Episode 394: Day After Christmas,
A (12/26/2004) (every man / Glacial 23 / J.
Kyle Moyer / Widget) To be perfectly honest, about 85% of this
show's content was provided by a remarkably intelligent first time
caller, who at first talked with himself, until he realized he was
on the air. Kyle called in later on, and the caller was convinced
he was the host of the show. They bantered back and forth
about various religious topics while we played Christmas mash-ups
underneath them. Other first timers called in, making the conversation
more bizarre as they were all trying to find out from one another
what the point of the show was. Kyle chimed in with rather abstract
and uninformative answers, which only further confused them. This
was far more entertaining than any of us ever expected!
The callers were unusually sharp and witty, and had a sense of stage
presence about them. While the conversations were deeply philosophical,
they kept a sense of humor about themselves. At one point, three of
them discovered they were all musicians and agreed to break out into
an improvisational jam session which lasted a good 20 minutes. For
this, we dropped the background music and the callers reigned supreme.
People stopped calling in right around 30 minutes short of the end,
which we filled with extremely rare electro-ambient trippy Christmas
We forgot to record this one. What a shame, as this turned out to
be one of the most entertaining shows of the year!
Episode 393: Damn Weiner Kollage (12/19/2004) (Leia
Alligator, Kevin Busta, Dirt Goddess, Glacial
Kuehn, Derek Mason, Lisa Miralia, J.
Kyle Moyer, Jack Smiley, Widget)
(written by Lisa Miralia) Snap! Crackle! Pop! What
was that? Hot dogs grilling on an open fire? Battling guinea
pigs? Waterfalls and birdcalls? Ah, THAT was The Damn Wiener Kids
taking over the airwaves for two and a half hours of a totally improvised
and unplugged sound performance. Bound by certain guidelines, this
experiment was still completely open to each performer's individual
interpretation of the use of specific objects, thus lending an element
of confusion to a study of noise made within structure. Kind of like
nature. The rules were:
No electrical or battery-powered objects.
No musical instruments or traditional percussive devices.
No vocals or spoken word.
Hmm. Quite a departure from Press The Button's customary (and quite
creative) format of audio collage made from sampling and electronic
manipulation of music, voice, and found sound/recordings. The scene:
Outside a blizzard raged as ten performers gathered around three mics
in WRUW's studio, surrounded by all manner of objects and materials
carefully chosen for their audio effect potential. The official list
included things like paper, scissors, zippers, staplers, plastic,
tape, keys, cans, rocks, bowls, spoons, bottles, measuring tapes,
brushes, sheet metal, and several other "mystery items", to name a
few. Interesting. Time flies when you're making noise. There were
some really funny moments like when Ryan K. was doing a Hendrix imitation
with a hairbrush, but of course we had to stifle our giggles.
Basically the objects were deployed in intervals with everyone using
similar items at the same time, but in their own way. The experiment's
purpose was to discover what range of sounds could be coaxed from
the same items, and whether the total effect would emerge as a texture,
a mimicking of something familiar, or maybe even rhythmic or tonal-like
patterns. The performers varied their applications and mic distances/studio
positions to further eek as much effect as possible out of each device.
Each object group's time segment was overlapped into the next to create
cohesion. There were also sounds of the "mystery items"occurring at
random. The last 15-20 minutes of the show held a free-for-all object/gadget
mosh pit of noise where, surprisingly, distinct patterns emerged from
seeming randomness. Structure was found in chaos. The studio floor
was definitely evidence of chaos, covered in all manner of debris
and devices by show's end. What a great experience!!
It's hard to imagine what this broadcast must have sounded like to
listeners. This is the source material broadcast for a series of mixes
and re-mixes that Press The Button plans over the next few weeks.
This evolution will be an experiment in and of itself. (Per Everyman,
"it was beautiful to listen to how the sound was without structure
throughout most of the show, and when the rules were lifted, and the
performers were allowed to do whatever they wanted, it was stunning
to see them conform to structure . . . and create a rhythm and a tempo
. . . without having to do so, totally freeform . . . yet seemingly
planned and rehearsed . . . this was fascinating.")
Engineered by: Everyman with assistance from Carl "Route 66"
Episode 392: Disseminating the News (12/12/2004) (every man / Glacial 23, Nick Traenkner)
Written by Nick Traenkner: What's that yellow kid doing over
there? It was a small room crammed with audio equipment and I felt
very safe knowing that the actual antenna was probably miles away
from me as I leared how radio waves are sent (lots of high voltage
sent up antennas) in my research for this show. The show started out
with an on-the-scene report of the Buddha's defeat of suffering as
one of the first big events for translation and news. It was indeed
news on how humanity can defeat suffering. And indeed there was a
bald kid in a frock dancing around the hills near where Siddartha
meditated and became The Buddah. Last week the beginning of the broadcast
had to do with how the good news was elementary in the history of
publishing and early journalism so I didnt read anything having to
do with the Jesus. After that it was pretty much a retrospective of
print, broadcast (radio/TV) and web journalism all mashed and mixed
up together. The samples were pretty much chronological (from what
I remember). The room was very hot and I kept thinking that I was
coming down with the flu. Everything that was read was either a paraphrase
of historical data or readings from actual documents:
The Santangel letter (Christopher Coloumbus) (1493)
The Santangel letter was reprinted after recieved and distributed
in Spain as a news pamphlet.
Letter from John Milton in protest of prior restraint exercized by
The Stationer's Company with regard to copyright and publishing
Letter from "Silence Dogood" (adolescent Benjamin Franklin)
From New England Courant Monday March 26. 1722
NEW YORK EVENING POST BELCHER vs BOURKE (round by round coverage of
a boxing match from 1802)
"The Elections in England. — Tories and Whigs" by
Karl Marx (London foreign correspondent for The New York Tribune 1852)
Morse Code messages from The Titanic sent via spark transmitter/reciever.
Needle telegraph messages sent by English Aristocrats and The Royal
One of the first AM radio messages sent by Reginald Fessenden December
23, 1900 sent 50 miles: "One, two, three, four. Is It snowing
where you are Mr. Thiessen? If so telegraph back and let me know."
Call letters and slogans from early US AM radio station
Text from the FCC website "About the FCC".
Transcripts of an interview with Matt Drudge
Excerpts from Tim Berners-Lee's original proposal for a networked
information system based on hypertext for use by CERN researchers
(March 1989) (this would become the World Wide Web)
And radio call letters used to mean something.
And objectivity in journalism has rarely ever meant anything.
And money and circulation numbers have always meant pretty much everything.
And newspapers and television shows do start wars with countries that
really have little to do with anything.
REMEMBER THE MAINE! TO HELL WITH SPAIN!
What do I think of this show?
I went home and listened to "How can you be two places at once
when you're not anywhere at all?"
Episode 391: Discussing the Situation (12/05/2004) (every man / Glacial 23, Nick Traenkner)
Almost as the show's title indicates, this was all about the "French
Situationists," but not really, which makes this even more
about the Situationists, and while it may lead you to believe it is
more dadaist, it really and truly isn't, or wasn't. A situation was
created, and you had to deal with it as best you could, but there
was no way to fail. You just had to "deal with it," and
it didn't matter how . . . we did our jobs by creating the
situation. It wasn't just any old situation. It was a show
that began as a documentary on journalism, its history, and its evolution
into the modern web site . . . but it never got that far, despite
the listeners understanding that "journalism" was what it
was all about, it stopped being about, until the very end, where it
was "sort of" about, but not really . . . it was about "Situationist
dadaist journalists" and ended on that very note, despite not
being on a different note an hour ago, and a far different not a half
hour before the hour before that. Lots of calls, lots of noise, lots
of music, lots of spoken word, but not really, it was more far more
French than we are letting on.
Episode 390: Donahoo, Fleisher, and Michaels (11/27/2004) (every man / Glacial 23, Johnny
La Rock, Mush Mouth, Subroc) Perhaps one of the most surreal programs
ever to air, but you'd have to sit through the entire 4.5 hours
worth to fully understand why. The first half hour was very frat-boy
humorish, but split into two very distinct parts. The first part involved
our guests (Johnny La Rock, Mush Mouth, and Subroc) promoting all
of their upcoming shows and thanking people who showed up to their
recent ones, plugging their web sites all throughout. The second part
involved the same guests promoting all of their non-existent
upcoming shows, featuring 4-star celebrity performers as the headliners,
and still plugging their web sites all throughout. If you noticed
this transition, you'd find it humorous. If you didn't, you might
be irritated. Then again, you might have noticed and were still irritated,
but that's okay, because the first half hour evolved into the next
part of the show, where sound effects and music riddled the mix, special
effects consumed their voices, and a most extraordinarily large number
of callers washed over us like a monsoon! They jammed off and on,
introducing each other as they would perform some of their better
known songs which they usually play on stage before an audience. Things
only got more bizarre in the third hour, where they stopped performing
songs, and began improvising techno, off-the-wall spoken word poetry,
and constantly evolving bouts of noise. The callers never let up.
The hour ended, and the next DJ never showed up . . . our guests went
home, and we stayed on for another two hours. In hour four, every man & Glacial 23 began performing extended versions of songs they
hadn't practiced together in roughly two years, which turned out remarkably
well -- the callers never let up. It was sometimes dance-worthy, sometimes
depressing, but most often funny. The final hour was ambient, mellow,
thought provocative, and sent you straight into space as our callers
turned the tables and played samples at us. They spoke to each other
in a beat-poet fashion, right up until the very end. Our own recording
device ran out of space and missed the final 10 minutes before the
next DJ took over and officially ended our show. We were extremely
exhausted, but extremely high. This was well-received by
our regulars, but only by those who listened from beginning to end.
We readily admit, this format was most unusual for us.
Episode 389: Distant Memories Vol. 3 (11/20/2004) (Electric
Grandmother, 6 Volt Haunted House,
Gathering @ Zion, Tyrone
Shoelaces) Started this one out with several segues between Electric
Grandmother's performance at the 9th Recycled
Rainbow event, and Tyrone Shoelaces's performance at the 6th,
which was recorded to minidisc from an open mic close to the speakers.
Crowd noise and conversation from both EG's and TS's recordings oddly
seemed to socially interact, so we tried our best to cultivate more
of that with our mix. Caller interaction sprinkled over this audio
montage with children's stories, falsetto vocals, and sound effects.
The second hour was filled with the entire critically acclaimed 6
Volt Haunted House set (Matt Cassidy and Jack Smiley of 9VHH) which
was performed at Recycled Rainbow 8. On top of this mix, 9VHH's only
other band member -- Craig R. Chojnicki -- ironically called in, not
realizing we were playing a 6 Volt set. He addressed every man by
name repeatedly, which ultimately coaxed him to get on the mic and
converse. A most surreal conversation ensued, until Craig finally
recognized his own band's samples being played on the air and asked
what was being played. Then, as you can imagine, an even more surreal
conversation ensued. The final hour was a highlight reel, carefully
edited in advanced from three hours of experimental group improvisational
performances recorded at the Zion Church in Tremont, OH, September
18th, 2004. Several musicians participated -- among them were every man and Derek Mason (the event's organizer.) The recordings themselves
were extra-special, as they were picked up by a high quality lavaliere
stereo microphone strategically placed in the center of the church's
balcony to capture some extremely interesting acoustics. The sound:
at times structureless ambience, other times musical, riddled with
spoken word, crickets, organs, pianos, and backwards vocals. Not
for sale (but will trade for a copy of the Zion recordings, specifically.)
Episode 388: DJ's Over the Rainbow III (11/14/2004) (Colorforms, The Black Fives, 6 Volt Haunted House, The Former Yugoslavia) A DJ who performs "over the rainbow" is not your typical DJ. In fact, none of tonight's performers are anywhere near what you'd expect from a conventional DJ. The now official Colorforms line-up were the last ones to perform at Recycled Rainbow 9, and the first ones we played in tonight's show. This set showed the members have come a long way since RR8, more in sync with one another than ever, and doing a much better job defining their specific genre of choice, which we suspect isn't so much a musical genre as it is a level of consciousness. It is impossible to listen to this and not mentally insert sounds and words and images that aren't there in the room with you. Numbing of the senses, yes, but also it in part removes your filters . . . it opens up an untapped way of perceiving the world, colors, smells, taste, touch, sound, etc. We could go on, but as we do, we hear the sounds of The Black Fives who are at times reminiscent of Aphex Twin, sometimes dirtier, sometimes far more cleanly produced. They presented us several true songs with creatively manipulated electronic beats, sequenced patterns, and occasional vocals (Steve from The Black Fives read parts of James Joyce's Finnegans Wake and something from Marquis De Sade into a baby monitor that sat in front of a microphone.) They were a big hit, and deservedly so. This was followed by 6 Volt Haunted House (Craig and Jack from 9 Volt Haunted House.) They hooked up an Intellivsion into a phrase sampler, and encouraged the audience to play video games as a way of interacting with the performance. This produced some of the most far out sound effects that were mish-mashed, crushed, and blended into industrial beats, found sound collages, and space segments that ebbed and flowed, and ebbed more and flower further down into The Former Yugoslavia's set. TFY's performance was one long space segment filled with spoken word samples, loops, effects pedals galore, ancient turntables, databending, magnificent self-plundering, noise, and it all came to a screeching halt with a woman's voice clearly reading the last line of James Joyce's Ulysses. This entire show was riddled with caller interaction by audio artists who figured out some clever ways to blend in with the mix, making these into "enhanced" versions of all the performances. Not for sale.
Episode 387: Distant Memories Vol. 2 (11/07/2004) (Colorforms - alpha, Varian Shepherd, DJ Empirical) Playback of various Recycled Rainbow 8.0 sets in their entirety. The Colorforms line-up of band members from RR8 was technically from a pre-Colorforms era, but nevertheless consistent with the current line-up. The show started out with a half-hour spontaneous performance they made around 4 am, the Friday prior to the actual Recycled Rainbow event. There was an audience of about 5 - 7 people, all of whom were laying down listening. The sound is hard to describe, but "harmonic noise" is what we'll call it today, noise being used loosely to describe the inconsistent tempo of it all, which breaks it away from your stereotypical ambient music. It sounded as though the performers were using their heartbeats as guides, or their breathing . . . as they were all in sync with each other, mostly, but as a whole, out of sync with a consistent tempo, mostly. It would become a wall of sound, beautiful, barely musical, and teetered on the border of structured/unstructured composition. It is improv, but doesn't sound as such. Varian Shepherd's set is next, an hour long, and clearly more on the "unstructured" side of the fence. His set presented a drone, both with music and spoken word. A musical range of notes were often heard, but not following any rhythm or structure at all. This is the softer side of noise as well, but the spoken word was deliberate, thought provocative, and its placement was well-rehearsed. The sound built to a wash of effects, spinning from ear to ear, harmonic keys being hit together, undecipherable spoken word, and transitional white/pink noise elements rising and falling. It is a pleasant listen, and most appropriate as "headphone music." We ended the show with DJ Empirical, who is best known for his incredible skill at mixing mashups live on turntables (not on CD decks, not on a laptop.) A listener will be chuckling every so often at the unpredictable match-ups he puts together. He can make the singing from an Ernie & Bert (Sesame Street) song seem like the perfect thing to throw down on top of a music bed intended for Missy Eliot's vocals. It's always funny, but it always works. Not for sale.
Episode 386: DJ's Over the Rainbow II (10/31/2004) (The Record Exchange, stAllio!, Recycled Rainbow 9 Dada Tape) More highlights from The Record Exchange performing at Recycled Rainbow 9, plus most of the bar room's "dada tape recordings," and the entirety of stAllio!'s RR9 set, which offers the friendly reminder that "the Media are lying to you." It might be noteworthy to mention that the data tape caught lengthy glimpses of Tropic's "Three and a Half Seconds" rant with every man at the bar, and the concluding minutes from The Damn Weiner Kids set (performed on the same floor where the dada tape recorder sat.) Not for sale.
Episode 385: DJ's Over the Rainbow (10/24/2004) (The Record Exchange, The Former Yugoslavia, every man) Playback show of various recordings from Recycled Rainbow 9. Most of these came from our good friends Ryan & Brian (of Thursday Club fame) who formed an amazing side project called "The Record Exchange." It's almost un-plugged for them, as their audio tools were pretty much reduced to nothing but turntables and effects pedals. Their sound? Imagine if Merzbow DJ'd your wedding reception. The first half hour of the program included a rare jam session recording made late Friday night, including Ryan, every man, and Aric Vance (of The Former Yugoslavia fame.) We took callers, but the recordings were so loud you could barely tell what the callers were saying, singing, or doing. Despite the loud levels you normally get from the Ryan/Brian duo, their odd combinations of sonic elements were extremely diverse and engaging, the source material was all over the map, and their effect patterns were changing and evolving at a deliberately methodical rate, keeping the head-space strong and intrigued. A few sections were reminiscent of Varian Shepherd's Silence Syndrome. Not for sale.
Episode 384: Definite Articles (10/17/2004) (every man / Glacial 23 / Recycled Crayon / Jack Smiley / Ryan Kuehn / Leia Alligator / The Former Yugoslavia / Connie McCue / stAllio!) This is the post-Recycled Rainbow 9 radio show, featuring many guests who stayed over after the event. We've never had this combination of artists before, which made it more interesting. Some of the guests were strictly acoustic, while others were strictly digital. Some were classically trained musicians, while others had no prior experience performing music before (seldom do you ever see a laptop and a flute on the same stage performing music together!) Some are "noise" artists, some are rock musicians, and some seldom ever dip their chips into the audio realm. We used two recording studios, both of which were filled front to back with various instruments, effects pedals, family radios, databent toys, laptops, microphones, mixing boards, cables, record players, and keyboards. After a half hour of freeform jamming with the entire group, Recycled Crayon (Dirtgoddess) split the bunch of us into randomly selected groups of three, and instructed us to perform in roughly 15 minute segments, then allowing the next group fade into the mix without losing the same tonal vibe or tempo. This format continues until the end of the program. As a result, this ended up a better flowing mix than usual (in the case of having multiple guests.) Compared with previous RR shows, this was more musically structured, less chaotic, yet still very silly in parts. We recorded the whole thing, listened later and it sounds great. We highly recommend this one!
Episode 383: Dark 70's Show (10/10/2004) Live sequencing of hundreds of musical sample loops which were stolen exclusively from the 1970's, often resulting in a surprisingly dark ambiance, seldom dance-worthy, and frequently psychedelic. We're proud of the fact that this mix kept itself interesting for the duration of the program. Source material ranged from classic rock, to country, to funk, to disco, to amazingly obscure modern rock. While sequencing is usually predictable when it overstays its welcome, the program's saving grace was the fact that no single genre was over-emphasized. To pull off a show like this was a difficult and time consuming effort. Much worse, we only had a week to hand pick all the samples we wanted to use (there were literally hundreds of them in the mix.) We really liked this one . . . so much that we may actually use some of this source material on a future album project.
Episode 382: Digital Steamboat (10/03/2004) (every man / Glacial 23 / Recycled Crayon) Sweet polynesia, a Be-In, celestial soundscapes, improvisational jazz, drum circles, chants, preaching, sequencing, singing, and creative spoken word input provided by listener interaction. Ambience padded the entire show with brief moments of cheerfulness or melancholy. The harmonious ride felt interminable until the boat ran out of steam. It was all reminiscent of evaporating water, steam escaping into the atmosphere, and your emotions are slooooooowly slowing down. Not recorded.
Episode 381: Deviant Birthday Bash (09/26/2004) (every man / Glacial 23 / J. Kyle Moyer / Ryan Kuehn / Leia Alligator / Mike Corrimer / Erin Peterson / Jack Smiley) Celebrating J. Kyle Moyer's birthday, the first half hour featured some mellow guitar layers from Kyle, Leia's flute work, Mike's hand drums, and a rather unique wall of noise fading in and out coming from Ryan. Hour two: pure insanity! Pitch bent voices (left ear is low, right ear is high), robots on the telephone, Dave Mansbach called in to offer color commentary to the robot, Leia and every man trading rhymes, wits, noises, and philosophy on the mic, Kyle sings "The Final Countdown" (Europe), Mike and Erin run around whistling, playing flutes, making noises, giggling, stamping their feet, and singing "Happy Birthday." Lisa calls in to play "Happy Birthday" on her accordion somewhere in there, she swears it, but with so much going on it's hard to say specifically when. Jack Smiley shows up in the last hour, and Mike, Erin, and Leia depart early because they all have to work in the morning. The final hour starts out with a mellow drone, and gets layered with a caller talking with an echo on his voice, which eventually fades into another musical layer, and every man plays space phaser pads on his sampler, Glacial 23 brings in a drum beat, Jack fades in his whirling Korg making sounds we've never heard him make before, Ryan provides oceanic waves of thunder, static, and electromagnetic pulsations, and the birthday boy jams out the most beautiful guitar work of his career, matching wits with Ryan, every man's keys get distorted, Jack's Korg gets louder, Glacial 23's beat gets more erratic, lights begin to flash, the earth shakes, everything wiggles and jiggles until every nerve in your body is about to simultaneously burst into flames, it gets hotter and hotter, and it all finally erupts, magma becomes lava, and WRUW's Studio A melts into Studio B, and there's nothing left but the next show taking over in Studio C. Happy Birthday, Kyle!
Episode 380: Discharge of Flames (09/19/2004) (every man / Glacial 23 / Dirtgoddess / J. Kyle Moyer) every man, Dirtgoddess, and J. Kyle Moyer (via telephone) provided a rather abstract talk-radio format to discuss the details of their experiences at Burning Man 2004. Meanwhile, Glacial 23 created a mind-altering soundscape which perfectly suited the spoken word content. Hear stories about playa dust, the Happy Camp, Nobody, playa fishing, bookmobiles, the burning of the temple, the Alternative Energy Zone, snow cones, star clusters, and much more.
Episode 379: Dragon Wings (09/12/2004) (every man) Something ancient about the approach in this one . . . and something dark and filled with temptation.
Much of this was composed from field recordings made at various
festivals, sporting events, road trips, and at Burning Man. Sound
effects, music, spoken word dialogue, and yet more music fades in and
out unpredictably. Excessive stereo panning and delays are switched off
and on randomly, depending on the mood, and various degrees of pitch
bending are applied when appropriate. Perhaps the perfect thing to
listen to while heavily medicated, tired, or inebriated. The
performance itself transformed every man's reality into a dream world,
resembling that from which he returned from just a week ago. Musical in
parts, but that wasn't the emphasis here. Meditation, mind expansion,
leaving the self, and exploring the outer limits are inevitable
Episode 378: Disrupting the Olympics (09/05/2004) (Glacial 23 / Widget)
A continuation on the style of the previous week, though this time with
more familiar material (longtime listeners may even recognize some of
the spoken word material). A few of the more choice bits from the
previous week did also make their way into the mix. A very chaotic, but
entirely listenable production.
Episode 377: Distinctive Individual (08/29/2004) (Glacial 23) Playlist provided by Glacial 23:
2 CDs of "Musique Concrete" Everyman made.
One track of ambient something-or-other Glacial 23 made about a year ago.
A field recording of a Waffle House somewhere around Indianapolis that
went terribly awry (to be really pedantic, it was actually a Waffle & Steak House)
and the rest(* indicates something that wasn't new to Glacial 23's record collection):
Our Place in Space - Floyd Cramer
Steam Past and Present (a train SFX record)
The Human League - Total Panic (Fascination B-side)
Various unknown Russian records
a Texe Marrs cassette titled "The Panopticon"
a cassette titled "How to Haunt a House"
Octave One - The X-Files (Tracks used: The Neutral Zone, Phatima)*
Biting Tongues - Love Out
First Component Series Stereo Test Record
Charlton Heston Reads from the Life and The Passion of The Christ
Kold Kreu - Don't Let 'Em Drop The Bomb
Human League - Non Stop (Mirror Man B-side)
I Remember Germany
Components Corporation Stereo Hi-Fi Test Record
Beastie Boys - Rock Hard 12" (Tracks used: Rock Hard, Beastie Groove (instrumental))
OMD - Dazzle Ships (Tracks used: International, Time Zones, Of all the Things We've Made)
Choir of St. Vladimir's Orthodox Theological Seminary - The Divine Liturgy of St. John Chrysostom
A Special Message from Pat Robertson cassette*
A Memorial Album for JFK
Stallio! - True Data 12"
Section 25 - From The Hip(tracks used: Beneath The Blade, Inspiration)*
Episode 376: Divine Revelations (08/22/2004) (every man / Glacial 23)
A found sound criticism of the Book of Revelations, with a tangential
subplot covering other well known prophets, like Nostradamus. We
briefly touched on the pyramids, the seers, the time travelers, and the
psychics. Callers offered us their own prophecies for the end of times,
and one caller gave us an extremely unique interrelation of the Book of
Revelations, asserting that Jesus Christ is an alien, or rather, that
the "second coming" will involve Jesus Christ returning to us in a
spaceship, with 19,999 UFO's behind him (20,000 total) and the bankers
of the world will write him off as "just an alien", one that shouldn't
be trusted . . . or perhaps a demon that should be shot down, studied,
and taken advantage of. The caller offered specific passages to back
this up, and his logic was so compelling and fascinating that we gave
him a good 20 minutes to explain it all. There were also many beautiful
musical moments in this one, often swimming in and out of various
recordings of people reading the Book of Revelations in 6 different
languages. Other layers of sound within the collage came from Gregorian
chants, some record we found from the early 70's that read a giant
"666" on the front cover, an old home-made cassette tape we found
thrifting at the Cleveland Greek Festival that contained a creepy
recording of chanting nuns, sequencers, samplers, pitch bent
microphones, Glacial 23's electronic madness, and various spoken word
pieces offered by both every man and Glacial 23. Lots of goodies
squeezed into a short period of time.
Dipropylttryptamine (08/15/2004) (every man / Glacial 23)
A drug made specifically for the auditory system. The ingredients were
love, feeling, nature, the fourth dimension, and an unnamed parallel
universe. The chef served all pre-produced mixes, including a new every man composition called Mother's Temple of Acid, rumored to
have been inspired by the works of a similarly named musical group.
Callers played along with their own pre-produced mixes, spoken word,
and live improvisations with guitars and drums. Ear candy? No. Noise?
No. Distorted harmonies? Perhaps it's best to say it's a harmony of all
things that aren't harmonic, yet the results are agreeable.
Episode 374: Different Strokes (08/8/2004) Changing up the format a
bit, this was a playback of various recordings from Recycled Rainbow 8.5. Highlights include: Luigi's performance on his home-made modular synth, Beating Eric's
spoken word tape-loop collage, and various recordings made on the
Recycled Rainbow dada cassette recorder. One listener described this
program as "mind melting." Another listener was certain we manipulated
Beating Eric's performance, or at least layered something on top of it,
but I assure you we did not! That's exactly how he performed it, and
yes, it was extremely unusual . . . not just unusual for him, but unusual on the whole. We didn't take any callers this time, either.
Episode 373: Drinking to Caress (08/1/2004) (every man / J. Kyle Moyer / Sticky Twinkle Wheel)
The idea is "loose", rising, falling, settling, and not necessarily
getting back up immediately. Caressing your mind, body, soul with
silence, to once again climb the ladder having learned something from
absolute zero. Nothing fierce, nothing dense, and no competition.
No one takes a "solo flight" but everyone takes off. There are several
landings. Silent gaps, some say, are moments of reflection. More
passive than active. More mellow than madness. A better word to
use here is "less." The beauty is discovered of that which lies
down beneath us. Less traffic, less conversation, less hate, less
loud, and lesson learned. Drink to this one. Allow yourself to be
Episode 372: Discard (07/25/2004) (every man / Glacial 23 / The Former Yugoslavia) A tribute to Aric Vance, founder of The Former Yugoslavia. The first hour featured his latest album Discard
in its entirety, as removing any individual track from this masterpiece
would be an insult to the rest of the record. The details of the
album's sound constantly change, but the overall texture and approach
remain similar throughout. It requires the deepest listening to fully
appreciate how one can get lost in Aric's world, where suddenly
everything becomes a beautiful floating dream with distorted edges and
blurry colors. The deeper you listen, the more remarkably different
every second of this record sounds. Enter hour two, we give you a live
never-before-heard performance Aric made specifically for this show
(we've been planning this with Aric for several weeks.) The jam was
much more loose and freeform, and the callers this hour were all too
happy to take advantage. Accordions, bongos, gurgling, and children's
toys fill all the phone lines for almost the entire hour. As soon as
you'd disconnect a caller, someone else would fill in the gap! The last
half hour of the show presented a handful of brand new tracks by The
Button. The source material for most of these came directly from Discard, but one of the tracks was an entirely new piece inspired
by Aric's latest approach to music composition. Callers flooded this
section as well, but their content blended right in perfectly. The show
ran over a few minutes as the next DJ was still getting ready, so we
faded everything down except for the callers who doubled-their efforts
to entertain us with a variety of unseen sound-making devices . . .
which we can only guess were guitars, echo-boxes, delay pedals, chimes,
bells, and a handful of speak-and-spells.
Episode 371: Define A Scalene Square (07/18/2004) (every man / Glacial 23 / Ethereal Transmission / 9 Volt Haunted House / Sticky Twinkle Wheel)
Eight performers, four bands, and over 30 instruments. Rarely does such
great synchronicity ever happen with so many artists with such
dissimilar backgrounds, all of which are used to taking center stage
when the spotlight shines, yet each of us has had much experience in
the world of electronic improvisation (which we are certain has become
the next "freeform jazz" movement.) The ranges of music here were wise,
mostly high-energy, upbeat, and often crazy . . . but always on beat,
never too crazy to retain a conventional song structure. Some was
reminiscent of a new-wave industrial, perhaps one which has never yet
been heard, a Gothic beat from the future, or an extremely happy
accident that found a home on Press The Button.
The last half hour was extremely mellow and trance-inducing, but to be
fair, every hour had these kinds of moments . . . these "drone zones"
if you will, where not only the listener, but the performers get lost
in the sound, forget where they are, what they are doing, what they
came here for, and that's when things truly synchronize. Overall, we
can fairly say that everyone performed at the same time!
This is mostly true, though there were moments when one person would
step back during a beautiful moment, not knowing what to add, and just
observe, or get lost, or listen and learn, and grow, and eventually
come back into the set, changing the pace, taking the lead, and
everyone else follows. Eight performers, all playing together, all at
once, without taking turns . . . we can honestly say that this was a first
for this program, and surely won't be the last. At least for tonight,
we have all learned to lose the ego. I wonder, if for a moment, if the
entire world could feel this sensation, just once, that it might carry
it on forever . . . no more military spending, no more weapons, no more
fear. As during this session, we were not afraid, but loved, and loving . . .
Episode 370: Driving to Flight II (If You Know What I Mean) (07/17/2004) (every man / Ryan from Thursday Club) Filling in for Darkfield Imagery (an industrial formatted show on WRUW.) An artistic tribute to flying taking over where "Driving to Flight I" left off. More flying sound effects,
more flying music, and more flying callers! Less of a documentary, more
of an Andy Warhol sound sculpture. Ambiance turns noise, turns musical,
turns ambiance, turns noise, turns musical, turns silent, turns
ambiance, turns, churns, burns, learns to land, and lands to learn. The
second hour turned into more of a surreal talk break with callers
losing their tickets, trying to park their cars, getting money out of
ATM machines, trying to get parking attendants on the air, reciting
They Might Be Giants lyrics, talking in high pitched voices, sometimes
heavily delllllllayyyyyyed, flying, but always flying low.
Episode 369: Deconstructing Deconstruction (07/11/2004) (every man / Thursday Club) A playback recording of the Thursday Club
performing with every man at the Asterisk Gallery (07/09/2004) in
Tremont, Ohio. Somewhere between Merzbow's loudest white noise and John
Cage's total Silence lies the
truth. Structure set us free. Chaos enveloped freedom in a timely
manner. Hate was tamed by love. The dog and the cat slept soundly
together as doug meyer's inflatable solar system collapsed at the
night's end. Ohio City would be nothing if it weren't for Lakewood and
Tremont, two slices of bread . . . one covered in sesame seeds, the
other soaked in mustard. It's called a match made in Pergatory, or a
union made in Paradise Lost. "i played along with my accordion here . . . it sounded pretty good." - Lisa Miralia
Episode 368: Driving to Flight I (07/04/2004) (every man / Glacial 23)
A rather avant-documentary on the history of flight, brought to you by
over three dozen narrators (including various members of the Peanuts
gang.) We started things off with a lengthy remix of the mostly
instrumental song "Flying" by the Beatles. Eventually, sounds of planes
taking off and landing become the sound scape for the pilots giving
their scheduled reports (in real time
from a radio scanner tuned-in to the local airport) The pilots describe
current weather conditions from above, and tell of their altitude,
distance, and estimated times of arrival to their home base in
Cleveland. You'll also learn how to operate the controls in a cockpit
from real pilot training
videos. Every so often, you'll also get a 1959 helicopter flying
lesson. Charlie Brown and the Peanuts gang give a brief history of the
Wright Brothers while callers challenge the integrity of Sally's facts.
From time to time, Dean Martin and Burt Lancaster recite lines of
dialogue from the movie Airport, while callers let us know they
too are flying (we think one or two of them were rather flighty, in
fact!) When no one has anything to say, plenty have something to sing,
as various songs dealing with the concept of "flying" get mashed-up and
mixed-in. If that wasn't enough, the hosts of the show were metaphorically flying throughout the entire performance. We never did get around to the landing part . . .
Episode 367: Designing Structures From Chaos (06/27/2004) (every man / Glacial 23)
Music from Noise. Frequenting the infrequent. Ordering the disordered.
Organizing the disorganized. Patterns designed from scattered playing
Melodies composed from randomly hit notes. Repetitious loops sequenced
sound effects. Structure from chaos. every man and Glacial 23 took some of the more incalculable works from both the Thursday Club &
turned them into something more systemic and accessible. The callers
this week were far more conforming to the theme than expected, which
provided for an unusually agreeable improvisational collage. "In your
face" was put in its place, logically and mathematically, Ryan and
stAlly!, back and forth on the see saws of sound, 60 seconds, click, 120 seconds, click, 240 seconds, click, too many see saws, sick. You go up, I'll come down, slick. Half live, half produced, trick. The ending might surpass the beginning, pick? Heads or tails, the up always has a down, until the coin lands on its side, and we give it a spin, flick!
Recorded in stereo . . . in someone's car stereo, literally, during the
show. The left always had balance with the right, that's the routine . . . the republican convention . . . the cultural custom, just a force of habit, lead down the beaten path, get with the program, follow the procedures, obey the formulas, just out of habit, at the daily grind, until it's familiar, it will make you regular, in cycles . . . every day.
Episode 366: Dr. Moyer, I Presume? (06/20/2004) (J. Kyle Moyer)
Kyle made us another collage this week, but this time it's of our
recent musical collaborations outside of the radio show (non Recycled Rainbow related.). A few experimental Ethereal Tranmission instrumental jam sessions here, some rare recordings made of J. Scott Franklin
when he played at an elementary school, and lots of Colorforms stuff (a
recent side project of ours.) A bit of material here is completely new
improvisational work Kyle made specifically to mix with the rest of the
collage, all performed live . . . on tape. The callers were extremely
"hello"-ish so we didn't bother recording them. We recorded
everything else though, so this one is for sale.
Episode 365: Death to WTAM (06/18/2004) (every man)
Substituting for Rich Lowe's "Night of the Living Dread" from 6:30 PM -
9:00 PM EST. Since this program coincided with the airing of the Mike
Trivisano talk-show on WTAM 1100 AM, the bulk of this program was
dedicated to this Clear Channel owned station. Three hours of WTAM's
programming was recorded during the Mike Trivisano show (commercials,
traffic reports, and station ID's included), then broken up into 1100
sample fragments, and remixed together in layers. The samples were dry
for awhile, but eventually gained an interesting sonic texture, with
slight pitch bending, downwards, upwards, backwards, and NO-words were
ever heard in their original context. You might hear a 1-800 number in
its entirety, but you'll never know why you'd want to call it! You constantly
hear the call letters WTAM, over and over, to the point where it's
sickening . . . we've found the call letters mentioned at least once
every 120 seconds during the Trivisano show. This collage piece certainly made light of that fact, not to mention made art out of that fact. It was sometimes humorous, but most often unsettling and disturbing.
It worked its way into something less dense
and more musically ambient, but not before we got over three dozen
phone calls from reggae fans who were assuring us we were having
transmitter problems "we've been listening to a half hour, and all we
hear is programming from WTAM, sort of, I think, but please alert your
station engineers and get the problem fixed!" At one point, Case
Western's police department barged into the station saying they too
were getting phone calls from people saying the station appears to be
off the air and that they couldn't reach us through WRUW's request line
for the past hour (which was true, since it was filled with callers
saying the same thing to us.)
No one ever understood our explanation, so we started agreeing that the
station was having problems "thanks for letting us know, but we already
have an engineer on the job sir, the damned digital STL is down again
but thanks for the call anyway!"
The final hour was an utter deconstruction
of last week's "Night of the Living Dread" program, with Rich Lowe's
recontextualized talk breaks in the left ear, and his cutup music in
the right ear, but then they switched ears, and again, and again, again
. . . for an entire hour. Callers loved this one too "we think
your transmitter is having problems, it sounds like six stations coming
in at once, but I'm certain WRUW is one of them, since I hear Rich's
voice, I think . . . will this ever get fixed?"
I was most sympathetic. "It's not the
transmitter, sir, it's the damn CD players! We just replaced them darn
near two months ago, and now listen to what they're doing!"
The listeners tried calming me down. "Well,
considering they are used 24 hours a day, it makes sense to me! Maybe
you just need to have some backup units."
"Good idea, sir! Maybe WTAM will donate some to us?"
We're not certain Rich Lowe will ever let us substitute for his show again.
Episode 364: Dish Washers in Stereo (06/13/2004) (every man)
This all vinyl show hammered flashbacks to The Electric Company, The
Muppet Show, The Jetsons, Flash Gordon, The Transformers, The Avengers,
and much more. Spacey music soundtracks get riddled with phoned in
sound effects from our more creative listeners. The ambience was most
often relaxing, but unusual enough to captivate your attention.
Somewhere in the show, every man improvised some spoken word about
medical ethics, candy factories, and Laverne & Shirley. The overall
vibe of the program reflected the human condition. Its tonality was as
humorous as it was painfully sad. A good mix of spoken word and music,
but alas -- not recorded.
Episode 363: Distant Memories Vol. 1 (06/06/2004) J. Kyle Moyer's collage of all the recordings made during Recycled Rainbow 8
weekend. The collage itself accurately captured the mind numbing
experimental trip everyone rode for 72 hours straight. Intense, loving,
diverse, and always pushing the boundaries of sound. Artists featured
were J. Scott Franklin, Thursday Club, Ethereal Transmission, 9 Volt Haunted House, Beautiful Puppy, Varian Shepherd, DJ Empirical, and various random sounds made late Friday night / Saturday morning during the Recycled Rainbow basement jam session. Not for sale.
Episode 362: Dinner for 16 (05/30/2004) (every man / Glacial 23 / Kyle and Dave from Ethereal Transmission / Leia Alligator / Ryan & Bryan from Thursday Club / stAllio! / Jack from 9 Volt Haunted House / Widget / Recycled Crayon / hetmana / holly / Kristi / Varian Shepherd / Mittelschmerz) This was the post-RR8
after-party. We're not entirely sure how to musically describe this but
we'll try. With 16 performers on hand, we decided it would be best to
break them up into groups of three and have them perform half hour
segments. Every 30 minutes, we grouped three of the least
likely artists to perform together, based on their preferred musical
styles. First 30 minutes was performed by Varian, Dave, and Bryan (with
Kyle altering Dave's effects for about 15 minutes worth.) Second 30
minutes was performed by Widget, Ryan, and Leia. Third 30 minutes was
performed by stAllio!, Jack, and Glacial 23 (Kyle sat in for about 10
minutes of this one.) Fourth 30 minutes was performed by Everyman,
Varian, and Kyle. Jack saw an opening and jumped on the train about 5
minutes into this segment and did some fantastic guitar work until the
very end. Last half hour was musically performed by Varian and Bryan,
and spoken word was performed by every man, Glacial 23, Kyle, Dave,
Leia, Ryan, stAllio!, Widget, Recycled Crayon, hetmana, holly, Kristi,
and Mittelschmerz. This last section was completely disorienting and
dream-like. We prefer not to overuse this comparison, but the program
as a whole truly resembled a very intense acid trip.
Episode 361: Diesel is Cheaper (05/23/2004) (every man / Glacial 23 / J. Kyle Moyer / Leia Alligator / Ryan) Sixteen dogs under a truck.
Episode 360: Dali Dada (05/16/2004) (every man / Glacial 23 / J. Kyle Moyer / Jack Smiley
/ dean balog) Yoga, meditation, and the mere concept of Zen all played
a major role in this transcendental theme. Words spoken everywhere,
samples from yoga instructors holding class, moogs and korgs shaking
hands, Kyle dialing in from home for 2.5 hours (save a few minutes to
get fresh batteries), a layer of dean balog's pre-assembled music loops
and recontextualizations, sitars bending and waving in reverse,
gigantic wind chimes getting distorted, carnival music for babies,
haunting gregorian chants, deep philosophical advise whispered in your
ear, colors on the tapestry and mixing and moving, its sound is rising
and falling, rising some more, but ultimately falling one final time .
. . yet there is no such thing as The End.
Episode 359: Dirty & Distinguished (05/09/2004) (every man / Glacial 23 / J. Kyle Moyer / Jack Smiley / Ryan)
A completely live improvisational jam with absolutely no preparation
beforehand whatsoever, and . . . it . . . worked! Ryan showed great
reserve with his noise antics as he slowly faded himself in and out,
always at appropriate moments, always adding to the moment, never
taking away. It would not have been the same without him there, we
assure you! Glacial 23 never sounded more in tune with the world as he
was constantly the rhythmic foundation, but you could never tell when
it began or changed or ended, as it was all incredibly subtle. He was
the reason your head ever bobbed up and down, and he may very well be
the reason we kept any listenership during this particular program at
all! Yes, his input was that good! Kyle and every man played
off each other in a variety of consistently mellow patterns, with EM on
keyboard and JKM on guitar. One would argue they fell asleep while
staying awake, if that makes sense? We've heard this being called "in
the zone." Kyle did a little bit of spoken word sampling "walk in the
night time, all alone with your mind" which completely tripped out the
beginning of the 2nd hour. Jack came in about an hour into the show (we
invited him, he had to work that night, but got out early) and played
along beautifully with an assortment of colors to pick from . . .
melodic moog, noisy effects, and psychedelic cassette tape manglings.
Jack was in tune, beautiful and distorted, ugly and clean, yinning over
his yang, definitely in tune with the rest of his peers, who were definitely
Dirty & Distinguished. Everyone in the same room, no one facing the
other, gear spread out everywhere, a million volts of electricity being
sucked away from Case Western's electric bill and being given back to
the listeners who walk in the night time, all alone with their minds!
Episode 358: Down Under The Rainbow (05/02/2004) (every man / Ethereal Transmission / Jack Smiley / Ryan
/ CultJam) First hour was a mellow ambient recording made by Kyle and
every man serving as a perfect wave that ultimately crashes into the
second hour. Without this kind of introduction (which was composed from
theremins, guitars, keyboards, CB radios, Indian chants, front porch
recordings, and washing machines) the rest of the show would have been
a startling ramp with no proper mood setting. Hours two and three were
an unaltered recording of a jam from Recycled Rainbow
7.75 which took place roughly around 5 am. Description written by
CultJam: "Late night basement jam. I could have stayed in the black
light room indefinitely, but my attention was drawn by these sounds
entering through the open door, emanating from the basement bowels of
La Maison de RR. The Music Lair beckoned. It's hard to find words to
describe what happened down there. It was really late.. maybe 3 or 4 or
5 a.m. by this time. I lost track of time, actually, but I know that
when they stopped, it was just before sunrise. It was an improvised jam
created by Kyle, Everyman, Dave, Ryan and Jack using guitars,
keyboards, samplers, noise machines and techno devises that I don't
know the names of. It was beautiful. It flowed. I was completely drawn
in. I tried to contribute on a guitar with a drum stick, but didn't
want to do anything to interrupt the oneness of sound these people were
evolving.* That was like being in a dream surrounded by some of your
favorite people, watching and listening as they create a soundtrack out
of thin air for the chimera fantasy pink and blue satin cloud floating
and diamond-star lit freedom joyful big smile wandering in a meadow
butterfly ride breezy journey into wonderland. What more can I say?"
*it was a beautiful contribution and most certainly didn't take away from the oneness, but rather became oneness. This is why we credit CultJam as a contributing artist.
Episode 357: Delicatessen of Imagination II (04/25/2004) (every man) Playback show of carefully assembled highlights from the recent Go Factory
events (particularly from Go Factory 3.) We're not entirely sure of all
the names of all the people involved, but we recognized a few: Beating
Eric from To Box With Man doing spoken word, Luigi playing his various circuit bending toys, Michael from Volta Sound on guitar, Erin (also from Volta Sound) doing spoken word, Matt from INS doing some spoken word and playing the bass, our good friend Nick on keyboards and drums, Chuck from All Go Signs on guitar, Kyle from Ethereal Transmission
doing both guitar and vocals, and every man on the sampler / keyboard /
laptop thing. Delicatessen of Imagination II documents an amazing &
ongoing head trip called the Go Factory.
Episode 356: Debt Removal (04/18/2004) (every man / Glacial 23)
Playback show, as this was our annual WRUW telethon program. Played
various tracks from past radio shows, studio albums, and solo albums.
Gave some radio show history, philosophy, and personal insight to its
Episode 355: Dialects of France (04/11/2004) (every man / Glacial 23 / Ethereal Transmission) A 30 minute live improvisational set opening up for The Lost Film Festival at Pat's In The Flats in Cleveland, OH. Our musical movements for this particular show could be best described as: space-age dreamboat organizations of complete chaos . . . pop. Someone else called it "Pressing The Ethereal Button Push." Kris Harsh filled in for our broadcast show on WRUW. Recording turned out distorted and won't be available.
Episode 354: Digital Dancing (04/04/2004)
(every man / Glacial
23 / Ethereal Transmission) A trip to a musical synchronicity never before
explored, a newness and a oneness, a unity . . . a united state of being. Performance
of melody, harmony, and rhythm, of guitar, of drums, of keyboards . . . pianos,
strings, and silver things, imitation meat getting chewed up by laptops, imitation
on the sampler cob, imitation horn from the groove box /
incomprehensible voices, unintelligible telephones, the
heads, the meds, the hurt in the dirt, the burn, the ashes in the urn, smoking
- rising and rising oh my - the top, BLAM, the bottom, CRASH, and NEW newness
and oneness all over again, and all over again, now and forever, IN THE NOW .
. . forever.
Episode 353: Dick's Picks (03/28/2004)
(every man / Glacial
23 / Kyle + Pastor Dick & The Weatherman)
you think of "Christian" music in the 21st century, your likely choice
of formats is either modern pop or old time gospel, whose lyrics are all safe,
the good teachings of Jesus Christ. If
chauvinist lyrics, spoken word pieces condoning corporal punishment, lectures
discouraging homosexual behavior, melodies
fear of God in to your heart of hearts, a 5 year old singing about Satan,
or Charlie The Hamster (Alvin & The
soundalikes) singing about Jesus . . . then you've probably never heard
real thing, certainly not the way it was meant to be heard 30 years ago (like
things musical, the best stuff is always out of print.) If this is an issue that
plagues you, then this
week's show is the answer to your prayers. Press The Button and Negativland's
Pastor Dick collaborate in this
exploration into the rare (possibly never before heard) Christian music
the past. As our ears take a listen through history, we are exposed to several
truths about Christianity
that most modern preachers would prefer you never know. We uncover the cover-ups,
unravel the conspiracies, broadcast the secrets, and reveal the real "Axis
of Evil" George W. Bush is hiding from us. Are
this? Only if we believe what they have been telling
Episode 352: Discovering B-Music (03/21/2004)
(every man & Glacial
23 + Kyle of Ethereal Transmission)
A common element found in the typical "B-Movie" is an extremely small
amount of dialogue. Consequently, they sport a great deal of low budget filler
consider their existence wasteful,
like recyclable bottles in a garbage dump. Those are most often
re-usable, which holds true for these lengthy
music beds. We made our best environmentally conscious efforts to make these
discarded pieces of audio into something more useful. They mostly came from
and 70's films covering various genres: horror, documentary, drama, mystery,
pornography . . . not that it matters, as they were recontextualized into new
compositions. The mix never got out of hand, as the hand
of silence (silver not golden),
it peaked above dense clouds of noise, and like a box of puzzle pieces scattered
over the table, its fingers fell randomly everywhere in between. You're
walking through a jungle . . . the jungle is wild . . . with numb hands, legs,
roar past you, up in the trees, and below your feet. Walking endlessly,
the jungle is wild, all the various visions you see, all the muscles you cannot
are exactly what you hear . . . tonight.
Episode 351: Delicatessen of Imagination
(03/14/2004) (every man & The Go Factory) Radio-edits of various recordings made
at the very first Go Factory workshop held at All
Go Signs. The Go Factory was a workshop of painters, writers,
musicians, and philosophers from the Cleveland area. Everyman's role
was to help facilitate the audio in the atmosphere, using only the
input from strategically placed microphones as his source material.
The results were unlike anything we've heard. Spoken word voices
layered upon backwards steel guitars plugged into heartbeat monitors
flowing into Elvis loops with a real time drummer and five people
playing pitch bent folk instruments while Chuck DJ'd, Beating Eric
rapped, Everyman sang, and everyone danced. Nothing we can adequately
put into words.
Episode 350: Drowntown Before Sundown (03/11/2004)
(every man) A one hour show substituting for Hot & Fresh on WRUW,
which normally airs Thursdays, 5:30 PM - 6:30 PM. every man did a
solo mix using old film reels, contemporary jazz, digitally processed
static, public affairs
of sound effects commonly used in the cartoons that aired in the
1960's, various deconstructed loops of Beatles music, and live rain
recorded from a microphone in front of the studio window. Not recorded,
just doing someone a favor.
Episode 349: Dragonflies (03/7/2004) (every man & Glacial
23) Bzzzzzz!!! A slow flowing spoken word collage about insects, with an
ladybugs (ladybugs, ladybugs, LADYBUGS!),
bugs, and other bugs. "IT TICKLES MY HAND!" Sampled sounds from the
with electronica beats produced live on the fly. Bzzzzz!!!! The third
hour was made up almost entirely of music used in an odd children's documentary
found at a thrift store. "Cut it up into little pieces." It was completely deconstructed
400 pieces and reassembled in a melodic way such as to come off as something
new (what does it taste like?),
soothing on the ears as the original (anyone wanna try it?). This caused a caller
remember his war against ants when he was 5 years old, all in great humorous
"Use the scissors" (cut it up into little pieces.) Minutes
an improvised narrative about "bugs," comparing humans
(Cockroach, Kafka?) After
word lectures about cockroaches, the musical landscape obliterated itself into
twisted bit-crushed samples, all distorted, pitch bent, BUZZING, and 100% unrecognizable,
like perhaps the Earth is today. Bzzzzzz!!!!
Episode 348: Distributed For Free (02/29/2004) (every man & Glacial
23 + Kyle of Ethereal Transmission)
had one rule for this program, "Use only field recordings as your source material.
If you're going to make music, have it come from field recordings." Some
of the recordings were as old as 1973, and some were as new as present time.
these recordings on
cassette tapes at thrift stores, some were given to us, some we made ourselves
before the show, and some were made in real time via a microphone
placed outside the air studio picking up the ambience of the other
and talking. Hear music loops of bagpipes from a scottish festival, guitar tuning
from an independent band warming up before going on stage, teenagers playing
8-bit video games in the early 1980's, and every man dropping his pocket change
on top of a mess of CD jewel cases through a delay pedal.
Episode 347: Deranged (02/22/2004) (every man & Glacial
23) A seemingly random mix of motion picture sound effects, sustain pedals,
electronica were the soundtrack to a deranged man's mental metamorphosis. One
fan called it "a three hour nightmare that lasted three days." Intentionally
recorded, as this was somewhat
of a "tech rehearsal" (practicing with new gear vs. new content) for
Episode 346: Drastically Quiet (02/15/2004) (every man & Glacial 23 + Kyle of Ethereal
Transmission) Everything is calm and lucid, like people
sawing or chanting, and water doing its flowing thing. A fountain
with a motor, plays backwards, a single note from a violin never
ends, Stephen Hawking through a delay pedal, and the sounds of giant
bells are reminiscent of tiny little chimes. If the environment has
a say, then it babbles interminably from beginning to end, blowing,
washing, or singing calm songs into our already calm atmosphere.
It helps things to grow, like our sound, as in all things in life is life,
and has joined the adult world where things are bigger, louder,
faster, and tense! Everything was synchronized but our watches,
like improvisational jazz, and one of us, our guest Kyle, wasn't
even in the same room. Your nerves deserved this, as we did this
for us .
. . but you've heard already that us = them? Ask them, and
they'll tell you, a single note melody turned multiple-note harmony,
has taken our structure-less boy turning him into a well trained
with all the same modulars and mayhem of the dance floor, out of
the quiet study room
in the library. Educated education, isn't that interesting? You learn
while it knows nothing but what you explain, and then it grabs onto
the same conventions our cultures have embedded deep into our subconscious
thoughts, whilst becoming the teacher, and our brains go numb and
we dance to the very machine we created, the machine which
now reveals to you its culture. An example, not an explanation,
which you once gave as it now gives back. Quiet down now.
Episode 345: Diagnosis of an Alligator (02/08/2004)
(every man & Glacial 23 + Ryan of Thursday
Club and Leia Alligator) No plan, order, set list, or even an
outline - this time. We have learned the true meaning of "last
minute preparation" after abandoning the notion of getting a
substitute DJ following an extremely busy week, every man called Ryan
and Brian of Thursday
Club 90 minutes before show time, but Brian couldn't,
so Ryan asked Leia (with whom we've never performed with on the
and she could, but no one knew the theme, or what to bring or
sing, or what to play or say.
"Bring everything you got!" They scrambled and brought everything,
as did every man and Glacial 23. Show time started on time, ironically,
because the performers didn't. Only half the gear was properly installed
by the time the show officially started.
"Here, play these two CD's I made! Play them at the same time.
Play one louder than the other . . . if we're not ready by the time
they both end, play them again, but play the quieter one louder, and
the louder one quieter. They'll sound completely different. Cool?"
Deximer, Etapicitrap Tnegnat!!!!
Problems begin after the problems began. G23's laptop wasn't capable
of running all his standard audio applications, Ryan forgot a power
supply to a mixing board, every man forgot to bring longer RCA cables,
we didn't have enough keyboard stands (or garbage cans), and all of
our cables were too short "let's just move everything closer together
- closer - CLOSER"
A spider web of waist high cables, turntables, keyboards, effects boxes,
surge protectors, power cables, mixing boards, records, wind instruments,
sheet music, laptops, and "silver thingies" enveloped the
4 of us in a 10 x 10 space with extremely poor lighting . . . but we
did in less than an hour! No one could hardly move, and leaving the
room was out of the question unless you crawled on the floor under
spaghetti wires stretched around your legs. Nevertheless, we did it
in less than an hour, and performed as though we were entirely unaffected
by the situation.
Good friends, positive energy, high spirits, and improvisation.
100% improvisation. This turned out to be one of our most impressive
all-improvised live mixes to date!
Ryan, normally surrounded by hundred's of pieces of gear and known
for mastering the fine art of using feedback distortion as an instrument,
to two turntables. He picked out several records based on the vibe
the moment, playing off anything the rest of his comrades would
play or say, giving the turntables constant attention. "Unplugged," for
all intents and purposes, he made up for his lack of effects pedals
and sound making toys with his ability to pick the right parts of
records for whatever was going on . . . ifthingsfeltfast, heplayedfast
. . . if things sloooowed down, sooooo did he. If he heard a trumpet,
he'd grab a big band record. If he heard a piano, he'd mix in some
light classical . . . always moving, mixing, slowing, speeding, skipping,
flipping, and picking . . . he was constantly in the now, as
Ryan constantly is. Eighty minutes into the now .
. . Ryan's mixing mixes worthy of happy tears of sadness. He didn't
know where he wanted to go, but knew where he wanted to be.
Leia was armed with a bag of various flutes, and played them as
though she were classically trained. Everyone was sincerely in awe
her ability. As she performed, every man threw on some extreme effects
making it seem as though they were being played in a hole 9 miles
the Earth's surface, changing pitches, sampling them, playing them
back at themselves, delaying them, and sometimes playing them backwards.
Eventually, every man broke out his own flute, knowing he was unable
to play as well as Leia, decided to play random notes in the background,
adding an avant guard jazz improv vibe to the mix. Leia would then
add her own voice to the mix, constantly exchanging from singing notes
playing them, all through the same effects, so often and quickly that
it was nearly impossible to tell them apart . . . as though she invented
a new instrument that plays the flute and a human voice simultaneously.
She was a human synthesizer. BRAROWROWOROWARRRRRNGGG!!! When she wasn't
playing flute, she was rattling this metallic tube of noisy wires that
created this incredible natural reverb in the room, or she'd join
and talk on his vocoder about alligators. And them some more BRAROWROWOROWARRRRRNGGG!!!
She shy? Shouldn't!
A caller was completely in synch with us the entire night, playing
piano when he heard piano, synching with G23's sequences and beats,
playing flute sounds in the same manner, and when he heard Ryan slooooooooowing
down . . . he slooooowed down, playing deeply pitch bent spoken word
samples. The callers were disguised as performers as we watched
from afar from a toasty 10 x 10 telephone.
At one point, in the 3rd hour, everything totally stopped at the exact
same time, as though everyone in the room was winding down simultaneously,
all having the same thoughts of "let's finish this section because
I want to try something else." Within a tenth of a second after
it stopped, a new song started on Glacial 23's "silver thingie",
and everyone played along with it as though it were rehearsed that
A couple people noticed giggled.
The show ended the same way, as though it was meant to stop at that
exact point in time, and everyone knew it without having to look at
We're very fortunate to have not asked for a substitute this
week, or we would have missed out on this beautiful experience performing
with these talented artists during this incredibly unusual moment in
time. Everyone was truly in the moment.
Episode 344: Dreaming Life (02/01/2004) (every man & Glacial 23) Inspired by Waking Life, this dreamscape
is a soundscape made from soundscapes of dreamscapes, mixed live in
black & white patterns, other times in living color. Blistering
and burning from the back of your brain something bursts bubbles to
finally opening your eyes to your ears, the world within the mirrors,
the circle, the glass, moving fast, shake shake shake, you're never
awake. Calls so surreal as the soft sounds sift their ways through
of hair waves, makes time for thoughts that substitute talks, and the
temperature fades from seconds to days . . . losing meaning from time
. . . all that is logical is illogical given the right circumstances.
The sounds of dreams are sounds of streams, but can be disturbing as
bubbles bursting . . . brains hurting, or maybe thirsting. It's your
first day of school, or perhaps you've been in school forever. Death
can be one of the same make . . . a dream? or just awake? Not recorded.
Episode 343: Dissection of the Carcass (01/25/2004)
(every man & Glacial 23) Playing with the playback of playback performances
Club "reflection on the reflection of the sound of ear, the
sound you hear", Ethereal
Transmission "Okay, we've got words . . . and guitar . . . so
that's two strikes against us", then presenting participants in
a powerful improvisational production "bop
it, pull it, ARRRRRRRGGGHHH!!!", and bending the bent deconstructed
data sideways into an hour long dirge every man refers to as "Drifting
Frequencies", and it all happened on or about or around or because
of Recycled Rainbow 7.5. "The last hour and the last half of
the second was very cool but i must ask . . . . . WHAT???????" Lots
of liberties were stolen in this inaccurate representation of the truth
as the performers performed the performances. The players played the
play. We often call this Experimental
Behavior. The broker says sell
high bye bye low and this won it as low as it could go so we'll
say "no" to lettin'
Episode 342: Decompression Afterthoughts (01/18/2004)
(every man & Glacial 23 & Widget + J.
Kyle Moyer) Special guest J. Kyle Moyer of
Lakewood, OH's very own Ethereal
Transmission collaborated with us to express the concept of "decompression." This
was one of those rare shows where 100% of everything we did was improvised,
just come off a weekend of true decompression with Kyle, and the only
source material we managed to gather were our thoughts. It's fascinating
how dynamic the audio content was considering we had four performers
in the studio. In terms of sound, it's very difficult to describe,
as this program doesn't resemble anything we've done before. Lots of
experimental noises coming from Kyle (wah-wah, phase distortion, moaning
in space, floating in water), the occasional bloop, bleep, zip, and smack
coming from Glacial 23 (and playing the radio station's internet feed
into the mix creating a feedback loop), the always
word samples coming from Widget (Space Ghost and Pittsburgh Penguins??),
and the stream-of-consciousness spoken word of every man were certainly
present ("we have to invent our own words here . . . discomplating
Burble streets.") Things happened hear that
always happen during an improv show. Microphones failed, levels were
have the right cables until the very last minute, our first 15 minutes
turned into a sound check, and the callers were never more confused as
to what we were doing. Yet, to a listener hearing this out of context,
it was all quite entertaining and intentionally "dada." The
second hour picked up experimental momentum, and the last hour was sonically
most intense as all four of us finally found ourselves, figured out where
we were flying, and flew.
Episode 341: December Songs (01/12/2004) (every man & Glacial 23) Written in December 2003, these three. 100%
Recycled by we. One, from nature, drum circles, an old
Casio keyboard, and me. Two, from classical compositions and 1950's instructional
films that we couldn't actually see.
An avant guard experimental jazz group called The
Rick Jensen Trio was sampled exclusively
during hour three. One, or two, or all these may
or may not have been in their final states of being, open or closed,
we don't know, do you care? "Are you there?" It's cold, dreary,
and everything is ugly (III), and "play some music" (3) talent doesn't
music" or? "you're
Everyone is reborn "HEY!", their worst enemy. "I can't listen . . . "
to this anymore? ". . . go fuck yourselves!" <click> <click> <click>
Episode 340: Donner and Blitzen (01/05/2004) (every man & Glacial 23) Entirely composed of found family recordings
made in late December, 1985. The show begins with rare (never before
heard) recordings contributed by Negativland's David
Wills, where we sit at his kitchen table in Contra Costa County, listening
to his mother and grandmother discuss purple
fingernails (how ugly!),
oven noises (how much sound do you think you're really going
to get out of that oven?), towel theft (David, why would you have a towel
with flowers on it?), and bird crap (it was years ago, but I
remember it crapped right there!)
These recordings begin to slightly pitch bend, fade, and reverberate
as we hear children singing Christmas carols, parents opening
interactive callers discussing
the true history of Jesus Christ. More children sing, more gifts open,
thrift store cassette tapes dominate your ear sight, and David's grandmother
laughs and laughs and laughs as she tries to not fall while walking
up the stairs.
us "if you want a puppy, you'll have a puppy!" The second
hour is filled with more recordings from Christmas, 1985, brought to
Thursday Club, who starts out as one, but wait . . . he's two . . .
three . . . four . . . five . . . six . . . seven times the Brian!
easily less than seven years old.) Brian meets Brian, meets
layers, meets Brian, speaks backwards, sounds leftish, then there's
Brian, upside down, over there on the right, says Brian, backwards,
more Brian, on top of Brian, fireworks, ice hockey, cheering
for hours (within the hour), piano, repeat, mom and dad, television,
cut, paste, left, right, forward, fore ward, reversible
Brian, I repeat, reversible Brian. In the last hour, we hear
five hours of Widget's family, in the last hour, we hear a
family Christmas gathering five times as large as Widget's, large groups,
yelling "NoooooOOOOOoOOOOoOOoOoOoOOOoo!!" Christmas mashups
galore on the PA system, five times galore, and Christmas
song poems sing "I got stoned for Christmas." You'd
be surprised how quiet those 10 (I mean 50) people are when walking
and there, opening
gifts, making believe they are in the year Nineteen Eighty-five! As
quiet as five stones.