Ob-strats (#118)

Source file here. Originally broadcast on July 23rd, 1998.

Being music geeks—not music nerds, who hold their special knowledge over others to feel powerful—we here at TKDF want everyone who doesn't already know about Brian Eno and Peter Schmidt's Oblique Strategies to hear the good word.

Traditionally the Strategies take the form of a deck of cards, and they are intended as tools for when one gets stuck while doing creative work. They are used to challenge preconceptions and allow one to see things suddenly from a perspective where the problem doesn't exist or doesn't matter. Being fans of Eno in general, we decided to approach the problem of the show with the Strategies in hand. This tells you two things: 1, we sometimes felt doing the show was a "problem", and 2, we like using tools.

If we didn't tell you what Oblique Strategies were, could you tell that this show was produced in a different way? Probably not. It has an appealing, shuddering shimmer of a heartbeat for much of its length, but the component sounds and overall show-shape are within the usual range of loopitude, non-sequiturism, uneasicity, dynamicision, and intentional cruftage. Which is not to still wholeheartedly recommend the Strategies for any and all problems that may arise. As one of my favorite cards exclaims, "Try faking it!"

1. Responding to pulses
2. Crackly backward-chanting doctors
3. Tense, endless Italian New-Wave
4. Metallic abrasions
5. Whistling from behind the curtain
6. Almost-dub The Letter
7. Frothing and boiling over onto the mixing console
8. Cavernous, sappy, soulful, pouncing
9. Boomerang yodel
10. Endless-er 'cause it's slower
11. Toads and diseases while channel-surfing
12. An existential question
13. The strategies call for an Ambient 4 coda

OUIJATKDF (#98)

Source file is here. Originally broadcast on March 5, 1998.

This was my favorite show score we came up with. Supposedly, the idea came to us that we could give up decision-making during show's performance. Who would decide for us? The spirit world, of course.

There are two production studios involved and each one has its own "map". When an active Ouija board at the station points to the letter "E", for example, TKDF staffer #1 cuts out everything they are doing and plays the first track on turntable one repeatedly, and TKDF staffer #2 turns all active channels up all the way and turns on the FX module. Each letter and number on the board is accounted for this way, and the collage show progresses smoothly and without hiccup or over-thinking.

Actually, in practice this show's plan created unexpected problems as well as some pretty great moments of sound. There was not room in the cramped station to have the Ouija operators in easy "reach" of the Staff, and so there had to be a relay team who took turns running the messages upstairs to the studios. Occasionally this creates awkward pauses and sometimes letters pile up and staff execute commands in quick succession or all at once. Despite making the show difficult in new and interesting ways, the great thing the Ouija board did was create some dynamic events or accidents that we never would have done if left to ourselves.

1. Modems, oscillators, and Einstein, oh my
2. Sudden counting
3. Do you think the spirit likes prog?
4. Indigestion Robot
5. Disco Irv and balky outboard motor
6. All largely propaganda
7. Let me just weld this door shut
8. Theatrical entrances
9. Breakbeat Chinese dog party
10. Push it into the red, don't stop
11. A robot is running the show now
12. And the robot likes Negativland
13. Drums, samples, and quit followin me

Note from Ian F-R: Actually, the tape ends with some personal recordings that were not broadcast. The robot voice, the Negativland tracks, and the drum patterns are my recordings, added after the show. Whoops.

Collage-College Radio, Audio

This is the beginning of a probably soon-to-be-unreleased podcast of archived recordings from 1993-1999 of radio programs designed to annoy, confound, massage, perspicate, and gruntmuggle the listeners' ears. Programming was planned ad hoc in situ and realized three days later in the REM-cycles of the audience as they slept.

In this first episode (Introducing, 2009-03-29):

• what is audio collage?
• the grand gateway to audio collage
• first shows: the experiments, the ranting, the apologies
  
• Steve, Paul, and i
• 3 pairs of hands/lapsang souchong =
  6 turntables*e^(10-x)
• but what does it sound like? "bhwaannnngh"
  
• the roots of audio collage: tubers!
  
• meet the Beatles--again, and Again, & AGAIN
  
• thanks, go back to your room

The file is here.