Podcasts about brave new waves

Note: to read this posting on a calm presence see a conscient rethink a conscient rethinkWhat needs to be said? Who needs to say it? Who wants to hear it? How does it help? February 16th, 2025, on the unceded lands of the Algonquin-Anishinaabe people.I started publishing the conscient podcast and balado conscient in May of 2020. My goal was to ‘explore art and the ecological crisis as a learning and unlearning journey'. At that time I believed that ‘the arts and culture could play a critical role in raising awareness about sustainability issues and moving people towards action.'Maybe. Maybe not. At any rate, some 300 episodes later, I felt that this first leg of my conscient journey is complete and that I owe deep gratitude to my collaborators and to you, for listening. It's now time to rethink conscient. Some of you might recall in my listen and co-create posting on a calm presence and this quote from the Intercultural Communication Handbook : Sensing, attending and being patient requires slowing down, pausing, and taking time to listen, look, feel and learn. Seeking to activate and use all our senses to relate as part of the world. This involves learning through relationships, through actions and through careful attention, not just through asking questions and talking a lot. Being patient and humble enables recognition of the myriad of messages that humans and non-human beings are always sending out.These wise words encouraged me to slow me down and inspired me to take a pause from the production of conscient during the winter of 2025 and I tried to follow this good advice.Others are also advocating for a slow down and a rethink. For example Kai writes in Dense Discovery – Issue 326 / When enough outrage is enough :We have enough information. We know where we stand. The challenge now isn't to understand more, but to act on what we already know, redirecting our energy from pointless online reaction to tangible local action. As I've said here before, we don't need more clever dunks. We need more people showing up – in our communities, in our work, in the unglamorous spaces where real change takes root.What did I do?I listened to everyday life. I stopped judging.I meditated on presence.I conversed with colleagues in the 10 week Surviving the Future : The Deeper Dive 2025 course.I shared some of my experiences in prepare, bend, sustain. I read and listened to Shaun Chamberlin's Dark Optimism, Nate Hagens' The Great Simplification and Kamea Chayne's Green Dreamer. I also shovelled snow, learned to play tennis and played shinny. Lots of shinny. I also pondered listener feedback from previous seasons of conscient. Here are a few : your guests are inspiring and the conversations are nourishing : it fills a gapwhy don't you present more diversity of voices, in particular from young people and the global south your conversations often go on too long. We're more likely to listen if you edit them downyou narrate too slowly : I. sometimes. fall. asleep. listening. to. you. drone. on.your podcast is not enough fun : why don't you try to be more uplifting and positiveintegrating soundscape compositions actually works well: it makes your podcast unique and compellingWhy not give us more practical tools to engage with the issues not just philosophical musings and doomist projectionstry to be a bit more humblebreathe more quietly and smoothlyWith this feedback in mind, I came up with a set of questions to guide my work future forward: What needs to be said?Who needs to say it?Who wants to hear it?How does it help?In other words, what is the point of all this chatter? I thought back to why I listen to podcasts in the first place and what keeps me listening?  I listen to podcasts because they help me:break me out of isolationaccept collapsefeel solidarity and connectionunlearngenerate spiritual and physical energyempathise through tone of voicenurture presence through hesitationlaugh and cryslow down and listenkeep going in spite of the oddsconscient podcast studio production spaceSo, with all of this in mind, I've decided to go ahead and produce a 6th season of conscient.You'll be able to hear three episode types:1. fifteens15 minute ‘composed' conversations with leading artists and cultural workers exploring the theme of ‘arts and culture in times of crisis, collapse, renewal' with a focus on actions. A fifteen is a coffee break of insight. 2. roundtablesLong duration, informal banter with friends and colleagues about their passions, fears and dreams, inspired by the innovative ways of the 1980's era CBC Radio's overnight talk show Brave New Waves. Participants are invited to tell a good story and to expect to be interrupted and maybe teased once in a while. A roundtable is an engaging kitchen party. 3. a calm presenceThese bonus episodes are me narrating each a calm presence Substack posting including additional commentary and soundscape compositions. It's intended for those who, like me, prefer listening over reading. I will launch season 6 at spring equinox on Thursday, March 20, 2025 at 5.01am (EDT).accesssubscribe to conscient podcast or balado conscient (free) on your favorite podcast player : Apple Podcasts, Spotify, Amazon Music, Podchaser, Tune in, YouTubesubscribe to a calm presence (free) on Substackfollow and comment on conscient social media : Facebook, Instagram, LinkedIn, Threads and BlueSky visit conscient.ca to search and listen to any individual Episodes or read episode notes and transcriptsAs always, if you like something you hear or read, please share. Feel free to reach me with questions and comments at claude@conscient.ca *END NOTES FOR ALL EPISODESHey conscient listeners, I've been producing the conscient podcast as a learning and unlearning journey since May 2020 on un-ceded Anishinaabe Algonquin territory (Ottawa). It's my way to give back and be present.In parallel with the production of the conscient podcast and it's francophone counterpart, balado conscient, I publish a Substack newsletter called ‘a calm presence' which are 'short, practical essays for those in need of a calm presence'. To subscribe (free of charge) see https://acalmpresence.substack.com. You'll also find a podcast version of each a calm presence posting on Substack or one your favorite podcast player.Also, please note that a complete transcript of most conscient podcast and balado conscient episodes from season 1 to 5 is available on the web version of this site: https://conscient-podcast.simplecast.com/episodes.Your feedback is always welcome at claude@conscient.ca and/or on conscient podcast or my social media: Facebook, X, Instagram or Linkedin. I am grateful and accountable to the earth and the human labour that provided me with the privilege of producing this podcast, including the toxic materials and extractive processes behind the computers, recorders, transportation systems and infrastructure that made this production possible. Claude SchryerLatest update on February 16, 2025.

Oh my goodness, this is a good one, a conversation beginning with Jennifer Whiteford expounding on the literary qualities of the mixtape, music (both making it and loving it) being the foundation of her wonderful new novel MAKE ME A MIXTAPE, the perfect book for October, a story that manages to be cozy and edgy at the very same time. And the book Jennifer chose for her BOOKSPO pick? Why, it's the 2015 memoir HUNGER MAKES ME A MODERN GIRL, by Carrie Brownstein, she of Sleater Kinney fame (and Jennifer recalls hearing “Little Babies” for the first time on CBC Radio's BRAVE NEW WAVES all those years ago…) Pickle Me This is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber.Jennifer Whiteford reflects on how Sleater Kinney gave her a model for women having confidence in their art, even if some critics didn't take it seriously, and how she applies that to her own work in the romance genre. She explains what a remarkable and thoughtful book Brownstein's memoir really is (not your typical rock memoir!), how Brownstein's book gave her a foundation from which to explore the ways in which bands are such pressure cookers for relationships, and how she was so moved the first time she read it because she and Brownstein are contempories and—twenty years later—the memoir brought her right back to the person she used to be. A guarded punk-rocker-turned-barista meets a big-hearted sound tech who charms his way into her life and helps her revisit her musical past in this truly charming, cozy fall romance.Allie Andrews gave up on the music world ten years ago. No wild tours, no late nights, no career-ending inter-band blowouts. Just day after comfortable day of working in her aunt's café in Brooklyn and recording '80s cover songs in her tiny apartment. The last thing she wants, or expects, is to be recognized as former punk rocker Allie Jetski. But a last-minute coffee delivery lands her face-to-face with the big, handsome (and quite possibly number one fan of the Jetskis) Ryan Abernathy.Ryan isn't about to forget meeting the lead singer of one of his favorite bands. Undeterred by her prickly demeanor, he sets his mind to helping Allie find her wayback to the Jetskis—so she can come to terms with what happened all those years ago. Allie finds Ryan hard to resist, and her quiet life is turned upside down as she is swept up in the hunt for her old bandmates.But when Aunt Mindy announces that she's decided to sell the café, Allie is faced with a life-altering choice: play it safe and take over the business, or risk opening herself up to a future in music . . . and maybe even love.JENNIFER WHITEFORD (she/her) lives in Ottawa, Ontario, with her partner, children, dog and record collection. She writes regularly for Razorcake, a long-standing punk publication. She was also a founding member of the "all girl, all rock" band Sophomore Level Psychology. With those rock 'n roll days behind her, she now mostly stays home and reads. Find her on Instagram at @jenniferwhitefordwrites. Get full access to Pickle Me This at kerryreads.substack.com/subscribe

I luckily managed to move from a space of ‘I have to save the planet or else' (and we talk about that word ‘save') to ‘I choose to commit my life to climate change in the best way I can' because everything that matters to me in this world stands to be lost in a climate crisis, especially one that would play out in a very severe and apocalyptic way. (Katrine)Having this I would say a calm perspective from artists, helping us get in touch with our feelings, simply, I found it to be a stabilizing force. (Sébastian)This is a special episode of the conscient podcast featuring two guests, one from the arts and another from science over a glass of wine or two.Katrine Claassens is an artist, writer and environmental communications specialist. She has a Master's degree in Climate Change from the University of Cape Town in South Africa and an Honours degree in Visual Art from Stellenbosch University. Katrine's work reflects her interests in climate change, deep ecology, urban ecology, and internet memes. As an artist she has led workshops, given public lectures and curated exhibitions all over the world from the Arctic to Antarctica. As a climate communications specialist Katrine works with governments, think-tanks, academia and NGOs to navigate complex and shifting landscapes but first and foremost I would say that Katrine is an artist, an activist and a climate leader.Sébastian Méric de Bellefon is an engineer with a background in software development. He has a Master's degree in Electrical Engineering from Institut Supérieur d'Électronique de Paris, and a Master's degree in biochemistry and genetics from Université de Montréal. After working in other industries as a software developer and consultant - banking, online radio, healthcare - and so he met Katrine and became a nerd about all things related to climate science and decarbonization pathways. Three years ago, he started a new career path writing software for clean energy companies, first at General Power Systems to create Virtual Power Plants and now at Power Factors to streamline the operations of wind and solar farms. I first met Katrine at an online Creative Climate Leadership alumni meeting, a course I took in March 2020, organized by Julie's Bicycle in the UK, where Katrine mentioned that she had immigrated to Canada from South Africa and like myself, as was an art and climate activist and so we decided to meet in Montreal, where I met her husband Sebastian and after a delicious vegan meal I asked if the two of them would be willing to record a conscient episode. They agreed and we talked for an hour while finishing off a bottle of homemade dandelion wine. I love Katrine's current work on social media's representation of nature, for example:My practice is looking a lot at the internet and memes and how nature is consumed or understood or contextualized through TikTok videos and YouTube videos and memes on Instagram. Near the end I mentioned that our conversation reminded me of the CBC Radio show Brave New Waves in the 1980s in Montreal that took place over night and where guests from various backgrounds had long winding conversations…During the conversation the following links were mentioned The success and failure of Picasso by John Berger Mountain Lion by D.H. Lawrence : ‘And I think in this empty world there was room for me and a mountain lion. And I think in the world beyond, how easily we might spare a million or two humans. And never miss them. Yet what a gap in the world, the missing white-frost face of that slim yellow mountain lion!'Circle Songs by Bobby McFerrin Last Hours of Ancient Sunlight by Thom HartmannKatrine mentioned the following books during the conversations:Picture book of cave paintings (such as the Earth Children series)Nature is not Metal (instagram account)Sébastian recommended the following books about ‘S-Curve' (technological transitions)Note: after the conversation Sébastian offered this further information about s-curves.‘Here's an introduction to adoption of S-curves and Wright's law in the context of clean energy. S-curves refers to the pace of adoption, and Wright's law refers to the diminishing manufacturing costs due to cumulative learning."Empirically grounded technology forecasts and the energy transition" - Oxford 2021 https://www.cell.com/joule/fulltext/S2542-4351(22)00410-XThis paper shows how core low-carbon technologies fit a common and predictable adoption/learning pattern, and how this pattern differs from fossil fuels. Then they estimate the cost of a full transition to renewable energy, and compare it to other possible pathways.Technologies include solar PV, wind turbines, batteries and hydrogen electrolyzers. The latter can be useful for electricity storage, but I find it even more interesting for fuels (e.g e-methanol for cargo shipping), fertilizers and chemical feedstocks (often derived from natural gas). So the conclusions of this paper can be somewhat extended beyond the energy system.' *END NOTES FOR ALL EPISODESHere is a link for more information on season 5. Please note that, in parallel with the production of the conscient podcast and it's francophone counterpart, balado conscient, I publish a Substack newsletter called ‘a calm presence' which are 'short, practical essays about collapse acceptance, adaptation, response and art'. To subscribe (free of charge) see https://acalmpresence.substack.com. You'll also find a podcast version of each a calm presence posting on Substack or one your favorite podcast player.Also. please note that a complete transcript of conscient podcast and balado conscient episodes from season 1 to 4 is available on the web version of this site (not available on podcast apps) here: https://conscient-podcast.simplecast.com/episodes.Your feedback is always welcome at claude@conscient.ca and/or on conscient podcast social media: Facebook, X, Instagram or Linkedin. I am grateful and accountable to the earth and the human labour that provided me with the privilege of producing this podcast, including the toxic materials and extractive processes behind the computers, recorders, transportation systems and infrastructure that made this production possible. Claude SchryerLatest update on June 7, 2024

SUMMARYHave you ever heard a sound on a recording and weren't sure if it was intentional? That's what happened to the Listening Queerly research team when they were listening to a recording of the Ultimatum Festival (Montreal, 1985). This team works under the direction of Dr. Mathieu Aubin as part of a SSHRC-funded Insight Development Grant. They've been working with a series of recordings of the Ultimatum Festival, which are part of the Alan Lord audio collection, a collection currently being digitized and catalogued by SpokenWeb (Concordia). The Listening Queerly research team – Mathieu Aubin, Ella Jando-Saul, Misha Solomon, Sophia Magliocca, and Rowan Nancarrow – first attempted to confirm who they are listening to in their selected audio file for this ShortCuts by cross-referencing with other recordings of Christopher Dewdney, Tom Konyves, and bill bissett, but then, as the team re-listened to this recording, they focused more and more on the rhythmic thumping sound throughout this clip. What is the cause of this sound and its effect on us as listeners?Listen to this episode of ShortCuts to hear how, even if a sound is an unintentional sound caused by the recording equipment, it still affects our interpretation of the recording.This special episode of ShortCuts is produced by Ella Jando-Saul, with contributions from Mathieu Aubin, Misha Solomon, Sophia Magliocca, Rowan Nancarrow, and James Healey.  EPISODE NOTESA fresh take on sounds from the past, ShortCuts is a monthly feature on The SpokenWeb Podcast feed and an extension of the ShortCuts blog posts on SPOKENWEBLOG. Stay tuned for monthly episodes of ShortCuts on alternate fortnights (that's every second week) following the monthly SpokenWeb podcast episode.Series Producer: Katherine McLeodHost: Hannah McGregorSupervising Producer: Kate MoffattAudio Engineer / Sound Designer: Miranda Eastwood ARCHIVAL AUDIONotes for the audio in folder U-2-2:U-2-2. 0000 Christ 3-4 Christopher Dewdney suite. 0400 1-2 Tape. 3-4 Voix - débute vers 875. Tom Konyves 8,45. Fin 8 1225. 0000 genital of mover [?]. Tom Konyves 5-6 - bande. 7-8 - voix. 0250 Bill Bissett. Partie 1 pistes 1-2 voix [illegible]. Partie 2 vx 34.Notes on label for “BRAVE NEW WAVES. CBC Stereo 93.5 FM. ‘ULTIMATUM”:U-BNW-T5. CBC label has fallen off (included in separate bag with board for temporary preservation) — Handwritten notes on reverse: “Tape 5 Tape out. 1. Christopher Dewdney Runs: 23:50. 2. Tom Konyves 21:30. 3. Bill Bisset - Runs 20:25. Tech: Yves Lepage.” SHOW NOTESbissett, bill, Christopher Dewdney, and Tom Konyves. U-2-2. 2 May 1985. Folder 2, Deliverables, Audio-Deliverables, The Alan Lord Collection. SpokenWeb Collections, Concordia University, Montreal.bissett, bill, Christopher Dewdney, and Tom Konyves. U-BNW-T5. 2 May 1985. Folder 2, Deliverables, Audio-Deliverables, The Alan Lord Collection. SpokenWeb Collections, Concordia University, Montreal.Those interested can find more information about these recordings in the following documents:bissett, bill. Participant acceptance form. AL-Folder2-img003-04, Folder 1, Alan Lord Archive, The Alan Lord Collection. SpokenWeb Collections, Concordia University, Montreal.bissett, bill. Letter to Alan Lord. AL-Folder2-img195, Folder 1, Alan Lord Archive, The Alan Lord Collection. SpokenWeb Collections, Concordia University, Montreal.Konyves, Tom. Sketch of stage setup. AL-Folder2-img186-187, Folder 1, Alan Lord Archive, The Alan Lord Collection. SpokenWeb Collections, Concordia University, Montreal.Lescaut, Roxa. "Le Premier Festival de Poésie urbaine de Montréal." interModule 2. AL-U85-img029-32 and 035-38, Folder 1, Alan Lord Archive, The Alan Lord Collection. SpokenWeb Collections, Concordia University, Montreal.

In this 1212th episode of Toronto Mike'd, Mike chats with CBC's Brent Bambury about Brave New Waves, Midday, Go, Day 6 and fatherhood. Toronto Mike'd is proudly brought to you by Great Lakes Brewery, Palma Pasta, Canna Cabana, Ridley Funeral Home and Electronic Products Recycling Association.

Michael Tau had spent years obsessed by the extremes of musical expression. “Extreme Music: Silence to Noise and Everything In Between” is the culmination of decades of research into the sounds (and silences) that comprise the outer limits and conceptual expressions that stretch the definition of music. Tau defines and categorizes these recorded sounds into sections that allow fans and newcomers to explore the fascinating world of musicians who defy convention. He explores a wide range of extremes including volume, speed, and vulgarity to packaging, recording methods, unplayable media, outdated technologies, and digital pioneers. He asks and answers the questions: Are all sounds music? Is silence music? Does a plate of rotting food once cataloged, packaged and sold by a distributor qualify as music?“Extreme Music” includes over 100 interviews with makers and musicians as Tau uses his background in psychiatry to help readers understand what motivates people to create and listen to non-mainstream music. As a fan of multiple avant-garde musical genres, Tau uncovers the pleasures (and sometimes pain and frustration) found at the outré fringes of music.“Extreme Music” is the ideal guide for curious seekers, die-hard fans, and cultural investigators. Michael Tau was born and raised in Toronto, Canada. As a teenager, he was introduced to bizarre and adventurous music via the after-hours CBC radio program, Brave New Waves, which he recorded onto cassette to listen to the next day. In university, he attended noise shows in lofts in Montreal's quasi-industrial districts, to the detriment of his hearing. He has since written for numerous underground music publications and has authored several music zines. When he isn't listening to the Merzbow boxset, he works as a physician.Purchase a copy of “Extreme Music: From Silence to Noise and Everything In Between” through Feral House: https://feralhouse.com/extreme-music/Listen to a playlist of some the music discussed in this episode: https://open.spotify.com/playlist/0pTeMurVDluqaY0txFEPF0?si=de95b551eb3d4ebbMusic Not Available Through Spotify Playlist:Jem Finer's “Longplayer”: https://longplayer.org/ or www.trinitybuoywharf.com/whats-on/longplayer8-Bit Tribute to Miles Davis' ‘Kind Of Blue' called ‘Kind Of Bloop' by Andy Baio: https://kindofbloop.comVulfpeck's ‘Sleepify' album: www.youtube.com/watch?v=kTE2UdbmDw4Hantasi ‘Vacant Places': www.youtube.com/watch?v=_qut4OjmBS0 Visit Michael Tau's website: https://anomalyindex.com/The Booked On Rock Website: https://www.bookedonrock.comFollow The Booked On Rock with Eric Senich:FACEBOOK: https://www.facebook.com/bookedonrockpodcastTWITTER: https://twitter.com/bookedonrockINSTAGRAM: https://www.instagram.com/bookedonrockpodcastSupport Your Local Bookstore! Find your nearest independent bookstore here: https://www.indiebound.org/indie-store-finderContact The Booked On Rock Podcast:thebookedonrockpodcast@gmail.comThe Booked On Rock Music: “Whoosh” & “Nasty” by Crowander (https://www.crowander.com)

In this episode of the Dark Corner, DJ Evil Dave lists a number of Role-Playing Games he played or nearly did so. For instance, he covers various editions of Dungeon & Dragons. Additionally, he addresses the many versions of games by Palladium Books. Furthermore, he recounts experiences with MARVEL, Star Wars, and BattleTech. Meanwhile, Dave touches upon the strengths and weakness of both players and game masters. First, Dave reports on a meteor exploding over Salt Lake County. Also, he announces a panel at FanX 2022. In reviews, Dave mentions The Sandman. Also, Brandi and Dave watch Lightyear. For the Dark Track, Deep Six performs Basement from the Brave New Waves radio session. This short-lived, American garage rock band released only one album. For the promo, Dave presents The Dice Girls, an actual play Dungeons & Dragons 5th edition podcast.

In this beautiful, precedent-setting episode of Solitary Confinement in the Digital Age, I invite you into my house, and let what happens happen. The evening's impetus comes from me discovering a Hunter S Thompson book in a thrift store, getting some beer, writing a song/poem with inflamatory words that should merely, by now, be cool. It goes through the great Leonard Cohen and the great Cat Power. The great Cat Power is the great Chan Marshall, who might be an alcoholic, like me. I know about the great Chan Marshall because of the great, the greatest, Patti Schmidt. I don't know how to spell her name and I am not going to check. But Patti Schmitt(?) was once the host of the show that made Canadian indie music the best indie music in the world: the show was broadcast on CBC radio 2 during the 90s. It was called Brave New Waves. Hey ... It's Brave New Waves An unsung genius of Canadian broadcasting. How many great Canadian bands will read this and not realize the slight they have done Patti Smitt (lol) by not demanding that she receive, at the very least I'm not checking how to spell her name. I love her. I met her once at the Horseshoe Tavern in Toronto and this was after listening to her show all five days a week after lockdown. The best fuckin' show. Anyhoo, when I met her at the Horseshoe Tavern, I didn't quite believe it was her. It just seemed too good to be true. She insisted she was she. To make her prove it - GET THIS! - I made her say the show's intro into my ear. "Hey ... It's Brave New Waves" If you have never heard the show Brave New Waves I won't bother explaining the matchless brilliance of this. I didn't mention the above story in the podcast, by the way. If you've read this far consider yourself backstoried.

Long before we were able to return to the studio I began thinking about ​shows that I would like to do since I wasn't going to be able to have guests join me in the studio. I decided that I would start with out a series of shows that featured the music of artists that I, and other members of The Rodents, listened to way back in the day along with an homage to a late night radio show, Brave New Waves, that we all used to listen to. This was all designed to give listeners an understanding of why I featured some of the music that I do on the show. I also wanted to do some shows that focused on what I consider really good albums by local artists along with highlighting some of the live music that we've featured over the years plus music by two-piece bands and music by former guests that had made an impact with my wife. My reason for planning out these shows was my thinking that there wasn't going to be a lot of new music being created and released during the middle of a global pandemic. Well, I couldn't have been more wrong. Throughout it all, in the face of incredible odds and HUGE roadblocks, independent artists in NYC, in America, and around the world have continued to produce and create some really amazing music. Sure, a lot of it was probably in the works before the pandemic hit but when it comes to, and I'm paraphrasing Desert Sharks when I say this, the release of new music it should be treated with the same reverence as a baby shower and that baby is carried wayyy longer than 9 months and involves way more people committed to birthing it​. So the fact that artists are forgoing album/record release shows is really saying something. So on World Gratitude Day please allow me to express my gratitude to all of the independent artists who continue to pour their heart and soul into their creative pursuits. Playlist Bee Bee Sea - "Day Ripper" X-Ray Love - "Lou" Stroamata - "Dollar (Instrumental)" HEAP - "Renting" Soul Butchers - "Landfall" The Short Fuses - "The Pink" Sweeping Promises - "Hunger for a Way Out" HININ - "La Corde" BandMaster Ruckus - "Roadkill" Total Rubbish - "Honey Ryder" Soul Butchers - "Nervous" HEAP - "You Remind Me Of Me" Mini Skirt - "Pressure" Bassoon - "Derangerer" Futuro - "Gestalt" Nowhereland - "Addicted" Cinema Cinema - "Broad Daylight" Triple Exposure - "Sugar Coat" Listen live on Monday evenings at 8PM EST on Radio Free Brooklyn

Growing up I used to listen to a show on CBC Radio called "Brave New Waves". The show aired overnight five nights a week and it profiled alternative and indie music and culture, including film, comics, literature and art. This episode's playlist is somewhat of a reflection on those long ago nights when I was up late studying or getting home after work. PLAYLIST 68-75 - "Magnetic Head" Bluhauz - "Purify My Soul" Datura4 - "West Coast Highway Cosmic" Eden James - "New York" The Fruitful Earth - "Rambling Soul" The Judex - "Wicked Pony Stomp" The Light Show - "Are You Gonna Get Away?" Raptor - "Deaf Letter" The Golden Grass - "Show Your Hand" La Chinga - "Mama Boogie" Taming Sari - "Loving Way" Strangers with Guns - "Somebody Needs a Hug" Milk for the Angry - "Super Manticore" Monte - "Grrrl Fight" The Rodent Hour is an homage to the friends that Matt Attack made during his misspent youth, those lifelong friends who joined him on those weekend nights so many years ago and whose eclectic tastes still influence the selection of artists and music that is featured on the show. Thirteen years after arriving in Brooklyn he continues to be a tireless advocate for the independent musicians that still play with the ferocity and intensity he grew up listening to. Listen LIVE every Monday at 8:00 pm

WELCOME TO THE BASS FUG PODCAST. In today's episode we talk to Peter, the owner of SYNTH PALACE, a studio that has an out of this world selection of vintage synths. We talk about Vintage synths, Kensington market, starting your own synth arcade, Much Music and the Wedge, Brave New Waves, and 4th dimension music dreams. You can find more info about Peter at www.synthpalace.net. It is another "not to get all Joe Rogan in this podcast" episode that you don't want to miss!

We chat with the eminent digital music and arts curator Patti Schmidt about discovering culture through radio while growing up the suburbs of Ottawa, her first radio gig at McGill and how’s she’s inserted herself into the underground music scene ever since. As a programmer at MUTEK and Artistic Director at Banff, she discusses the challenges of continuing to push creative boundaries, getting representation for the ladies, and how her dad still would still probably considers all of these “fake” jobs. Show notes: MUTEK [http://www.mutek.org/] Convergence Residency at Banff Centre for Arts and Creativity [https://www.banffcentre.ca/programs/convergence-residency-electronic-music-visual-art] Brave New Waves [https://en.wikipedia.org/wiki/Brave_New_Waves] Sara Diamond [http://www.ocadu.ca/about/governance/board-of-governors/sara-diamond.htm] Uwe Schmidt [http://www.atom-tm.com/] Keith Fullerton Whitman [http://www.keithfullertonwhitman.com/] Thank you to Unbounce [http://unbounce.com/] for the use of their recording studios - subscribe to their podcast Call to Action [http://unbounce.com/call-to-action-podcast/]. Edited by Steph Colbourn at editaud.io [http://editaud.io] Theme music by Olivier Alary [http://www.olivieralary.com/] Our website is workmode.show

The host of CBC Radio's Day 6, Brent Bambury's career in broadcasting is one that has truly run the gamut. From hosting the underground music program Brave New Waves, to being a local sportscaster, Brent has done it all. In this interview Brent speaks about his remarkably varied career in radio and TV, and the eclectic interests and strong sense of curiosity that have propelled him forward throughout his life and work.

Those in Montreal know a thing or 2 about winter and the snow that comes with it. They also know a thing or 2 about our guest this week, Patti Schmidt. If you don't know, from 1995 to 2006, Patti hosted a show on CBC radio called "Brave New Waves", which I would listen to religiously when I was living in Detroit thanks to a Windsor relay station that would beam her through my radio. Oh, the wonderful music I was turned onto from this program. Her tastes were always so broad, and she would give plenty of background on the artists and releases. The show was such a great resource for finding fantastic new music, and I miss the show dearly. I had the pleasure of finally putting a face to the voice while she and I were both at Decibel Festival in Seattle in 2009, where we met and very quickly became friends. When she agreed to do an edition for Snowprayers, I was beside myself with joy and am extremely pleased to present it to you now! So, thanks so much, Patti and thank you for listening!