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Making Waves on WGXC Wave Farm
2nd Saturday of every month - 11 am to 12 pm
Making Waves is a radio show about sound art produced by New Adventures in Sound Art (NAISA) for WGXC Wave Farm. The show often features artist profiles and archival performances from NAISA’s sound art programming in South River, Ontario and (prior to June 2017) Toronto.
Café Acousmatic
By Don Hill
January 16 to March 28, 2021, Saturdays and Sundays, 2 to 3 pm EST
Listen on NAISA Radio

CAFÉ ACOUSMATIC: the finest blend of electroacoustic music, sound art, and 3D immersive audio.

Hosted by Don Hill, musician, broadcaster, man about the planet, CAFÉ ACOUSMATIC is your entre to the aural pleasures of electroacoustic music and sound art of every sort.

Complemented by interviews with music-makers, contemporary composers, and sonically pleasing new & vintage releases, CAFÉ ACOUSMATIC is a special treat for headphones and walkabouts.

Life is smoother at CAFÉ ACOUSMATIC.

Image: Jack Bride
radiophonies, 2014-2020
By Gregory Whitehead
January 16 to March 28, 2021, Saturdays, 1 to 2 pm EST
Listen on NAISA Radio

Frequent Deep Wireless presenter Gregory Whitehead shares a selection of his radiophonic explorations, collaborations and celebrations with gratitude for the past twenty years of Deep Wireless, and in support of the next twenty.

I. As We Know (2014, 12:30) by Gregory Whitehead
Coded Radiosong based on a remark by Donald Rumsfeld.Coded Radiosong based on a remark by Donald Rumsfeld.

"As we know,
there are known knowns;
there are things we know we know.

We also know
there are known unknowns;
that is to say we know
there are some things we do not know.

But there are also unknown unknowns;
the ones we don’t know
we don’t know.
II. On the Shore Dimly Seen (2015, 45:00) by Gregory Whitehead
Gelsey Bell (vocals, improvisation)
Anne Undeland (narration)
Gregory Whitehead (writer, director, montage/composition, vocals)

Premiere broadcast on the excellent Soundproof program, produced by the Creative Audio Unit at the Australian Broadcasting Corporation

The interrogation log of detainee 063, as first revealed to the public by Time magazine in 2005, offers a detailed hour-by-hour chronicle of the so-called “special interrogation plan” approved by Donald Rumsfeld and others in the Bush administration during the months following 9/11. In reading through the entire log that records many months of abuse, I was struck by the persistent use of loud music to assault the senses of the detainee; and in particular, the use of the Star Spangled Banner, during which the detainee would be ordered to stand at attention with his hand over his heart.

Verse two of the national anthem begins:

"On the shore dimly seen, through the mists of the deep,
Where the foe's haughty host in dread silence reposes,
What is that which the breeze, o'er the towering steep,
As it fitfully blows, half conceals, half discloses?

These lines provided me with both a title and a commitment to break the “dread silence” that continues to surround the regime of no-touch torture imposed within Camp Delta at Guantanamo Bay. By responding to the violence of 9/11 with torture, we betrayed our most  fundamental values, using our flag and anthem as props in acts of criminal abuse. Yet to this day, despite extensive documentation of extreme human rights violations, not a single perpetrator has been held accountable. What is half-disclosed also remains half-concealed.

At the heart of this broadcast: one day in the no-touch torture of detainee 063, as expressed through my verbatim voicing. Other texts float through and around the log, voiced by Anne Undeland: lists of the approved techniques, brief histories in the development of no-touch torture, excerpts from an interview with Dick Cheney, and analysis of what is happening within the interrogation log itself, ten years after it first came to light.

Extended improvisations by vocalist Gelsey Bell both embody and repel the cruel logic of the texts.

GELSEY BELL is a singer, songwriter, and scholar.

ANNE UNDELAND is an actress based in the Berkshires, widely known for her virtuosic voicing of one-woman shows such as The Belle of Amherst.
III. Nothing Like Us (2017, 13:33) by Gregory Whitehead
Radio performance based on Carl Sandburg’s Four Preludes on Playthings of the Wind, with vocalist Laura Wiens. Premier broadcast during Radiophrenia festival, 2017.
IV. Crazy Horse One-Eight (2014, 20:00) by Gregory Whitehead
Commissioned for the 2014 Radio Dreamlands project, conceived by the UK-based Radio Arts.

A radio cantata in memory of those killed

The “collateral murder” video that documents the 2007 killing of journalists and civilians in Iraq by forces of the US military represents what is possibly the most consequential social media posting of all time, with direct implications ranging from the prosecution of Bradley (Chelsea) Manning and Julian Assange, through to accelerated attempts by the NSA and other global intelligence agencies to expand and enhance internet surveillance and control, while also criminalizing whistle-blowing.

Though the visual aspect of the video has received a tremendous amount of analysis, Crazy Horse One-Eight addresses the weaponization of radiophonic space in the perpetration of these war crimes, while also confronting the casual and dismissive language of the interactions themselves, as evidenced in the transcript of the radio exchanges between helicopters and command.

The public domain transcript for the incident is composed into four “cantos”, which are then voiced by Gregory Whitehead. The recordings are then subjected to a variety of techniques and rhythms/structures of entropic disintegration, interruption and polyphonic accumulation, all of which Whitehead has experimented with a smaller scale in previous works. Brief excerpts from the audio track of the video booth construct acoustic envelopes for the vocal migrations, and create interplays between military banter that seeks to kill and a solo voice that seeks to commemorate.
V. Radio Unbroken (2016, 13:45) by Gregory Whitehead
Radio Unbroken is a songspiel for Radio Revolten made by Helen Hahmann and Gregory Whitehead.

The songspiel uses fragments from the manifestos collected at Radio Revolten, a month-long radio arts festival, which took place in Halle, Germany in October.

Radio Unbroken is composed from three “songs”:
Lover in Revolt
The Future of Radio is Dirty
Radio Unbroken

Following the announcement that Soundproof had been cancelled as part of a self-destructive ABC Radio National re-focussing on “digital platforms”, I released the following statement:

"In a very short period of time, Soundproof has become internationally respected for encouraging a beautifully polyphonous diversity of storytelling, in every dimension. Given more time, I am sure that Soundproof would have continued to increase its audience, on broadcast and through the digital platforms; to pull the plug now, just when the show is beginning to flourish, reveals a massively self-defeating narrowness of mind and spirit at the heart of Radio National. 

Soundproof, under the leadership of the experienced and open-minded Miyuki Jokiranta, has given countless young, talented producers the opportunity and the resources to try new ideas and tell challenging stories in fresh ways. The deep cultural value of such a program cannot be measured by narrow statistical metrics. Soundproof is a program that speaks for the infinite possibilities of the human imagination in the world of words, music and sound. Killing such a program while still in its infancy reveals a toxic corporate mindset that rips out the garden for yet another lifeless parking lot."
VI. As All the Heavens (2020, 10:21) by Gregory Whitehead
For Radiophrenia

Composed and performed by Gregory Whitehead with Aimée Anders as the Voice of the No Place.

Based on four lines from a poem by Emily Dickinson:

"As all the Heavens were a Bell,
And Being, but an Ear,
And I, and Silence, some strange Race,
Wrecked, solitary, here -"