Alec and Nick discuss the algorithm as a mysterious force within the production and consumption of music. Despite being used daily in our various contendings with digital platforms and culture, the term is often misunderstood. The conversation loosely defines the term as "some kind of procedure," embarking on a survey of chance (Cage), serialism (Schoenberg), Bach & Hindustani classical music, scales and modes, The League of Automatic Music Composers, Laurie Spiegel, newer electronic music, and more—as well as philosophical debates between form and process. Is an algorithm a dialectic? Do algorithms produce form, or does form precede an algorithmic process? Ultimately, the discussion draws latent comparisons to the idea of musical truth and an algorithm itself, and outlines a reversal of algorithm as a set of procedures that would create and bring music into a being, to a process that now entraps and contains it. The episode concludes with a discussion of algorithms that bring us to a contemporary visual culture of music, tying in The Velvet Underground & Warhol, Rosalía, Björk, and more.

Alec and Nick finally discuss the processes of music consumption and distribution through smart phones, and the means of production of "sounds" on TikTok, Instagram Reels, and other video sharing social media platforms. Picking up a quandary from past episodes about digital music, the duo ask if TikTok sounds are, in fact, music—and conduct an inquiry into the form and processes that TikTok sound sharing has redefined in our musical lives and experiences. Spanning Phonk music, millennial woop glockenspiel music, Gen Z bed room folk, 80s Muzak commercial music, and more, the conversation analyzes a dark Dostoevskyian worldview of new commercialized music on smart phones—and how this underpins a capitalized sadness enframing the music's focus on the daily grind, the hustle, and success. The episode reviews new populisms, cultures of embarrassment and professionalization, Alec's practice of dredging the depths of Spotify, "out of timeness" and "out of tuneness," the haunting quality of various sonic spaces on the phone, and a comparison between the social experience of cell phone music and Opera. The episode serves as an initial material and cultural review of algorithms future episodes may expand upon.

Alec and Nick examine the emergence and proliferation of digital music technology in the 1980's as it maps onto a "solo-doloistic" turn in our increasingly individualistic music listening and production habits. First discussing this transition through the lense of conceptual innovations by Robert Ashley and other Sonic Arts Union composers, the episode charts commercial and cultural implications for digital media distribution on CD, .MP3 and so on, and constructs a historical arc for the relationship of experimentalists to this technological paradigm. Topics include: personalized media experience, television, Yasunao Tone, George Lewis' jazz to computational music arc, sampling, Noise, tech complacency, electronic music sub-genre accession and the creative thresholds of digital workstations and resulting aesthetic commonality across genre.

Alec and Nick complete a series of discussions on foundational music discourses — classical music, sound systems, and in this episode: musical temperment. Defining temperement as the organization of the acoustic harmonic series, applied in performance, engineering and musical epistemology, the conversation expands on historical nuances in the aesthetic, technological and cultural implications of this evolving theoretical construction over time. Anchored with a comparison of J.S. Bach's equal tempered proof-of-concept — "Well-Tempered Clavier" (1722) — and LaMonte Young's 1964 rebuttal in just intonation, "The Well-Tuned Piano" (1964), the discussion extends the broad history of temperement into the realm contemporary music and inquires into the affect of digital sound production on this discourse. Topics include: Pythagoras, autotune, Vincenzo Galelei, Harry Partch, John Cage's works for prepared piano, the evolution of the western orchestra, Indian classical music, Noise, and more.

Alec and Nick take up sound systems as a point of entry into the discussion of technological and cultural evolutions of listening. The episode explores a range of material, social and philosphical contexts for musical mediatization including Dub sound systems, the contemporary DJ, musique concrete and multichannel acousmonia, and the production of a pure abstract music via word scores and other speculative music forms. The conversation touches on the concept of shizophony, similarities between audiophile and classical music paradigms, the social contract of witnessing sound dissemination as an acoustic phenomenon, Henry Flynt's "concept art" notion of constitutive dissociation and personal reflections on the good old days — presenting stereo sound art at the local bar and grill. Ultimately, the discussion asks: in what way does the material dissemination of sound consitute the cultural dimensions of listening?

Alec and Nick pull another unreleased conversation from the archive, recorded one year ago, discussing the "the miraculous" as a concept within music. The episode traces an idea of the miraculous as an occurrence in time that pulls you outside of an expected context, going beyond the perimeter of what is anticipated or even possible in that given moment. Questions around unrepeatable music, the unexplainable nature of the world, computation, chance and musical time, and more are discussed. What are the musical boundaries that define the orderliness of our experience of music? What are musical situations that could pull us out of this order? Improvised, determinate, and indeterminate music, Loren Connors, planes of consistency in technology, DJ culture and classical music are discussed.

Alec and Nick revisit an unreleased podcast from the archive, recorded one year ago, discussing the concept and experience of Turning Up. The episode reprises the idea of the Dionysian in terms of consumption of music, ideas, substances and social activity as these mingle within the interior life and institutional forms of attending, listening, partying, producing and performing. The conversation asks questions about the utility of lit music events, fleeting public sounds, the script of turning up, uncoordinated and novel excitements, and the Apollonian state of Turning Down. Topics include MoMA PS1's Warm Up summer series, turning up in experimental music, and an extended discussion of the tension between aesthetic excitation and the pursuit of truth-value in Callahan and Witscher's "Think Differently" album and 2024 release show.

Alec and Nick return to podcasting to discuss their special respective connections to classical music. The conversation employs a back-to-basics overview of the form: what is classical music? What is NOT classical music? What was and is it? Taking a zoomed-out approach, the episode spans the culture, mechanics, operations, and evolution of classical music: arriving at an assessment of the "audacity of its form" in relationship to the dysfunction and cosmopolitanism of contemporary society. Johann Sebastian Bach, Igor Stravinsky, Richard Strauss, Maurice Ravel, Erik Satie, John Cage, Morton Feldman, Wolfgang Amadeus Mozart, and even … Béla Fleck & the Flecktones are all mentioned.

After witnessing a TikTok "beef" between the "Mozart of Gen Z" Jacob Collier and Rick Rubin, Alec and Nick take up "des arts de boeuf" as a space to discuss the implicitly disagreeable nature of musical aesthetics. The conversation uses these two maestro's different perspectives to inquire into the role of the audience and its relationship to creativity, musical genius and virtuosity, and the underlying political assumptions evident in their arguments. More, the two discuss the act of a "beef" or disagreement as an illuminating tension that highlights core hypocrisies, embarrassments, and ironies within our aesthetics and politics. Irony is discussed as a dominating "coin of the realm" in which true untruths are exchanged with untrue truths — a continuum that develops into political binaries of liberalism and fascism, and the nature of aesthetic and political revolution. The conversation also uses this as a foil to discuss the recent full course Beef of Drake versus Kendrick Lamar, and questions the musical "avant-garde" as a progressive medium for art or politics.

In a novel departure from their "special relationship" to classical and experimental music, Alec and Nick take up the topic of Interpretive Dance as a discursive foil to their ongoing inquiries into music. The duo give bewildered accounts of the aesthetic experience of interpretive and experimental dance performances—and ask basic questions: are music and dance the same thing? Sibling rivals? Two towers? Or, why does interpretive dance often evoke laughter, humiliation, or come across as potentially overstated and ridiculous? How would would you choose to express yourself through dance? The conversation also recounts comfortable and joyous experiences of dancing and probes critical assumptions and entrenchments within the music/dance dichotomy. The conversation touches on John Cage and Merce Cunningham, The Club, musical theater, Yvonne Rainer, Simone Forti, ethnomusicological accounts of movement and music, improvised music, ballet and classical music, music and dance's extensions into visual culture, Kim Gordon's new album, and more.