RADIO WONDERLAND

Interview and video by Molly Sheridan

In 2014, after a highly successful crowd-fund campaign, Joshua Fried developed methods to distill his concert recordings into five-to-ten minute tracks, and set out to create RADIO WONDERLAND’s debut album.

That project has finally come to fruition with the release on November 18, 2016, on the Denmark-based label clang, of SEiZE THE MEANS.

On SEiZE THE MEANS, each track is made of 100% live radio grabbed during a live RADIO WONDERLAND show. To represent RADIO WONDERLAND Fried reviewed over 250 hours of concert audio, picking out shows with the best grooves. As with all things RADIO WONDERLAND, SEiZE THE MEANS is both a musical work and an experiment. As an experiment, the album asks, “can this music really stand up on its own, without the sight of Joshua bouncing around the stage with the boombox, spinning a steering wheel and whacking shoes?”

Halfway through the production, working with Marcelo Añez first as engineer, then as co-producer, the answer emerged clearly, YES. The album tracks are not audio-only shadows of the live shows, but their own beast entirely. What was unexpected is that during the process, Fried and Añez developed techniques for the mix which can be directly translated to the RADIO WONDERLAND live show. Thus here’s another way in which SEiZE THE MEANS typifies Joshua Fried’s work–each effort is part prototype for the next.

SEiZE THE MEANS recalls techno, tech house, microhouse, dub, and IDM. But the randomness of the source material and the transparency of the processes set it apart. At any moment, percussion might morph into a voice, or vice-versa; a loop will contract into a waveform then expand back. The typical solidity of electronic beats gives way to viscous plasticity.

SEiZE THE MEANS by RADIO WONDERLAND is out now worldwide on clang.
Formats are vinyl, USB stick, and all major digital platforms. No CDs!

GET IT ON 180g AUDIOPHILE VINYL
ON USB FLASH DRIVE
ON iTUNES
ON BEATPORT

Yes, the whole album can be streamed on services like Tidal and Spotify.

SEiZE THE MEANS
clang035
Compositions by RADIO WONDERLAND
Produced by RADIO WONDERLAND
with engineer Marcelo Añez (Los Amigos Invisibles, Shakira, Ricky Martin)

Mastered by Scott Hull at Masterdisk
Cover artwork by Paul Dignan and Joshua Fried
Design by Kurt Hoffman

Video Links
A set of RADIO WONDERLAND videos new and old, playing and talking.

Interview with Joshua Fried

Yep, come to Trans-Pecos, tonight, Monday November 7, 2016, way out on the L train here in NYC, to celebrate.

Facebook event: https://www.facebook.com/events/185708471835503

Tickets: TicketFly

Trans-Pecos

THE OFFICIAL RELEASE DATE IS NOVEMBER 18, 2016 ON THE clang LABEL

Yes, it’s true, and worth the first blog post in a long long time. I spent the last few years on this project, starting with 200+ hours of recorded performances as RADIO WONDERLAND. I ended with a record label (clang), a co-producing engineer (Marcelo Anez, a man of prodigiously talented ears and hardcore studio chops), seven album album tracks for a VINYL LP, and two digital-only bonus tracks.

SEiZE the MEANS will be released on November 18, 2016 by the Denmark/Chile-based label clang for vinyl, USB stick and digital download/streaming on all major platforms (like iTunes).

Write to me for the intimate friends-and-family release party invitation.

The album stays true to the RADIO WONDERLAND concept–each and every track is made of 100% live radio grabbed during a RADIO WONDERLAND show.

clang‘s page about me and the project is here. It will be joined by release information on clang‘s site in September.

I’m rather proud, when it comes down to it.

More info when I have it…or when the radiowonderland site gets a spanking-new overhall.

Album work in the studio, that’s why!!! Get ready for a major update soon!

This isn’t the right set of video links. Just go here, OK?

I’ll be tearing myself away from the recording studio for a rare live
performance on stage, Sunday the 8th (just in time to make mincemeat of
all-Christmas FM radio).

WHEN:
Sunday, 8 December 2013, 7pm (early!)

WHERE:
An actual bar!
The Branded Saloon
603 Vanderbilt Ave., Brooklyn, NY 11238
at the corner of Bergen Street & Vanderbilt Ave.,
in the Prospect Heights section, Brooklyn USA
718-484-8704

WHAT:
The next installment of composer-inventor Terry Dame’s monthly
Weird series, “dedicated to presenting instrument inventors and players
of objects and other musical oddities.”

WITH:
Yours truly RADIO WONDERLAND,
Composer-vocalist-electronicist (that’s a word, right?) Amy X Neuburg,
Plus curator and chief weirdo herself, Terry Dame.

ADMISSION:
A hat will be passed, with $10 suggested donation to support the series.

FOOD-DRINK-INFORMALITY:
YES!
There is a decent menu–beyond bar food–and special holiday cocktails
are promised. I, for one, will do some dancing, but then I usually do.

INFORMATION GALORE:
On Facebook
Branded Saloon menu

Meanwhile, album production moves along on all fronts–mixing,
designing, and scheming.

And weekly webcasts continue, Saturdays at 10:30am Eastern (15:30 UTC),
streaming at WGXC .

I’ve run out of excuses not to do this.

RADIO WONDERLAND debut album, on USA Projects

Two years ago I set aside performing to figure out how to share RADIO WONDERLAND in recorded form. DVD? Web video? Interactive game? The answer: all of the above—but a music album comes first. Because at the heart of this mashup of performance, props, theory, media and tech is the MUSIC.

So the work begins. On the RADIO WONDERLAND debut album. And I hope you’ll be involved.

Click here: RADIO WONDERLAND Album on USAProjects

This will not be your everyday debut LP (and believe me, they do come out every day). It’s the culmination of an experiment in randomness, improv, algorithms and dance grooves.

RADIO WONDERLAND proposes a kind of musical alchemy. But instead of turning lead into gold, I turn unpredictable found sound—from ordinary FM radio broadcasts—into actual dance grooves, live on stage. The dream of the RADIO WONDERLAND album is that my techniques—field-tested in clubs and concert halls all over the world—can yield recordings that stand up on their own as music. Staying true to the all-radio concept, for the album I’ll be working with many hours of live recorded audio, adding production touches only where necessary to keep it musical and danceable.

And if this works (works artistically, I mean), I consider it a breakthrough. It celebrates randomness in a way that’s utterly different from Cage. Chance choices can be simply better—in the right context. It validates my context, for if my algorithms-plus-improv are fit for random radio, they’re fit indeed, primal and essential. The more intelligible the process, the more people respond. And the funkier the music, the more that cutting up corporate media feels like subversive fun.

Considering the above, you might think me presumptuous enough to claim that I’m re-inventing sample-based electronic dance music. But it fact, most of my grooves are modelled after Techno, which champions simplicity. (A third of you have just stopped reading; another third is scrutinizing my terminology.) Ironically, then, my most ambitious concept becomes my most commercial project yet—a Techno record. But I haven’t turned my back on the so-called classical music I did in the ’90s; this is a return to a lifelong passion for dancing in clubs, and as ever combines found sound, improv, post-minimalism, performance art, and studio wizardry. Legally speaking, most of the RADIO WONDERLAND recordings aren’t identifiable as any particular song or voice (but they are recognizable as commercial media). Identifiable samples should be covered under the legal doctrine of fair use, but I am not afraid of any challenges.

So the album is to be released on vinyl—the way many bands do today (vinyl sales are up). In our age of easy downloads, if I’m going to charge money for anything, it’s got to be an analog, physical object. I’ve already gone through those 150 hours and picked a handful of concert recordings. Each one I’ll condense to under seven minutes, and remix just enough to make it dancefloor- and home stereo-ready. One much longer track will be an audio version of a complete RADIO WONDERLAND concert. I plan a first run of 1000 LPs, each with a coupon for a free download of the same material. In addition, I want to make 500 USB sticks, with high quality audio, artwork and bonus tracks, for sale at concerts. iTunes prices are set by Apple, but there should always be versions of RADIO WONDERLAND material downloadable somewhere for pay-what-you-will. Anything more restrictive just feels wrong.

I aim to crowd-fund the album through USAProjects. It’s like Kickstarter for artists, only curated. Crowd-funding or “micro-philanthropy” is that newish way of using the Internet to bring small projects to life with lots of small donations. I have until April 22, 2013 to raise $13,000 for mastering, manufacturing and production costs. And, as with most crowd-funding, if I don’t raise the full amount, the project gets nothing.

In the event we exceed $13,000, the additional funds would go towards better quality pressing, more copies, special extended mixes, and a music video.

If you can support this project with any size donation, even $1, together we might make the world safer for experimental media subversion that moves.

Spreading the word, here, really helps too, and costs absolutely nothing.

More about RADIO WONDERLAND, me talking about why an album now, and ways you can help, are here.

Giant thanks to those folks who have already pitched in. I’m continually amazed by how many people respond to a project which might seem utterly zany at first, yet is actually a serious exploration of new methodologies for…getting funky. And, oh yeah, did I say all donations are tax-deductible?

Come and take a look; I’d appreciate any kind of response.

The Maxx Klaxon/RADIO WONDERLAND collaboration is now out on CD and download.

“Electropop provocateur” Maxx Klaxon created an original song based on some live RADIO WONDERLAND tracks from 2011. Max’s work was in turn remixed and post-produced by RADIO WONDERLAND’s own Joshua Fried.

The result? Well, free previews abound on the below links. But let’s just call it subversive electronic pop with a sound palette full of indescribable blips and half-heard cultural references. In short, Maxx Klaxon meets Radio Wonderland.

Come and get it–download it–preview it (or merely gaze at the clickables that follow)…

Of the funky hardware aspects, I mean.

Thanks to the Controllerism folks for making this demo video and the interview video to come.

See you at the Parade Grounds stage on Governors Island at noon, Saturday June 9.

Check back here before the 9th for any late-breaking changes.

Hard to capture the pace, the breadth and downright complexity of tonight’s American PUSSY FAGGOT Realness.

The NYT piece on Earl Dax http://www.nytimes.com/2011/01/08/theater/08dax.htm does get at some of the context and vibe of his events. I was there for 3.5 hours, running from room to room. And caught Corey Dargel, K-tel and the Dumpsta Players, Mykki Blanco, Joseph Kekkler, Holcombe Waller, our dear brilliant Jibz Cameron (Dynasty Handbag), the couple lip-synching “Who’s Afraid of Virginia Woolf”, Jeremy Wade.

Perhaps Earl Dax most brilliant stroke has been to team up with national treasure Penny Arcade who MCs many of his events (and performed in my Headfone Follies moons ago). Insuring the whole adding up to more than the sum of its parts she historicizes harangues and confronts, and that includes YOU, performer, and YOU, audience. Erok (Eric Singer) once told me his mission was to keep art in NYC dangerous. I felt some of that danger tonight (I court a different kind of danger in my act perhaps). Some barriers fell apart, somehow–I missed part of it–during Jeremy Wade’s participatory session, with all the house lights on (reminding me of when the Pyramid had to turn on the fluorescents and shoo people out the door until we were back to legal capacity). Penny intervened.

A word about the DJ-ing: Andrew Andrew were brilliant as usual, ingenious and technically slick, but needed sound quality to match and that wasn’t the PA equipment’s fault. And Miss Lady Kier Kirby, whom I probably last spoke to while adjusting her mic at the Pyramid 26 years ago, took me back to a place I like to go with “I Hear Music In The Streets” by Unlimited Touch. Here too (front room) the audio wasn’t up to the groove, and that *was* the PA equipment’s fault. Some folks listen with their eyes however, and Kier was in full flower; is glitter-icious a word?

Corey’s compositionally dense–often heart-rending too for that matter–songs were all the more subtle for being accompanied by an orchestra of all violin (courtesy Cornelius Duffalo and his looping rig, a part sometimes played by my man Todd Reynolds and *his* looping rig, so I was told by the ever-encyclopedic Nick Hallett.), maybe too subtle for the crowd but a good solution to short set length. Loved the drag and lip-syncing from K-tel & co. and the Albee couple (after whom Penny properly invoked John Epperson/Lypsinka).

Mykki was enlightened, daring a-cappella hiphop (meaning rap that sounds like rap, and not the Bowery Poetry Club)–does this guy have a producer (want one)? Joseph Kekkler was in total command of his self-reflexive operatic tale (or tales, I was trying to be in two rooms at once) and of us.

Penny, it’s easy to say “Jibz”! We should all say it often. Dynasty Handbag was so spot on, no intervention of any kind called for.

Another collision with mainstream media. If they only knew.

For a legible version, there’s good old Flickr.

By Izabela Rutkowski, photos by Linda Rosier/Daily News

Here, verbatim, are all the comments from the expert jury for NIME 2011 (New Interfaces for Musical Expression, where I rocked the house in 2007, NYC). This year: Oslo.

————————— REVIEW 1 ————————–
PAPER: 124
TITLE: RADIO WONDERLAND

OVERALL RATING: 0 (borderline paper)
REVIEWER’S CONFIDENCE: 3 (high)
Originality of submission: 1 (not original)
Relevance to NIME: 2 (I don’t know)
Submission category: 3 (appropriate)

Earlier performances seems entertaining, and the artist performs with authority and humor – meeting and communicating with the audience in a convincing way.
Musically the performance follows the same recipe in both web examples, leaving the development in the music quit static in contradiction to the use of real time sampling. The musical result therefore seems quit predictable even thou the basis material is different every time.
Music technological the techniques used are well known.
The use of steering wheel and shoes to control different parameters are original, focusing more on the artistic than the technical value.
The performance is suited for a club performance

—————————- REVIEW 2 ————————–
PAPER: 124
TITLE: RADIO WONDERLAND

OVERALL RATING: 2 (accept)
REVIEWER’S CONFIDENCE: 3 (high)
Originality of submission: 3 (original)
Relevance to NIME: 2 (I don’t know)
Submission category: 3 (appropriate)

QUALITY: The performance is skilled, funny and a good reminder that many academic performance systems are somewhat pompous. I argue that the quality of presentation weights up for a somewhat simplistic performance interface.

ORIGINALITY: Work relates to both sound art using radio as source material and performance/media art as much as electric music. In a NIME context this might be considered original.

RELEVANCE:

CATEGORY: Club venue is good. Could also work in a concert hall situation as contrast to other program.

—————————- REVIEW 3 ————————–
PAPER: 124
TITLE: RADIO WONDERLAND

OVERALL RATING: 3 (strong accept)
REVIEWER’S CONFIDENCE: 3 (high)
Originality of submission: 3 (original)
Relevance to NIME: 3 (relevant)
Submission category: 3 (appropriate)

The piece features an alternate controller consisting in four shoes and one steering wheel. This contrasts with the usual high tech nature of new controllers and brings an ironic touch to the piece. The well controlled rythmic approach makes it particularly suited for the club venue. The staging of the piece has been particularly worked out to bring a theatrical dimension.

As a suggestion, the piece could be potientially improved in its unity if the FaderMix controller could be replaced by the same Wheel and shoes. Ultimately, they provide the same kind of information as the faders and butons of the FaderMix. Assigning them different functions during the performance would make possible to avoid redundant controllers.

Just in time to take advantage of that cheesy non-stop Christmas radio, RADIO WONDERLAND hits the stage in Brooklyn for a two-night stand.

BAX/Brooklyn Arts Exchange
2010-11 PERFORMANCE & DISCUSSION SERIES
“PROMETHEUS EXPOSED” curated by Fernando Maneca

Friday & Saturday, December 17 & 18, 2010 @ 8:00 pm

Performances
Karen Bernard/Solo
Julie Fotheringham & Jarryd Lowder
Joshua Fried’s RADIO WONDERLAND

Discussion
Led by curator Fernando Maneca, who says that all three acts manipulate technology visibly onstage, but are otherwise rather different. We’ll be talking about visible vs. invisible tech in the performing arts through history. And I hear there will be cupcakes, to celebrate 20 years of BAX.

BAX/Brooklyn Arts Exchange
421 Fifth Avenue (@ 8th Street)
Park Slope, Brooklyn, NY 11215
718-832-0018 – info@bax.org

Tickets
In advance, @ Brownpaper Tickets: $12, $7 low income
Day of show, from 7:30 @ the box office: $15, $8 low income

P.S.
I don’t mean to put down Christmas music. I like it. It’s just the non-stop cheesy Christmas playlist that I think is ripe for deconstruction. No Christmas music will be harmed in the making of RADIO WONDERLAND’s coming gigs.

Thanks to popular demand, Alison Corbett, Craig Squires, and the Sound Symposium crew, RADIO WONDERLAND will perform in an actual club with actual room to dance, in a semi-official Sound Symposium gig Wednesday night in St. John’s.

A number of folks said they wanted to dance, but it took Alison and her effective combined skills of knowing everyone and laughing infectiously to make it happen.

So as of today the Newfoundland RADIO WONDERLAND schedule looks like this (not counting opening night, which triggered the extra gig, but which is already past):

10:30 pm Wednesday 7 July 2010
CBTG’s
38A Water Street, St. John’s, NL
Enter on George St. at Holdsworth Court.
709-722-2284 – nominal cover charge
With the weekly Klezmer party!

10:30 am Thursday 8 July 2010
RADIO WONDERLAND workshop and rant
CHORAL ROOM, MUN School of Music, St. John’s NL – free

7:30 pm Friday 9 July 2010
Cook Recital Hall, MUN School of Music
Mark Fewer & Aiyun Huang (violin & percussion)
Kurai Mubaiwa & Curtis Andrews (African Percussion)
RADIO WONDERLAND

RADIO WONDERLAND’s participation in Sound Symposium made possible in part by Mid-Atlantic Arts Foundation, that’s for sure!
Like typical Americans, we’re just loving St. John’s and want to move here.

Thanks for the nice review!

The Scope on RADIO WONDERLAND on Festival Day 1

Five Questions For Joshua Fried

1. Where did you grow up and how did you end up where you are now?

I grew up in LA but NYC controlled me like Einstein’s “spooky action at a distance”. I always knew someday I’d live in an apartment, hang with artists and go on adventures worth telling stories about. I went to college upstate and moved down soon after graduation, to spend as much time as possible in clubs and lofts. Not all of those adventures are worth telling stories about.

2. Which performance, song, play, movie, painting or other work of art had the biggest influence on you and why?

Probably a tie between Another Green World, and 2001: A Space Odyssey. Both share an impersonal sheen, flat affect, consummate technique and formal rigor, while evoking an intense individual experience. And that experience can be transpersonal as much as emotional.

3. What skill, talent or attribute do you most wish you had and why?

The ability to channel obsessive energy, meter it, and charge by the kilowatt. Seriously though obsession takes me places but it’s a wild horse.

4. What do you do to make a living? Describe a normal day.

I listen to recorded conversations for the NSA, wrap them up in canvas bags and insert them manually into non-volatile RAM. That’s on Mondays. Then on Tuesdays I extrude the best parts, sneak them out the trash chute, and run them over to Santos Party House where the DJs pay me in Twitter Dollars up front. The rest of the time I gig with RADIO WONDERLAND or else I kick back, but I do shave my head every other day.

5. Have you ever had to make a choice between work and art? What did you choose, why, and what was the outcome?

Yes, starting from about age 20, but I didn’t know it at the time. I realized much later that the choice was always arf, I mean art. The outcome was pre-ordained by the Rent Stabilization Board.

*****

ICMC “RED LIGHT” CLUB EVENT
11pm Tuesday, 1 June 2010
@ City Winery
155 Varick Street
New York, NY 10013
(212) 608-0555
Corner of Vandam & Varick: 3 blocks below Houston, 1 block west of 6th Avenue
1 train to Houston, C/E train to Spring
FREE AND OPEN TO THE PUBLIC

Robert Ratcliffe/Sarah Watts [UK] Bass clarinet hits the dance floor
David Casal [UK/USA] AI-enhanced dubstep on homemade instruments
Prisoner of Vampires [USA] Harmonious strata of synthesized tones for public consumption
RADIO WONDERLAND [USA] Turning bits & bytes of mass culture into the backbeat for our dance of independence

Thank you Milan, Venice, and specifically Massimo, Vittoria, Michele, Guiseppe, Camilla, ALTAVOZ and ElitaMilano. And for that volcanically-induced forced vacation, Tullio & Co. and B & B’s inimitable B&B.

I felt like a rock star. Love it when people dance to RW.

Happy to have received a grant from Mid Atlantic Arts Foundation’s USArtists International Program, to play and participate in Sound Symposium way up in St. John’s, Newfoundland, Canada.

It’s 2 July 2010 – 10 July 2010: Sound Symposium

This engagement is supported by through USArtists International in partnership with the National Endowment for the Arts and the Andrew W. Mellon Foundation.

I’m working on recordings for vinyl/high quality MP3/CD, based on many many hours of live RADIO WONDERLAND documents.

So I have been shying away from performances.

But when Bushwick calls, and when Warper calls, I listen. See below for March 7 and March 10th shows [er, this just in–NWEAMO has been trying to work out dates for RADIO WONDERLAND in Italy–now Milan and Venice are confirmed for April–what is going on?]

Closing Party for Arts In Bushwick SITE Festival
SITE is a jam-packed two-day performance festival in the heart of a very hot arts scene (too many weekends like these will inevitably lead to the scene boiling over, gentrifying the neighborhood and ruining it for everybody.)

Sunday, 7 March 2010
7pm-11pm (RADIO WONDERLAND @ 10.30)

at
Page Not Found
76 Jefferson Street, bottom buzzer, Brooklyn, NY 11206
Enter through underground entrance.

JMZ to Myrtle/Broadway or L to Morgan Ave.
$5, Free with SITE Festival program

performances by
RADIO WONDERLAND
Super Duck- processed oboe and vocals
Exaltron- trumpet, guitar and live remix
Mary Madsen- dance and video.

Live ambience by Lily Maase, guitar, Garth Stevenson, bass, and Johnny Butler, sax
DJ Cosmo D
Live flipbook making
Live Screen Printing

produced by
Joe Che, Lily M + Addtract Consortium, and “the team that brought you Monduna: a Robot Masquerade”

burner-friendly

Check out the Facebook Event

All at Page Not Found, a new alternative art and event space in the form of a garden apartment in Bushwick, Brooklyn.

It’s great to be back at Warper, where RADIO WONDERLAND learned to crawl. Come wish Warper a Happy Birthday.

Happy 4th Birthday Warper!

WARPER the monthly party
4 Year Anniversary Blowout, at the new, spacious, well-equipped Knitting Factory

Wednesday, 10 March 2010
8pm-1am (RADIO WONDERLAND @ 11.30)

at
The Knitting Factory
361 Metropolitan Ave, Brooklyn, NY 11211
L to Bedford Ave., G to Lorimer-Metropolitan
FREE / 21 and over

performances by
RADIO WONDERLAND
Exaltron
DJ Shakey
Jon Margulies
!INCLUDE
Elijah B Torn
BomberGirl and the Mechanic
and many more

electronic performers
Projected Images, Workshops, and Interactive Art

Warper Party on the World Wide Web

Thanks to all who came out and DANCED at recent shows. Three down in October (Providence, San Diego, NYC), and one more to go:

Next Friday, 23 October 2009, 8pm,
in that very classy annual
RADIO FESTIVAL NYC
presented by the Transmission Arts organization,
free103point9.
Ontological Theater
St. Mark’s Church
131 E. 10th St.
New York, NY 10003
Sliding scale $7-10

Also presenting work that night are the very intriguing murmer and rise set twilight. They might be called Transmission Artists, radio artists, sound artists–I don’t know–and for myself, as a matter of principle, if it’s made of sound, I call it music.

Call it what you like, this should be a stimulating evening. There won’t be much of a dance floor, but there are always aisles, no?

Come early for Tony Martin’s installation and instrument Light Pendulum. The three-day festival includes site-specific radio walks, a transmission arts workshop, and many performances.

Produced by free103point9

3 cities, 4 festivals
Providence-San Diego-New York-New York

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PROVIDENCE-Friday, 2 October 2009, 10pm

PIXILERATIONS [v.6]
annual showcase of new media art and interactive performance
[part of FirstWorks Festival 2009]
Tazza Caffé
250 Westminster St.
Providence, RI  02903
401-421-3300
Tickets:  FREE

with East of Borneo (Lyn Goeringer, Michael DeQuattro, Jim Moses), Freida Abtan, envyCODE (Butch Rovan, Kevin Patton), Chapman Welch, Humanbeast (Maralie Armstrong, Eli Milholland), Modest Machine (Arvid Tomayko-Peters, Josh Marshall, Steve Schwartz, Alex Dupuis, Alex Kruckman)

Produced by FirstWorks in collaboration with the Rhode Island School of Design and Brown University, and in partnership with 5 Traverse Gallery

Full festival schedule and more

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SAN DIEGO-Saturday, 3 October 2009, 8pm

NWEAMO 09 Electronic Arts and Music Festival
Smith Recital Hall
SDSU School of Music & Dance
5500 Campanile Dr.
San Diego, CA 92115
619-594-6031
Tickets: $15 general / $10 students & seniors

with Tristan Shone

Produced by NWEAMO: New West Electronic Arts and Music Organization

Full festival schedule and more

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NYC-Friday, 9 October 2009, 8pm

MMiX FESTIVAL of Interactive Music Technology
Theaterlab
137 W. 14th St.
New York, NY 10011
212-929-2545
Tickets:  $20 / $15 students & seniors

with Dan Trueman and his Mini Laptop Orchestra and Jon Margulies/Heater Core. Come early for Interactive sound installations by Chronotronic Wonder Transducer.

Produced by Theaterlab and radio producer Jocelyn Gonzales. Curated by composer/performer Patrick Grant.

Full festival schedule and more

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NYC-Friday, 23 October 2009, 8pm

RADIO FESTIVAL 2009
annual fall festival of radio art and experimentation
Ontological Theater
St. Mark’s Church
131 E. 10th St.
New York, NY 10003

Tickets:  $7-10 sliding scale.

with Patrick McGinley (aka murmer) and rise set twilight’s (Cross) Talk Radio. Come early for Tony Martin’s installation and instrument Light Pendulum.

Produced by free103point9

Full festival schedule and more

1
EARLY SHOW 7:00 pm Tue, 8 September 2009
for Electric Junkyard Gamelan CD release party extravaganza
& Ken Butler
DROM 85 Avenue A (b/w 5th & 6th) NYC
$10 adv/$12
Tickets and info

2
10:00 pm Friday 11 Sept 2009
On the infamous BUSHWICK BOAT for Flux Factory
with many many bands, performers, DJs, weird stuff and surprises
From 9pm – $15
RSVP with password SteeringWheel for secret dock location

3
8:30pm Monday 14 SEPT 2009 w/ Jed Distler, piano
Cornelia Street Café, 29 Cornelia Street (betw. 6th & 7th Ave), NYC
Box office: 212.663.1967 (advance purchase discount available)
Admission at the door: $15 gen’l, $10 student/sr + one drink minimum
Composers Collaborative’s SERIAL UNDERGROUND

Joshua Fried / RADIO WONDERLAND on the MMiX Down

Thanks Joce and Patrick!

RADIO WONDERLAND AT 10.15PM

RSVP for secret location