Rose au coeur violet © Maria Iancu

Tonight we bring you podcast episode 31, Ionize. This episode is a few days late because, as always, I’m a perfectionist when it comes to editing. Ionize was the 12th episode of the WRVU era, recorded on April 20th, 2008 live in the WRVU studios. This was a solo scoop & loop show, meaning, I made the show armed with two cd turntables, a looping pedal, and some effects. I recorded all of the samples from my brother’s Alesis Ion synthesizer he had just given me to sell. After he heard the episode, I’m proud to say he decided to keep it.

Ionize was originally just over an hour.  For this podcast, I edited it down to a much more solid 30 minutes.

There won’t be a Theatre Intangible next week, because I’ll be at the sci-fi, fantasy, and culture convention Dragoncon in Atlanta, Georgia, mostly lurking about the Skeptic, Science, and Podcasting tracks. Yay me! If you’re also attending, drop me a line at tony@theatreintangible.com. Stay tuned the week after for a brand new improv with members of the Nashville experimental folk band Lylas.

And without further ado, here’s Ionize.

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We’ve been releasing some pretty dark episodes of late. There was the distorted Degenerates, the psychotic Mixmaster Satan, the electrocutional Artificial, and the pissed-off Angry Beavers. But this week’s episode The Swarm outdoes them all in its deeply disturbing drone. Plug all impressionable ears: this one is positively possessive!

The Swarm stars Anderson Cook from Ortolan on guitar, voice, and no-input mixer; Dylan Simon from Mass at Dawn on Shruti Box, Echoplex, Sears & Roebuck Tremelo Unit, Ring Mod, Gong, and voice; DaveX on processing via phone line; and myself on delay.  I also did the live mixing, editing, and post processing.

Tread lightly.

This one goes way back. Actually, it’s the second episode EVER, recorded and broadcast October 22nd, 1998 on ~ORE~ Prefab Audio Extrapolations, WIDB Radio, Carbondale, Illinois. My ~ORE~ co-host DaveX had yet to join me. In studio with me (if memory serves) were Tom Denney, Mike Meyer, and Wil Bernal. You can hear them calling in as various characters. (Usually they would just go to the station front room and call in on the other station line.)

Mixmaster Satan is a dark portal through pre-9/11 American television. In these pre-digital days, I recorded television sound bites and field recordings directly from the speaker into a cassette recorder and playing back on the station cassette deck live. When I wanted to repeat a section, I had to rewind, watch the counter, and playback, hoping I timed it right. When you listen to these early shows, you’ll be able to tell we were VERY inspired by Negativland. Although I still like these early episodes, it was the over-reliance on sound bites and tv samples that made me want to make the next incarnation (Theatre Intangible) sample-free, created entirely by the performers in-studio. But this episode takes me back.

Today’s podcast is Degenerates, the 25th podcast and 4th episode of the WRVU era — originally broadcast December 2nd, 2007.   The players are William Davis from Oh No It’s Howard; Cody Bottoms from The Manpower, A Parade, and more; Paul Cain; and myself.  Jacob Riley also contributed some sounds via phone.  I did the live mixing, editing, and mastering.

The theme of Degenerates is. . . you guessed it. .  . degeneration.  We recorded samples and  copied them through multiple generations.  We ran them through multiple passes of distortion.   We wanted to see how far we could use and abuse sounds.  The result is one of the nastiest, dingiest, dirtiest sounding shows we’ve ever done; it’s also one of our best.

If you like our show, spread the word by telling your friends, sharing on your favorite social networking sites, and leaving us feedback on iTunes.  Here’s Degenerates.

"French soldier in World War I preparing his correspondence " (Soissons. Aisne. France. 1917). Courtesy of http://www.worldwaronecolorphotos.com

For podcast 24, we bring you Writing Home, a solo set I performed live in front of an audience at Scarritt Bennett Center Gallery F in Nashville on May 29th, 2010.  My set was part of an art installation called Writing Home, featuring hand-written responses to the prompt, “Write a letter home.”  (Find out more at our previous post here.)

For my set, I continued experimenting with my Scoop & Loop project (see podcast #8 Pit of Roar).  I recorded samples of the other musicians playing that night, sounds of nature, and short interviews with audience members answering the question, “What do you miss about home?”  The result is a pretty decent start to a live project I want to continue perfecting.  For the next iteration, I’d like to break up repetitive word samples by adding in pauses, take unmusical phrases and build melodies out of them, and make things generally flow better.

I did the live mixing and editing.  Writing Home features recorded samples of Gallery F. curator Sabine Schlunk, Maya Moore, Charlie Rauh, Ezzy Harrold, The Human Snowglobe JJ Jones, Brandon Donahue, Mike Hiegemann, Matt Christy, and Robert G. White Esq.  Thanks to Sabine Schlunk for inviting me to play, to the other performers, and to the very patient audience.

Before the show, hear a never-before-re-aired Theatre Intangible promo made during the WRVU-era improv Blind Strings, an episode made entirely with de-tuned string instruments.  Look for the full episode in the near future.

If you like the show, tell a friend, share on your social networks (share link below), and leave us a review on iTunes.

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This week’s podcast is Episode 21: Angry Beavers, originally broadcast live on WRVU Nashville November 18th 2007 — the third show of the WRVU era.  Angry Beavers stars Paul Cain on laced guitar; Cody Bottoms on Boss 202 Dr. Groove, Korg Electribe, Voice, and Toy Keyboard; William Davis aka Oh No It’s Howard on Laptop and Toy Keyboard; Melody Holt on Jen Analog Synth near end of show; and myself on Jen analog synth.

Angry Beavers was the first show of the WRVU era where things really started to click.  Listening back today, I’m surprised how cohesive it all sounds – at least as cohesive as an rhythmless, distorted, experimental improv can be.  Check it out and see if you agree.  If you like the show, tell a friend and leave us a review on iTunes.

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