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NPR (National Public Radio) is an internationally acclaimed producer and distributor of noncommercial news, talk, and entertainment programming. A privately supported, not-for-profit membership organization, NPR serves a growing audience of 27.5 million Americans each week in partnership with more than 860 independently operated, noncommercial public radio stations.
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Contemporary drama in a rural setting from the world's longest running radio soap opera.
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KCRW 89.9 FM is a Free Internet Public Radio Station of Santa Monica College, in Los Angeles, California - Streaming Live Independent Music, NPR News, and Talk
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KCRW 89.9 FM | Internet Public Radio Station Streaming Live Independent Music & NPR News Online from Los Angeles, CA - KCRW
American Public Media, a nonprofit 501(c)(3) organization, is the largest owner and operator of public radio stations and a premier producer and distributor of public radio programming in the nation. It is also the largest producer and distributor of classical music programming in the United States.
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WNYC 93.9 FM and AM 820 are New York's flagship public radio stations, broadcasting the finest programs from National Public Radio and Public Radio International, as well as a wide range of award-winning local programming.
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The New York Times is an American daily newspaper founded and continuously published in New York City since 1851. The New York Times has won 106 Pulitzer Prizes, the most of any news organization.[3] Its website is the most popular American online newspaper website, receiving more than 30 million unique visitors per month.[4]
The New York Times
J.C. Hutchins is an award-winning fiction and nonfiction storyteller, with 15 years of professional writing experience. His two novels – 7th Son: Descent and Personal Effects: Dark Art — were published in 2009 by St. Martin’s Press.
J.C. Hutchins
Arts, culture and city life from WNYC, New York Public Radio, 93.9 FM, 820 AM.
WNYC Culture
IndieFeed delivers fresh and quality-filtered music selections to audiences seeking extraordinary content experiences. Unlike mass-oriented broadcast companies, IndieFeed delivers targeted, single-serving shows optimized for desktop and mobile use, providing valuable content choices for busy quality-conscious people.
IndieFeed.com Community
Visit ABC online for information on ABC daytime and primetime network programming. Watch full episodes of your favorite ABC shows and browse exclusive online content.
ABC
ABC.com - Official Site of the ABC Network
Brian Ibbott is a podcaster who lives in Arvada, Colorado.[1] He is most notably known for his podcast Coverville, which began in September 2004. Coverville is one of the longest running podcasts in the iTunes store and also is in the top rankings for overall episode numbers. He also podcasts for the Denver Post as well as co-hosting the casual gaming podcast "Tired Thumbs" with Charlie George and Sara Phillips. He also co-hosts a movie discussion podcast, "Film Sack", with Scott Johnson, Randy Jordan, and Brian Dunaway.[2][3]
Brian Ibbott
KEXP-FM (90.3 FM) is a public radio station based in Seattle, Washington, that specializes in alternative and indie rock programmed by its disc jockeys. Its broadcasting license is owned by the University of Washington, which operates the station in a partnership with Paul Allen's Experience Music Project. The station was formerly operated under the call letters KCMU.
KEXP
92.3Nowfm Dj toro
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The Original NY/NJ/CT Dj Toro Please do no accept imitators!
You can listen to him live on 92.3Nowfm!
Fridays @ 5pm for The Weekend Rollout
Friday Nights at 11pm The Friday Night Fix
Saturday Night Dance Factory fro 7:45pm to 3am
Follow me Twitter @deejaytoro
www.923now.com
www.myspace.com/djt0r0
www.facebook.com/deejay.toro
www.djtoromusic.com
Hip Hop , mashups , mixtape , house , club , live
Enjoy!! Thank you for support!
Booking info...
bookdjtoro@gmail.com
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The Monocle Weekly signs on with a mix of smart discussion, previews, field reports and feature interviews. From our studio in London and our bureaux in Tokyo and New York, Monocle's editors focus on the horizon and explore the looming stories within the five areas that define our editorial agenda: global affairs, business, culture, design and consumer culture. Sponsored by TOTO. For more information about Monocle’s print and online offerings please visit www.monocle.com.
The Monocle Weekly
Mixes and commentary on harmonic mixing in drum and bass by Rocdollar who hosts a radio show on Bassdrive.com. Visit http://digitalsoundboard.rocdollar.com for the full source feed. Big up!
Roc's Digital Soundboard
Piano improvisations by Curt Siffert. More an exploration of the creative process than a guarantee of finished, polished works. Unless otherwise noted, each piece is made up on the spot. Send Curt an evocative phrase (like the improvisation titles) through the website and a future improvisation might be based off of it. Visit http://curtsiffert.com/ for more music. All improvisations released under a Creative Commons copyright, by-nc-nd 2.5
Curt Siffert's Piano Musings
ipadio takes any phone call and streams it live on the web, makes phonecasts and phlogs simple and immediate
TLSC - VCE Japanese
As a companion to WilmU Magazine, this program offers an indepth look at people and events that impact the Wilmington University Community.
WilmU Magazine-On Air
This podcast will vary from being general musings, to ambient sound captures, to travel reports from the road, to virtual sidekick field photography sessions.
Skip Hunt is a wandering, wondering artist who travels, photographs, films and writes about adventure online. Here's a short bio from his fine art print site: http://skip-hunt.artistwebsites.com
'I make images... so that all my moments will not be lost in time like tears in rain.' ~ Skip Hunt
Skip Hunt, born on the wind-swept plains of Oklahoma, is a professional photographer in Austin, Texas. He picked up a 35mm camera in the mid-1970's and has never stopped sharing his unique vision via photographic images.
Many moons ago, he was bitten hard by the wanderlust beast and has been canvassing the globe ever since. Visionary artists such as Pete Turner, David Lynch, Cindy Sherman, and Andre Kertesz set Skip's sight on a fine-art horizon early on. His insatiable thirst for rich color and even richer cultural exploration keeps him on the road most of the time. When he's recharging his batteries, he calls Austin, Texas home.
Please Enjoy!
Skip Hunt's Phlog (Phone Blog)
Koopa Nut and Bernard James talk about all things Precipto and ADV and anything else they like. Like old computer games and things that aren't real.
Adventures of... podcast (iPod)
A new monthly podcast from Kings Place contains details of upcoming events, news and exclusive interviews. Kings Place (London) is a new creative centre presenting music, spoken word, painting and sculpture from around the world with a water-side restaurant, cafe-bar and conference and events facilities.
Kings Place
Subscribe for exclusive band interviews, backstage gossip and free music from Edinburgh's best loved DIY gig/club night; This Is Music Edinburgh. http://www.myspace.com/thisismusicedinburgh
This Is Music Edinburgh
Mobile Micro Shows feature local artists and musicians. We sit down with musicians, bands, writers, and artists of all kinds and they perform two pieces as well as answer a few questions.
Mobile Micro Shows
Vasja Progar - (text by Luka Zagoričnik)
Born in 86, Vasja Progar is one of the youngest makers in the field of contemporary music in Slovenia, an insightful and critical thinker, a graduate of biotechnology and a former student of composition and music theory under Uroš Rojko at the Academy of Music in Ljubljana, whose radicality and faithfulness to his own expression made him quit this institution to embark on a study of cognitive systems and interactive media at the University Pompeu Fabra in Barcelona. This compact sentence only neatly discloses Progar’s creativity in the area of music. Young as he is, Progar already presented his compositions in the Slovenian Philharmonic in the frame of the festival Slowind in 2009 and at the Slovene Music Days in the year 2010. His transition from the 2008 composition for choir ‘Ay, Green Are All the Highlands’, a remake of the Slovene folk song, to his later works is abrupt, incorporating and illustrating the tendencies of certain other young Slovene composers, Progar’s colleagues, Matej Bonino and Petra Strahovnik for example, with whom Progar collaborated in the intermedia performance for chamber ensemble, a dancer/singer, live electronics, and video, meaningfully titled ‘Futturismo Hurra!!’, which in its core paid tribute to the historical movement of futurism via the futurist poem of the same title by Luciano Folgore. The intermedia nature of the work, which combines dance, movement, environmental and electronic sounds, and sounds of acoustic instruments, reveals the tendencies of the three young artists, who used to organise discussions, round tables, workshops, and other gatherings together with their colleagues from Škuc Gallery, with which they were boldly breaking down the stuck-up and conservative ways of thinking that overwhelmingly prevail in Slovene classical music. Vasja Progar goes farthest among his colleagues. His 2009 composition ‘Close to Silence’, performed by the acclaimed Slovene contemporary wind ensemble Slowind, is anchored in the current reflections on silence, which are – following John Cage – unwinding in contemporary music for the past twenty years. In this four-part composition, Progar constitutes silence through different perceptions: as a resonance, as latent energy, as absence in relation to sound, as tension and abstraction in relation to music. Which can also be non-music, a reflection, bound to the listener and his/her perception. And it is precisely here that Progar touches upon his idea, which he presents as ‘a focus on research and an unveiling of human perception through art form’. Today, Progar enacts this idea, this search in numerous art environments, besides the music and sound ones, also in multimedia and interactive performances. These include video artists, dancers, and poets, as for example in collaborations with Spanish, Chinese, Japanese, and Lebanese poets presented at the Ljubljana-based festival Live Literature in the years 2009 and 2010. Progar has opened up the thresholds of our perception and the senses even more in his interactive installation ‘Threshold’, where he – negotiating the limits of our perception – researches and reveals the boundary lines between perception and interpretation, pursuing an interpretation that is pushed into the elusive sphere of the illogical by the working of the installation itself. In his work ‘Sub / Consciousness’, Progar investigates the space between the conscious and the unconscious by using different audiovisual stimulants, which take the form of pre-prepared sound textures, measurements of the heartbeat rate or body’s blood pressure, and other visual stimuli mediated by the video by Ana Čigon and Rot Pulojva. These are then submitted to further sound manipulation and positioned into the space of the conscious and the unconscious, into a space through which we enter and exit the real and the virtual. The piece was presented at the exhibition and series of sound events, installations, and perf
Vasja Progar - 7 skladateljev ZVO.ČI.TI (So.und.ing) 2010
Luka Juhart - (text by Luka Zagoričnik)
The accordionist Luka Juhart belongs to that generation of young Slovene musicians, performers, and interpreters who are enthusiastically, painstakingly, and passionately devoted to contemporary music repertoires. That is, to performing contemporary classical music works of the past century and current compositions of foreign and home composers, with whom Juhart collaborates very closely already during the composition process. These compositions often balance precariously on the verge of performability, on the very edge, which not only demands exceptional skills and a refined ear for music – thus intentionally or unintentionally nurturing the virtuoso in the performer himself – but also a considerable ability to co-create, to participate in decision making, and to offer initiatives and decisions about how to read the music and other composition materials. Juhart attracted the attention of the Slovene wider public with compositions by Vinko Globokar and by Uroš Rojko, with whom he often appears in smaller chamber ensembles. Juhart has completed the bulk of his studies abroad, as an instrumentalist. After graduating from Maribor Music High School under Prof. Andrej Lorber, he enrolled to the class of Prof. Hugo Noth at the Academy of Music in Trossingen, Germany. In 2005, he graduated from music pedagogy and in 2006 received an art degree. In 2008, Juhart completed his Master’s degree in the class of Prof. Stephan Hussong at the Academy of Music in Würzburg. Juhart is a multiple winner of international and national competitions, the recipient of the 2001 Roman Klasinc Award for exceptional achievements, the 2002 recipient of the DAAD foundation award for best exchange student at the Academy of Music in Trossingen, Germany, the recipient of the Iris Marquardt Preis Award for best student of the same school, and the 2008 recipient of the Golden Bird Award for music. Besides recording for numerous national and foreign radio stations and collaborating with countless prominent home and international chamber, orchestral, and other ensembles, Juhart spends most of his talents collaborating with the contemporaneous generation of composers. Among others, he has collaborated with Thomas Larcher, Klaus Huber, Eduardo Demzo, Volker Heyne, Adrian Seiber, and Stefan Beyer. At home, he regularly collaborates with Vinko Globokar and Uroš Rajh, and among the younger generation of composers with Bojana Šaljič Podešva and Matej Bonina, for example. His interpretation of Matej Bonino’s composition for accordion, percussions, and a plastic tube ‘One Man Band’ premiered this year in the event ‘Forgotten, Overlooked’, while in 2008 Juhart boldly entered the field of electroacoustic music with a composition for accordion and magnetic tape ‘Meditation on Presence’, composed by Bojana Šaljič Podešva. This year, Juhart appeared alongside Aventure Ensemble and the Freiburg Anton Webern Choir in Uroš Rojko’s work ‘King David’, which was performed in Slovenia and abroad. He also participated as a soloist in Vinko Globokar’s composition for accordion, percussions, the choir, and orchestra ‘Radiographie d’un Roman’, which was performed at this year’s edition of Donaueschinger Musiktage. Juhart is noted not only by a broad repertoire, encompassing a wide range of classical works, not only by virtuosity and an ear for contemporary streaming in music, but also by his playful attitude toward extended performing techniques, toward electronics, and electroacoustic sound, as well as by flirting with performativity, such as is needed, for example, in the interpretation of the extremely demanding Vinko Globokar’s piece ‘Dialogue Uber Luft’, which Juhart performs regularly. Alongside redefining the accordion in the Slovene space, with which he is stepping into a circle of contemporary Slovene accordionists, such as Bratko Bibič, Marko Hatlak, and others, Juhart’s main value and distinction lie precisely in his ear for the works o
Luka Juhart - 7 skladateljev ZVO.ČI.TI (So.und.ing) 2010
TAO G. Vrhovec Sambolec, (text by: Luka Zagoričnik)
A composer of contemporary music, clarinettist and electronica musician, sound artist and maker of multimedia environments Tao G. Vrhovec Sambolec creates in all of the mentioned areas, while retaining his individuality and recognisability in each of the fields. This does not only unveil his acute sonic sensibility and a careful consideration of its traits but also an ear for a sound environment through which meanings are disclosed on different levels – social, artistic, architectural, and political. These elements are intertwined in a clear and distilled but never rigid concept. Tao first graduated at the Trondeheim Conservatory of Music in Norway as an instrumentalist, clarinettist, and then continued his studies at the Royal Conservatory in The Hague, the Netherlands, where he received another BA from music composition and an MA from ArtScience programme at the Interfaculty Image and Sound. As a composer, he has produced a series of works for smaller chamber, percussion, and other ensembles, which were performed at home and abroad. In his early period, he collaborated a lot with Marko Peljhan; later his works were performed in renowned international contemporary music festivals, such as Contemporanea in Italy, Gaudeamus Music Week, the Netherlands, and Forum Nueur Music in Germany. Tao G. Vrhovec Sambolec is active also in the field of free improvised music. In 2003, Vrhovec and the contrabassist Tomaž Grom established the duo Tilt, although a project with this name had been detected already in 1999 with the album ‘The Double’ in collaboration with the poet Primož Čučnik. Even prior to this, the project was called Muskafiber and featured the composer and accordionist Drago Ivanuša. The music of this period relied heavily on structural elements through the form of poem, poetry, singing, and speech, and often drifted into spontaneous, improvised soundscapes. Today, Tilt touches upon contemporary sonority in a digital milieu, drawing its expressivity from a liminal space between acoustic and electronically processed sounds. This space in-between is also the locus of spontaneous communication. But even though it is grounded in free improvisation, the improvising nevertheless suggests a composing sensibility that addresses through a wide spectrum of sounds, timbres, and real-time digitally processed sounds. Tilt released an album under the Slovene L’innomable label and received many good reviews in the national and international press, among other also in the British music monthly The Wire. The duo was successfully performing in different European capitals, as well as collaborated with numerous internationally acclaimed musicians. In the field of mixed media art practices, Tao gained further recognition with, for example, a series of installations, space interventions titled ‘Virtual Hole’ and ‘Virtual Mirror’. Recently, he is enjoying a growing international reputation also in the field of sound art, especially through his collaborations with the American musician and theoretician Brandon LaBell, author of ‘Background Noise – Perspectives on Sound Art’, one of the more influential discussions of sound art. Their last collaboration was the book and a CD ‘Manual for the Construction of a Sound as a Device to Elaborate Social Connection’ for the project ‘Virtual Mirror – Sound’. In this context, Tao this year received a ‘Hybrid Arts Honourable Mention’ at Ars Electronica in Linz for the work ‘Virtual Mirror – Rain’. A fusion of music, improvisation, and his interactive installation research can be seen in his work ‘Inside Out’, which he co-created with the acclaimed Austrian composer and trombonist Radu Malfatti. Tao has presented his works in Mexico, the Netherlands, Germany, Great Britain, Spain, Turkey, and elsewhere. Tao G. Vrhovec Sambolec is not only one of the most visible contemporary Slovene artists but – with his cycle of lectures, sound events, and concerts Bitshift t
TAO G. Vrhovec Sambolec - ZVO.ČI.TI (So.und.ing) 2010
The world of digital technologies, of electronic sounds and images, seems to be the natural surrounding for son:DA. In their work, though, they are not fascinated with the endless possibilities of new technologies. rather, they are critical and ironical towards such fascinations. The constant multiplication of new technologies and their effects turns into noise, just as the actual physical space gets crowded with electric wires, cables, and piles of hardware that used to be brand new, cutting edge technologie. The works of son:DA are often deliberately simple and restrained, sometimes using very basic technical possibilities that stress an "underground" feeling.
- - - written by: Igor Zabel _ aperto slovenia _ flash art magazine _ january-february 2004) - - -
The tandem son:DA belongs to that area of art characterised by the linking of various technologies and media, as well as a new approach to group work. son:DA is active in the areas of installations, computer drawing and audiovisual performance. Characteristic motifs of this group are electrical cables and the rest of the electrical menagerie, such as outlets, telephones, a computer; in short, elements that represent connection and the communication methods of modern society. The tandem son:DA creates art with partners who change according to the needs of the project. They are replacing traditional authorship with various forms of participation. Impurity and hybridisation are characteristic both in their individual processes as well as at the level of content. son:DA uses a fresh approach to reinvigorate the irony of modern society as seen, for example, in the films of Jacques Tati. Similar to how the main character in the film ‘Mon Oncle’ becomes tangled in an enormous number of plastic hoses, son:DA would intertwine a figure with cables in their computer-generated drawings. All of this serves as criticism of the absurdity of technologised modern society and its alienation.
- - - written by: Zdenka Badovinac _ cityspaces _ arco 06 - - -
SONDA - ZVO.ČI.TI (So.und.ing) 2010
Marko Batista and Nataša Mušević (text by: Luka Zagoričnik)
Marko Batista belongs to the younger generation of Slovene multimedia artists. Splitting his time and creative efforts between London and Ljubljana, Batista – like the majority of Slovene contemporary artists – creates and presents his work with far more success abroad than at home, where there is a considerable lack of both appreciation and venues for this kind of artistic expressions. At least we thought so years ago, when Marko Batista started to appear in the spaces which are today considered places for sound art or multimedia experience. Marko Batista first appeared in Slovene contemporary sound landscape as a member of Klon:Art:Resistance, which he co-founded with Miha Horvat. Marked by the digital milieu of video art, noise, and the pulse of harder electronic dance practices with occasional echoes of underground dub, this heterogeneous art collective at the time persistently rubbed the image with its guerrilla interventions into our, now trendily-called urban cultural space, from galleries, festivals, to clubs. Klon:Art:Resistance thus entered the emerging techno culture in Slovenia in a rather specific and unique way – it introduced it with artistic intervention. This manner of space as well as perception intervention can be gathered from Batista’s performance titled ‘Error Trash v.1.3’, a sound intervention and audiovisual project, grounded in imperfections of data transmission, in information interruptions, contortions, and distortions on their way to the receiver via connectors, laptops, and wireless communication networks within the web of digital technology. Disruptions and interferences lie at the very heart of noise and contemporary electronic music; similarly, they can be found in many Batista’s projects, in their core which lies in the investigation of the current media and technological society. This investigation can be construed as a consistent idea, which Batista often obscures, distorts by layering the information into a web of noises generated by technology, both analogue and digital, into a web of information, visual and sound mediated, which are passed over as distortions in all their intensity. Interpreted as a break or interference, noise can be juxtaposed in opposition to music. However, precisely by becoming a genre, noise re-enters music as a specific deconstruction. Seen in this context, a certain segment of Batista’s work can be understood as a musical experience, even though his individual projects involve experiences of different kinds and qualities that join and disjoin different media, which network, overlap, envelop, and are split into heterogeneous experiences. All things considered, we need to bear in mind that Batista’s first medium is visual art. He graduated from the Academy of Fine Arts, Ljubljana, in 2005, and still as a student, presented his work at the 50th Venice Biannual in 2003 in the frame of the collaborative project ‘VV2 Recycling the Future’. In 2007, Batista finished his formal education by earning a Master from ‘fine arts’ in London. The above mentioned work-in-progress ‘Error Trash’ was presented at Ars Electronica in Linz in 2008 within the frame of the project ‘Ecology of Techno Mind’, organised by Kapelica Gallery, while this year Batista appeared at the Berlin-based ‘transmediale’ with the work ‘Syphone:Sys:Apparatus’. His 2010 work ‘Hybrid Sound Machines’ marks Batista’s break into the hybrid field between the mechanic and the digital. Here, Batista embodied, through the medium of sound, an intertwinement of wires, digital technology, mechanisms, and mechanic transmissions of different sound signals that are continually shifting between meaning and meaninglessness of signal and noise. Through this hybrid technological disposition (a fusion of mechanics, electronics, and ultimately art, in this particular instance, contemporary electronic music with a minimalist visual component of undulating, evenly pulsa
Marko Batista and Nataša Mušević - ZVO.ČI.TI (So.und.ing) 2010
Stramash is an eclectic selection of music – anything and everything that avoids the regular playlist is fair game. In addition to showcasing new local talent there is a regular element to the show which aims to help serious and hobby songwriters develop. Visit http://listen.to/stramash for playlist and show notes.
Stramash , Stonehaven, UK (mp3)
Octex - aka Jernej Marusich
Octex's (aka Jernej Marusich musical path started in late 90s, when he fell in love with the sound of old analog synthesizers and started conducting Organic Crackle and Tone EXperiments (Octex).
His debut album Idei Laehsna (Tehnika records, 2002) received high praises from both critics and the public and got proclaimed as one of the best post Basic Channel dub-techno releases. But always looking forward his next album Variations (rx:tx, 2005) took his experimentation even further and deeper, which confused some of his fans a little, but gained him new ones, and got him some really good reviews in the press.
In the mean time he has lent his remixing skills to the likes of Laibach, Ultra-Red, Marko Furstenberg, Spyweirdos...
2008 will see the release of new EP and his ambient album Dead Center of Nowhere, originally recorded as a sequel to Idei Lahesna, but till now never released. It will finally see the day of light as a shared release between proclaimed Thinner net label and rx:tx.
In 2003 he has received Slovenian Boomerang Award for best new comer of the year, and in both 2002 and 2003 he was selected as one of the 10 finalist for Radio France International Electronic Music Award.
His live sets have taken him all over Europe to events such as: Club Transmediale (Berlin), Sprawl (London), Dispatch (Belgrade), Exit (Novi Sad), Cynet Art (Desden), Meet Me, Progress festival...
In 2008 he will be presenting his new audio/visual performance. Having already done video for his tracks (which also ended being played on Viva, Onyx TV...) he had developed a system that allowes him to automatically sync visuals to his improvised live performances.
WEB LINK & CONTACT:
http://www.octex.si/
EMAIL: octex (at) soundoflj.com
--------------------------------------------------------------------------------------------
o projektu / about the project ZVO.ČI.TI. (so.und.ing):
ZVO.ČI.TI. (so.und.ing) is presenting the work of artists and music by sound researchers: Marko Batista, Luka Prinčič (Nova deViator), Tao G. Vrhovec Sambolec, SON: DA, Octex, Borut Savski, Irena Tomažin and Bojana Šaljič Podešva. ZVO.ČI.TI. (so.und.ing) is a production of a thematically related sound-art audioperformances of Slovenian composers and sound artists in podcast format. The project integrate audio-Slovenian intermedia scene, creating the field of contemporary music on musical theatrical, audio and internet-based field and internet research performances.
The project involves the authors of young and middle generations that generate predominantly creative approach to music and sound for various forms of contemporary art projects. Featured authors are actively flirting with exploratory attitude to sound, music and sound presence in the field of contemporary sound-art.
The project ZVO.ČI.TI. (so.und.ing) is produced by CONA institute in a co-production with RAM LIVE and co-curated by Ilari Valbonesi (intermedia curator, director RAM LIVE).
Project is supported by the Ministry of Culture of the Republic of Slovenia.
OCTEX - aka Jernej Marušič
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