Instead of a car or portable radio, I am most familiar with the format through the popular radio/platform NTS. I like that its scope is wide enough to include both sonic and music-oriented artists and pieces. One pocket of work I particularly enjoy on NTS is the more immersive and atmospheric ambient shows, which include elements of spoken word, acousmatic sound, and precise field recordings. This time around, I tuned into Channel 2 playing a series called Crypt of the Wizard. It is a radio show centered around death metal, ambient, and dungeon synth. Immediately the delivery of the work whether music or script (and it included both) stood out to me as patient, with slow and seamless transitions between music and sound effects. I also noticed how simple and sometimes obvious loops of foley are used intentionally to accentuate layers in the music. In this particular instance, a simple loop of birds chirping over a continuously transposing saw wave felt very full and impactful, whereas a more complicated foley soundscape would actually detract from the precision of the piece. I will continue to meditate on this element of radio, as foley and sound effects are something I generally try to transform and obscure in my own practice. In Rudolf Arnheim’s “In Praise of Blindness; Emancipation from the Body” he references the fact that the broadcast offers unity through its limitation, the lack of visual aid creates the necessity for precision and richness for the work to feel complete. This is an ethos I would like to bring into my own explorations this term.