I feel my role for these programs now is part historian and interpreter, and sometimes apologist. I recount the facts and details about the original show and how it was made, I provide context from the intents and environments at that time, and I also admit when the shows fail to live up to their potential. This one feels at times like it needs apologizing for, with dead-air minutes and interminable stretches of unpleasant scrapings.
This is, however, what this show is also fundamentally about: pointing out the subjectivity of sound appreciation and attempting to sow seeds in the extreme outer corners of the possible aural field. Music is sometimes differentiated from noise as being organized or desired sound. But putting Music and Noise on a linear axis varying in degrees of Organization or Desirability does not address the subjective nature of those factors. Repetitive factory sounds, clumsy guitar dismemberment, slap funk bass, scrambled tape feedback, reverberating vocal grumbles as found within this show are all equally organized/disorganized, or desirable/undesirable based wholly upon the listener's sensibilities.
As the second of a two-show theme, this recording captured myself, possibly alone at the controls, challenging my future self's definitions and acceptance of music versus noise, contrived versus accidental, and beautiful versus unlistenable in the context of radio programming. I won't bore you how I like it now, but I find it still makes me think, which I count as a kind of success.
- Dot matrix guitar
- Guitarpentry
- 1959 guitar lessons with 3-minute break
- Hi and lo white noise
- Cave flautism
- Caveman at open mic night
- Actual beats and basslines
- Jajouka versus breakaway tape machine
- Fire engines in freefall
- Weird noise club next door
- Behemoth speaking slowly
- More cave guitars with Anton LaVey
- Relentless house paranoia
