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I, Phone Sample
7:41
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General Info
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Genre: Experimental
Location NASHVILLE, Tennessee, US
Profile Views: 13058
Last Login: 2/23/2011
Member Since 10/27/2007
Record Label Ore Miners of Slovokia
Type of Label Indie
-
Bio
Send all correspondence to tony@theatreintangible.com. If you want to hear from us in a timely manner, do NOT send us a message via Myspace... ..UPDATE 01-02-2010.. ~ORE~ Theatre Intangible now has it's own blog and podcast! Make your way over to .. Theatre Intangible.. to find out more! Be sure to subscribe to our blog and podcast!.. .. .. ..~ORE~ Theatre Intangible.... ..is an experimental radio show broadcast from Nashville, Tennessee, USA. We originally aired on 91.1 WRVU Nashville and have upgraded to a .. podcast... .. We bring you the tinkerers, the rule-breakers, the creators, the destroyers, the fringe, the forgotten, the visionaries, the rejects, the left of the left of center, and beyond. In short, we showcase experimental music through the ages. Host Tony Youngblood invites local and international experimental musicians to the studio to create one hour of live, original, non-traditional, free form music. It’s not free jazz, and it’s not jam music. Nor is it trance, dance, electronica or any other beat-driven form of music commonly touted as “experimental.” If you’re looking for solo-trade offs, 4/4 time, conventional song structure, and drums/bass/guitar; then you’ve tuned in to the wrong radio show. .. For those interested in performing on the show, send us a note and consult the rules of play. If you are an experimental/fringe or noise musician playing a show near the Nashville area, let us know, and we’ll add it to our concert calendar and mention it on the air. Better yet, come on the show for an interview and participate in our live improv performance. .. ..RULES OF PLAY:.... This is an experimental music show. Our primary purpose of making live in-studio music is to explore new paths of sound. While it is impossible to completely break away from what has come before, we do try to avoid conventions such as 4/4 time, call and response trade offs, scales, dance-floor repetition, familiar chords, etc. If it sounds like free jazz, blues, rock, funk, techno, or jamming, then we are failing in our experiment. Often, the most talented musicians make the worst experimental performers because they sometimes fall into the rut of what they know (a scale here, a beat there, etc). Due to this, don’t be surprised if we strip you of your beloved guitar and hand you a modified xylophone. Guests should always be conscious of what is going on around them. We should strive to play as one part of an organic whole and only play what will add to the sound and the concept. If your gut tells you to be silent, then be silent -- if it tells you to play one single sustained note, then do so -- if your heart screams out to play a chaotic wall of sound, then go for it (as long as it adds to the mix). .. The instruments we play can be anything from traditional drum sets to circuit-bent toys to a ring of keys. Found sound (field recordings, old "talkie" records, etc) will sometimes be incorporated. At other times, we may try an experiment in form (for instance, placing each musician in her own soundproof room and instructing them to just play -- then letting one person in the control room mix those sources in creative ways to make "the score"). Each show has a basic theme involving what we play or how we play or how we manipulate it. .. Participants are encouraged to listen to experimental music and fringe artists of other genres. Musicians such as Captain Beefheart, Sun Ra, Miles Davis, Ornette Coleman, The Boredoms, Harry Partch, Negativland, Bob Ostertag, The Residents, Plunderphonics, John Zorn, John Cage, AMM, Merzbow, Davenport, and Arnold Schoenberg are artists after our own heart. We should listen to feel encouragement and inspiration, but we should always make an effort to break new ground rather than mimicking well-tred (if yet still virtually unknown) material. -
Members
Your host: Tony Youngblood .. Featuring a revolving cast of characters. -
Influences
Captain Beefheart, Merzbow, Karlheinz Stockhausen, Harry Partch, John Cage, Sun Ra, Ken Nordine, Jean-Jacques Perry, Miles Davis, Ornette Coleman, The Boredoms, Negativland, Tape Beatles, Bob Ostertag, The Shaggs, US Maple, Snakefinger, Rob Ellis, Elliott Sharp, Wolf Eyes, Storm & Stress, Glen Branca, Brian Eno, DNA, Gyorgy Ligeti, Sunn O))) & Boris, Alejandro Jodorowsky, Bill Laswel, The Residents, Plunderphonics, John Zorn, Art Bears, Matthew Shipp, Peter Brotzmann, Reggie Workman, J. Spaceman, Pharoah Sanders, William Hooker, William Parker, Kim Cascone, Anna Lockwood, Hasil Adkins, Lydia Lunch, Carl Stone, AMM, Davenport, Fred Frith, Iannis Xenakis, Arnold Schoenberg, Even Parker, Alvin Lucier, Anthony Braxton, Les Baxter, Cecil Taylor, Paul Bley, Throbbing Gristle, Pan Sonic, Judy Dunaway, Sun City Girls, Morton Feldman, Einsturzende Neubauten, A Parade, Henry Cow, Daniel Johnston -
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6 Songs | Sep 21, 2008
Comments
Bio:
Send all correspondence to tony@theatreintangible.com. If you want to hear from us in a timely manner, do NOT send us a message via Myspace.UPDATE 01-02-2010 ~ORE~ Theatre Intangible now has it's own blog and podcast! Make your way over to Theatre Intangible to find out more! Be sure to subscribe to our blog and podcast!..
~ORE~ Theatre Intangible ..is an experimental radio show broadcast from Nashville, Tennessee, USA. We originally aired on 91.1 WRVU Nashville and have upgraded to a podcast.
We bring you the tinkerers, the rule-breakers, the creators, the destroyers, the fringe, the forgotten, the visionaries, the rejects, the left of the left of center, and beyond. In short, we showcase experimental music through the ages. Host Tony Youngblood invites local and international experimental musicians to the studio to create one hour of live, original, non-traditional, free form music. It’s not free jazz, and it’s not jam music. Nor is it trance, dance, electronica or any other beat-driven form of music commonly touted as “experimental.” If you’re looking for solo-trade offs, 4/4 time, conventional song structure, and drums/bass/guitar; then you’ve tuned in to the wrong radio show.
For those interested in performing on the show, send us a note and consult the rules of play. If you are an experimental/fringe or noise musician playing a show near the Nashville area, let us know, and we’ll add it to our concert calendar and mention it on the air. Better yet, come on the show for an interview and participate in our live improv performance.
RULES OF PLAY:
This is an experimental music show. Our primary purpose of making live in-studio music is to explore new paths of sound. While it is impossible to completely break away from what has come before, we do try to avoid conventions such as 4/4 time, call and response trade offs, scales, dance-floor repetition, familiar chords, etc. If it sounds like free jazz, blues, rock, funk, techno, or jamming, then we are failing in our experiment. Often, the most talented musicians make the worst experimental performers because they sometimes fall into the rut of what they know (a scale here, a beat there, etc). Due to this, don’t be surprised if we strip you of your beloved guitar and hand you a modified xylophone. Guests should always be conscious of what is going on around them. We should strive to play as one part of an organic whole and only play what will add to the sound and the concept. If your gut tells you to be silent, then be silent -- if it tells you to play one single sustained note, then do so -- if your heart screams out to play a chaotic wall of sound, then go for it (as long as it adds to the mix).
The instruments we play can be anything from traditional drum sets to circuit-bent toys to a ring of keys. Found sound (field recordings, old "talkie" records, etc) will sometimes be incorporated. At other times, we may try an experiment in form (for instance, placing each musician in her own soundproof room and instructing them to just play -- then letting one person in the control room mix those sources in creative ways to make "the score"). Each show has a basic theme involving what we play or how we play or how we manipulate it.
Participants are encouraged to listen to experimental music and fringe artists of other genres. Musicians such as Captain Beefheart, Sun Ra, Miles Davis, Ornette Coleman, The Boredoms, Harry Partch, Negativland, Bob Ostertag, The Residents, Plunderphonics, John Zorn, John Cage, AMM, Merzbow, Davenport, and Arnold Schoenberg are artists after our own heart. We should listen to feel encouragement and inspiration, but we should always make an effort to break new ground rather than mimicking well-tred (if yet still virtually unknown) material.
Member Since:
October 27, 2007Members:
Your host: Tony YoungbloodFeaturing a revolving cast of characters.

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