23 / J. Kyle Moyer / Widget) A digital remix of the completely unplugged "Damn Weiner Kollage" episode (which originally aired in late 2004.) Mind mending spiraling reverse, inverse, bends up, bends down, spins all around, but without structure or any musical tempo. No melody, no harmony, and no sequences to be found. Eventually, it's total deconstruction of the original; buzzes, clicks, whistles, feedback, and pulsating sounds that unpredictably change their rate of fluctuation. And then . . . a train -- then a train crossing -- a leaky faucet -- you're sitting in the dining car -- all aboard the boat -- daytime in the country -- intermission -- back to the construction site -- then back on the train again -- inside the boxcar of the train with a horse running along side.

Episode 395: Speak Only of What You Hear (01/02/2005) (every man / Glacial 23 / J. Kyle Moyer / Widget + Craig Chojnicki & Alan Pocaro) An experiment with word association, only in that the words were associated with the sounds the speaker (or caller) was listening to. Freeform word association was welcome, but it was only associated with the *sounds* one heard . . . no one was allowed to verbally react to the words they heard! Also in this experiment, we weren't looking for people to be talking from beginning to end. We weren't looking for perfect sentence structure or proper grammar. Breaks were allowed; even encouraged. Phrases were allowed, non-sequitor conversation was allowed for . . . as the only conversing going on was between the minds of the speakers and the sounds of the performance . . . any other conversation was forbidden. The challenge was to ignore what others were saying . . . and to react verbally only to the sound. Abstract was a common part of it all. If you heard birds, you could talk about flying. If you heard what sounds like a cement mixer, you could improvise a poem about your new driveway. It didn't always make make sense, but did always come from the heart! You weren't encouraged to just say what came to your mind, but only of what the sounds put there. The vibe was extremely organic. The concept itself . . . a challenge. The execution of the concept?

Says Lisa Miralia (frequent listener and occasional guest): "The sounds/music i heard brought to mind two things: space: both the vast vacuum of space and the sound of spaceship electronics. i realize there is no sound in a vacuum, but the "feeling" i had was of being transported and then floating through space. the sci-fi kind of space. out there. in the universe. on a mission. fear of the unknown combined with a sense of purpose. liquid: existing within a liquid realm. either underwater in the ocean or inside the vein of a mammal. i heard whales or something whale-like - there was a rush like masses of red corpuscles flowing through veins. a flow and a floating feeling. it was hard to hear the voices and not have them affect my interpretation of the sounds - that took focus. which is good. a challenge is always good. a mental stretch. this episode was probably one of the most challenging for callers/listeners that i have heard, as it required pointed active listening: the ability to filter out the speaking parts while still hearing the music/sound parts and interpret them individually. it was an exercise in opening and closing the senses all at once. a brain stretch."