Okay, we’re goin’ in! Grab your earbuds and don your spelunking light. Our destination? Jad Abumrad’s brain.
This could get weird.
Jad‘s a co-host and the producer of Radiolab, a science (and more) program produced at WNYC. Several years ago, Ira Glass was quoted as saying of Jad “there’s a new sheriff in town.” Why? Jad’s production style. Stories on Radiolab fall of the edge of the earth, zip back, swirl around your head, and worm their way into your ears.
Arguably, an episode of Radiolab is equal parts story and composition. On this HowSound, Jad talks about the composition element and what influences his one-of-a-kind production style. If you’ve wondered why Radiolab sounds the way it does, Jad explains all.
He doesn't need to explain this.
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Below are links to the full Radiolab episodes excerpted in this show as well as the music Jad references.
The Music in Jad’s Brain:
“Prelude and Rooftop” from Alfred Hitchcock’s Vertigo, music by Bernard Herrmann
“Prologue” from the movie Birth, music by Alexandre Desplat
“Composition for Synthesizer” by Milton Babbitt
“Rozart’s Mix” by John Cage
“Symphony No. 1: III. Allegro Misterioso” by Witold Lutoslawski
“Seventeen” by Winger
“I Troldskog Faren Vild” by Ulver
Bonus Track (not included in the show but one of Jad’s fav black metal bands): “Autre Temps” by Alcest