Serving as a benefit for Hollow Earth Radio, this year’s second annual Magma Festival will be held in venues across Seattle every Friday and Saturday throughout March. HER has pooled together some of their favorite bands to represent a diverse line-up throughout the eight nights. Even the Beep Repaired collective has an entire day dedicated to the release of the latest compilation.

Each show has a different set price, but why not pick up a month-long pass from the Hollow Earth website for only $35 and pay almost half price for the whole festival? You could use the extra cash to buy your very own HER t-shirt at the shows.

Tune into Hollow Earth Radio direct from your desktop: www.hollowearthradio.com

Oh WOW these new shirts!
Celebrate Hollow Earth Radio’s 2nd birthday with us and help support truly free form community radio!! Go to hollowearthradio.com to order! And Thank You!!

hollowearthradio. com
Ball of Wax 12 Release Show!
Wednesday, May 28th!
(Where else but) The Sunset Tavern!
with Jeremy Burk, The Crying Shame, Origami Ghosts, Poland, Ryan Dolliver, Kate Tucker and the Sons of Sweden, Peter Verdoes, Jack Shriner and Devoirs!
see also the BoW myspace page to listen, and for additional info.

The White Elephant Record Exchange Project was undertaken by 20 individuals in the late part of January 2008. The project involved sampling, composition, and ultimately all kinds of editing and manipulation of various original source materials. Participants were first to find the “worst” and “most unusable” 12″ vinyl record possible and hand it off to the curator. Those records were then distributed to the participants insuring everyone received a different record than the one they submitted. After receiving this record, the first goal was to complete one song.
SONG A
The point of Song A was to compose a piece of around 1 minute, 30 seconds or longer, through editing and creative playback of the record alone. No pitch adjustment, time stretching, compression, or any digital effects were allowed in this phase of the project. This meant that the participant could basically just cut and paste, do a bit of layering, and then adjust track levels. It was essentially an exercise in composition to see what each individual could create with supposedly “unusable” source material and very limiting constraints.
Those songs were all finished and then given back to the curator. Once all the songs were gathered, they were then redistributed back to the original person that submitted the 12″ vinyl. For example, if you submitted Led Zeppelin “III” as your album, you then got the remixed, cut-up piece someone created from that album. Then the Song B phase began.
SONG B
The creation of this song had no boundaries whatsoever. The idea was now to allow each participant total freedom (without the difficult constraints of the Song A phase) to create a remix of someone else’s Song A piece.

On November 17, 2007, 35 people met up in the morning at Dearborn on Woodland, Seattle, and split up into 11 randomly selected bands to participate in the largest round yet, and to create the first Harry Candy album. The only rule in the selection was that no one who was already in a band together could end up working together.

Over the next 24 hours, each band wrote and recorded a song and came up with a band name, and the results will be Ball of Wax Audio Quarterly Vol. 11, which will be released very soon. A week later, some adventurous souls in New York took up the challenge and produced track 12, which was deemed by all concerned to be a fine bonus addition.

Frankly, I don’t quite understand all of this, but I’m honored to have been the namesake for such a bizarre undertaking. I do hope you enjoy it.

-Harry Candy