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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. NPR
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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
I’ve been a pilot for a major U.S. Carrier since 1989. Before that I flew A-10s for the Air Force. I was stationed at RAF Bentwaters in the UK, and then at McClellan AFB in California. I left the Air Force and then we won the cold war. I think it was just a coincidence Joe d'Eon
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Clemy Rilley Presents ......

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Clemy Rilley Presents ......

Welcome to the house music world of Clemy Rilley, one of London's best known house music djs.
Here you'll find both new and old Clemmix cd mixes, as well as weekly radio shows broadcast on HouseFM.net and sets as recorded in clubs here in the UK and abroad

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Chris Oatley is a visual development artist and content creator for film, television and other media. The aim of this podcast is to inform and inspire creatives of all types and to reveal and record the process behind his work. Chris Oatley's ArtCast
Unintended Detours is a show about the distances we travel in life: literal or metaphorical, enthusiastically or against our will. Stories of obstacles and diversions--the places we long to get to and where we actually end up. Unintended Detours
All things Progressive, music first and foremost also featuring the best Progressive house rhythms on the planet. Presented by Jason Lee. Progressive Sessions

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
A look at the Spoken Word scene and the artists involved in it. If you\'ve been to Speaker\'s Corner before you\'ll know that it is full of people shouting over each other but here we talk to those who have just as much to say but express it through spoken word. Off The Tangent (The Corner's Speaker)
these shows where made for our own amusement ,hopfully someone else will enjoy them as well. We have a very slapdash aproch to making music and we hope it makes you laugh. You can also hear music by coley portions on this show .my cohort is BIN JUICE.Some people say we shouldnt laugh at our own jokes.I say if you find it funny laugh. We tried to get a fealing of cacking about in our bedroom and bathroom down on the radio. I think we dud it. Resonance FM: CCAD
Transform your blog into a podcast

Lauren McCullough is a professional voice actor who will bring life to your blog and help you develop a podcast to increase exposure and readers Voice Next Door Podcast
This Podcast was created using www.talkshoe.com Scheffy's Rants
Available (for free) musical recordings from artist Travis Ray. Travis Ray Presents: Music
Arias performed by Austrian Tenor Dieter Pasching Dieter Pasching, Tenor
Collaborative arts in Ireland podcasts - an initiative from Create, the national development agency for collaborative arts in Ireland Create-exchange
The planet is under siege by Aliens, Zombies, and Vampires, but "The Newest News Network" continues to bring you the news, no matter what. Under Attack News (iPod)
Radio Kodama is a theatrical group who's charter is to create podcasts in the style of the radio dramas that were popular during hay-day of radio. Radio Kodama
Rye Bread Radio is an internet podcast recorded in the Times Square of Chicago (Wicker Park). Hosts Akeem and Solomon (and Producer, Row) bring wry humorous commentary to an otherwise oblique existence.

Guests will include Chicago-based improvisers, keeping the laughter going. Sketches, Street interviews, really bad impressions...what more do you need? RyeBread Radio's Podcast
So it goes... thejohnfleming

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