CiTR -- Exquisite Corpse

Ryan Amadore graduated from Emily Carr University of Art and Design in 2009. He is an interdisciplinary artist and self-taught musician currently living and working in Vancouver. His art often incorporates sound as well as music which he produces. 'Everything Inclusive' 2011 is his first self produced EP. It features field recordings of specific environments which he has collected. The ambiance of interior and exterior spaces cast the backdrop and inspire his musical performance.

I'm Doctor Bartlemania, or simply Doctor B. as I've been called by my fellow DJ's at WHRW in Binghamton, New York. WHRW went on the air in 1966 as a free-form non-commercial radio station. This coming month marks our 45th anniversary, and we're still true to our free-form tradition. Another tradition at WHRW is the on-air sonic collage, or ?space mix?. Originally these were done live with only two turntables, a microphone, a tape deck and sometimes the odd vocalizations by chemically-enhanced studio occupants. This space mix was of course created using modern digital technology.

Another anniversary, an unhappy one, occurred last month. December 8, 2010 marked the 30th anniversary of the assassination of musician and former Beatle, John Lennon. I created this mix in his honor. Since I know that there are more John Lennon documentaries and radio programs out there than there are stars across the universe, I've done all I can to make my own contribution to his memory as unique as possible. John Lennon was a fan of Karlheinz Stockhausen, to whom all sound collagists are indebted and whose work appears in this mix.


Description: John Lennon Space Mix

24 Hours of Radio Art, January 17, 2011

AURAL CORRESPONDENCE UPDATE
by Chris Burke and Frank O'Toole

The friendship and collaboration between sound artists Chris Burke and Frank O'Toole began in the 80s when Chris was listening to Frank's wildly eclectic WFMU radio show. Chris began sending Frank home-recorded tapes of his oddball sound collage work, much of which ended up on his first release, Idioglossia on Mode Records. This began what they called the "aural correspondence" during which Frank incorporated some of Chris's audio pieces into his radio show along with his own. Chris recorded and the shows and used parts of them in his sound collages which he sent back to Frank. Here they continue the process 25 years later. This mix also includes original music by each of them as well as the original sound piece "Breath Stop" by Tamara Yadao* around the 37 minute mark.

For the full list of sources in the mix, search for glomag on soundcloud.com.

You can find out about Chris's work at moderecords.com
and Frank's work at wfmu.org

Ryan Amadore graduated from Emily Carr University of Art and Design in 2009. He is an interdisciplinary artist and self-taught musician currently living and working in Vancouver. His art often incorporates sound as well as music which he produces. 'Everything Inclusive' 2011 is his first self produced EP. It features field recordings of specific environments which he has collected. The ambiance of interior and exterior spaces cast the backdrop and inspire his musical performance.

http://radiowonderland.org/serendipity/index.php
Radio Wonderland "bio"
RADIO WONDERLAND is me, Joshua Fried, performing solo live sound processing by drumming on old shoes (I'm a drummer) and manipulating a steering wheel (I'm a, er, wheel player). RADIO WONDERLAND turns live commercial FM radio into recombinant funk.

All the sounds originate from an old boombox, playing radio LIVE. Nothing is pre-recorded; anything picked up during the performance is fair game until the end. All the processing is by custom software I wrote in the MaxMSP programming environment. But I hardly touch the laptop. My controllers really are a vintage Buick steering wheel, old shoes mounted on stands, and some gizmos. You'll hear me build grooves, step by step, out of recognizable radio, and even UN-wind my grooves back to the original radio source.

I walk on with a boom box, playing FM radio LIVE. Once onstage, I plug it into my system and start slicing up radio. I arrange those slices both rhythmically, and, by playing them at different speeds, melodically as well, all according to what I hear. I call this process the RE-SHUFFLER. With another algorithm, which I call my RE-ESSER, (studio nerds will recognize this as a joke on de-esser), I isolate the sibilance, so I can compose on the spot with those S, T, K, Sh, etc. sounds, just like programming a drum machine. The ANYTHING-KICK morphs a bit of radio in the direction of a kick drum.

The sum total is dance music. I ham it up like mad, using the theatricality of the objects. It's great fun, and more musical than the video suggests. Every show is rather different, naturally, because the source material is entirely different each time.

So what's it all about? What is the art-speak that goes with RADIO WONDERLAND? I want to show that we ALL can interrupt and interrogate the never-ending flow of commercial media. So my transformations, taken individually, must be clear and simple?mostly framing, repeating and changing pitch?although when everything is put together the whole is indeed complex. My controllers are simple too: the wheel merely a knob to take things up and down (frequency, tempo) or play radio loops like a turntable, the shoes just pads I hit softer or louder. The surreal quality of using such ordinary objects underscores the absurd disconnect between digital controller and sound, as well as the congenial nature of the aural transformations themselves. So, too, my riffs must be vernacular and not elite. (We need the funk.)


How did this all happen?

I discovered dub, punk, and Eno in 1978 and by '79 I was making music. I soon realized that I wanted it to dance.

1980s:
Performed as my own-person--uh, that's one-person--dub band at clubs such as The Pyramid, Danceteria, Mudd Club, Irving Plaza, Limelight, Tunnel, Limbo Lounge, while still collaborating with choreographers and performance artists including the great Iris Rose and Watchface.

Did remix work for Chaka Khan, Ofra Haza and They Might Be Giants.

Had a record deal with Atlantic, releasing "Jimmy Because" produced by Joe Mardin and Arif Mardin (Chaka Kahn, Nora Jones, Bee Gees, David Bowie, Bette Midler, Aretha Franklin).

1990s:
Skewed meself towards the concert hall and theater, doing Bang On A Can, Lincoln Center, The Kitchen, etc. Did a big collaboration with the great choreographer Douglas Dunn. Had a 16 week run of a gibberish operatic suite, Headfone Follies at HERE Arts Center. Made this web site:

Composer Joshua

2000s:
Radio Wonderland is (slowly) born! And is my way of
Bringing It All Back Home.

Posted by Joshua Fried in Bio at 08:22

EBNC - 1st track "Audio Nihilism" 2nd "Flogging a Dead Format" - 1hr.
EBNC began as an offshoot of the Asheville-based experimental project The Syntax of Things in 2005, where the focus was on outboard equipment and analog sound sources.
EBNC took their name from a dark chapter in the history of North Carolina?s mental health system.
# EBNC uses a unique mix of hand-built and modified electronic equipment, modular DSP programming, field recordings and damaged media sources to produce its sound, which ranges from a soothing ambient wash to harsh noise.
EBNC could be persuaded to perform live on occasion, but it doesn?t happen very often.
EBNC is packed with vitamins and iron and is an important part of a nutritious breakfast.
EBNC loves you and respects you as a human being.
EBNC isn?t very comfortable coming up with blurbs to describe themselves, so they just make random shit up.
EBNC doesn?t know how to finish an artist biogr-

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(416) 445-8700 / 1-800-55 SOCAN
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RADIO LOG
IF YOU ARE CURRENTLY USING A SOFTWARE TO GENERATE YOUR REPORT, PLEASE DISREGARD THIS FORM. Thank You

Station Call Letters: CiTR Date: January 6, 2011

Please list the time the song was aired, song title, performing artist, composer/author, usage (T= theme, B= background, or blank for feature music), and duration for all music aired, including program themes/music cues etc. during each hour of the reporting period. Where programming without music has been aired, kindly indicate its general content. Send completed forms to SOCAN at 41 Valleybrook Drive, Toronto, ON, M3B 2S6.
T= THEME
B=BACKGROUND
TimeSong TitlePerforming ArtistComposer/AuthorUsageDuration
19:31Tourette (from Idioglossia)Chris BurkeChris Burket2:35
19:34Ohne Titel 3 (from BLAU)Tomas Phillips / Jason Bivins
Tomas Phillips / Jason Bivins
8:43
19:42Pond (from Musicworks 108)Kyle BrendersKyle Brenders4:28
19:46PSA - AMS Pit Pub:45
19:47Silhouettes of Trees in the Wind (from Yeti magazine #10)Starving WeirdosBrian Pyle and Merrick McKinlay6:45
19:54First Impression (from Yeti magazine #10)V>L>A>D>R>MN.Ray
Brendan Spengler
Jeffrey Bouck
Harlan T Bobo4:55
19:59Station IDVicki BennettBleek Swinney / Vicki Bennett:35
20:00Homegoing (from Homegoing)CristalJimmy Anthony, Greg Darden and Bobby Donne7:30
20:07Minutes Tessituras (from Deep Wireless #7)Andrea-Jane Cornell and Emilie Mouchous Andrea-Jane Cornell and Emilie Mouchous 12:25
20:20Advertisement ? Wilco Wilco, et. al:53
20:21Something That Has Form and Something That Does Not (from Something That Has Form and Something That Does NotOn Christian Fennez13:20
Promo - AnoizLuke Meat Luke Meat
20:31Airscape excerpt Tom Roe & Scanner
Tom Roe & Scanner 5:00

TimeSong TitlePerforming ArtistComposer/AuthorUsageDuration
20:36Dub The Bridge Of The Bridge Matt Bua + Matt Mikas + Tom RoeMatt Bua + Matt Mikas + Tom Roe10:38
20:46Front-End_Noise_Temperature_or_Dizzy
Tom RoeTom Roe3:52
20:50Please Don?t Be LongAlice SantoroAlice Santoro:50
20:51Turn and ListenAnton MobinAnton Mobin:50
PSA?s and Promos
20:55ClamsSnail BobSnail Bob (?)2:48