Ö÷²¥´óÐã

What a week of fantastic performances! I've just finished signing over 300 thank you letters.

I got thank you messages back, too. Dame Shirley's reads,

"....the lights, the sound everything was great. My dress looked like a thousand diamonds, it felt like a Bassey show and I enjoyed it!".

EP09 kicked off with Robbie Williams coming back after a three year break from live performance. It was simulcast to over 200 cinemas worldwide and Ö÷²¥´óÐã Radio 1 live, then on Ö÷²¥´óÐã Two TV later that night. When a tabloid headline says 'X Factor = not good' then 'Ö÷²¥´óÐã Electric Proms = great, thank you, Ö÷²¥´óÐã!', you know you've changed something forever. The highlight for me was sneaking under the perspex stairs during Robbie's performance for a bird's eye view, then looking up and thinking "This is the coolest place to be right now." The lowlight of the night was after the gig, when The Roundhouse top bar was closed while there were still lots of thirsty-looking journalists, Ö÷²¥´óÐã top brass and celeb types. I growled at a few people and got it re-opened.

• Highlight track: Angels (I know, but it's a classic).

Dizzee Rascal's show was fantastic and the most ambitious. Well after midnight when The Roundhouse was empty, a whole team of riggers were already at work clearing up for the next night's show. I helped our stage manager move bits of Robbie's set as they blocked Dizzee's exit from The Roundhouse backstage in his super cool sports car. Then I shared a bag of cheesy biscuits with Dizzee's manager Nick and Event Producer Sam whilst watching the entire set again in the TV truck - complete with a running commentary of what Nick thought worked. Thankfully, all was good.

• Highlight track: Jezebel.

At the camera rehearsals and final sound check for Doves the next day, the London Bulgarian Choir leader Desi looked anxious. However, her conductor and arranger Avshalom was relaxed. Desi asked "Will we be loud enough?... Make up?... Microphones on stands or handheld?... We need to speak to your producer, where is she?". She was actually making sure that Balu, Doves' blind guest musician, could get on and off the stage safely. After the concert Jimi from Doves found me in the car park and held out his hand to say thank you: "Was it ok?". "Are you kidding, THANK YOU!" I responded. Such a generous band.

• Highlight track: There Goes The Fear.

On the same night Florence and the Machine and Metronomy played in the small Theatre Studio underneath The Roundhouse Main Space. It was packed, over 8,000 registered to get in and capacity is only 250. During the gig I got called by the venue's security to deal with a few rowdy late arrivals, who insisted they were friends of the drummer.

• Highlight moment: watching Florence do her pre-gig warm up dance seconds before running onto the stage for Dog Days.

Also on Thursday night, Dame Shirley's tour and production manager Chris came to have another look at the scissor lift. The venue had the wrong size! Thankfully Serena (TV Producer) pulled out all the stops to make the entrance and screens work for TV.

In soundchecks on Friday, Dame Shirley sang the Tom Baxter track twice. By the third time her voice filled the entire space and our jaws dropped to the floor; it was perfect. During her show we set up a glitter drop for Goldfinger. Dame Shirley wasn't told about this and her genuine surprise was caught on camera. The show got the highest ratings of the series for Ö÷²¥´óÐã Two, with over 1.3 million viewers.

• Highlight track: Almost There

After the show, Chris, her production stage manager, revealed why there were a few minutes delay at the start of the performance. Chris was visibly shaking as he retold how his entire computer program died as the concert was about to start with a live Radio 2 broadcast. After the show I caught up with Richard Hawley, who said "I understood what my role was as support. It was to play for the Dame." I loved every minute of it.

On the final night it was Mr Smokey Robinson and his band. Watching them rehearse with the Ö÷²¥´óÐã Concert Orchestra at the famous Abbey Road studios was a treat. Our arranger, Mike Townend, was anxiously waiting for the nod of approval at these rehearsals - which he got. Mike's treatment of Tracks Of My Tears got a standing ovation on the night. It wasn't all this smooth though, as a collaborator booked to make an unannounced appearance had to go into hospital the day before. Smokey also started the show twenty minutes late. I can't say why as I'm sworn to secrecy, but I had to buy the Radio 2 production team large drinks after the show to calm their nerves.

• Highlight Track: Tracks of My Tears

It was a week of high drama and emotion, and that's just the production team. Surprisingly, Dame Shirley Bassey had the booziest crowd - we had to eject a couple - while Robbie clocked up the record for the most faints.

We are already thinking about next year, someone I've been chasing for four years has said 'no' again. With Bacharach, McCartney, Oasis, Smokey, Dame Shirley, Kaisers, Estelle, Dizzee, Paul Weller with Amy Winehouse ,The Who and James Brown having played the event, surely he could be persuaded. You can't take no for an answer, that much I've learnt.

Related Links
Ö÷²¥´óÐã Electric Proms - catch up with year's event.

As part of Maida Vale Studio's 75th birthday celebrations I've been spending the day eavesdropping on what's been going on. Here's Yusuf Islam and band rehearsing in MV3 for Radio 2's Ken Bruce Show. But it's not Ken's voice I hear, it's Zoe's.

Next up it's Snow Patrol on Radio 1 with Fearne Cotton in MV4.

It's the first time I've been to the Maida Vale Studios and while it's brilliant to get to see and hear today's artists rehearse and perform, it's also a great opportunity to sneak around.

This is on the ground-floor corridor:

The picture of John Peel hangs at the heart of the building. You can't help but see it as you make your way down to the studios. Next to it there's a sign that says: "Mushroom Biryani this way" and underneath it tells the story from 1983 of how the then unsigned Billy Bragg, hearing Peel declare on radio that he was hungry picked up a mushroom biryiani and drove it to the studio along with one of his recordings.

MV1 is a huge space that's being used today for the Ö÷²¥´óÐã SO with Yan Pascal Tortellier this afternoon and later tonight Dame Kiri te Kanawa for Radio 2.

There's cabling all over the building. There's miles of the stuff suspended up by the ceiling along all the corridors for the permanent networks. Then there's the clever use of tape to get the cabling to the kit that's come in for a specific recording. This is the scene outside MV4 where the Craig Charles All Stars are hanging out and by the sounds of it having an excellent time.

There's also this interesting use of tape which designates something which I vaguely remember from my health and safety training. We don't have this where I'm usually to be found:

It's the little things that I keep noticing. Outside the seemingly tiny studio MV5 where Corrine Bailey Rae is on Max on 1Xtra this afternoon there's a tray with discarded bottles of water on it. Looking more closely I realise there's also a bag with fresh ginger on it and a jar of honey. Singers need to look after their voices.

Corrine Bailey Rae in MV5:

While I'm writing this I can hear Jamie Cullen's band rehearsing for tonight's Radio 2 show.

There's still more to come tonight including Apache Indian's on Bobby Friction and a live radio drama for Radio 2. I was going to say that there's two things you wouldn't expect to find going on in the same building. Having been here I'm not surprised at all.

You can see .

On Monday all of the Ö÷²¥´óÐã's blogs are switching to a new sign-in system called Ö÷²¥´óÐã iD. You can read more about it on the Ö÷²¥´óÐã Internet blog.

This means that you will need to use the new system to leave a comment on the Ö÷²¥´óÐã Music blog. You will be prompted to upgrade when you first try to login after the change and it should be a very straightforward process.

I will try to answer any questions you have here but I would also encourage you to read the post on the Ö÷²¥´óÐã Internet blog and leave any technical comments there.

Thanks, Nigel

It's hard to describe how a building can become an icon. It's just something that happens as a result of history and the activities that have been carried out in it. The Ö÷²¥´óÐã has several. Television Centre, the hub that created a generation of light entertainment shows that invaded the country's living rooms as the television explosion swept from Lands End to John O'Groats is one. So was the that housed so many great radio comedy shows and comedians at the height of their creative genius. It's sadly no longer in the Ö÷²¥´óÐã property portfolio. And then there is Maida Vale Studios, the former ice rink that is 100 years old - 75 of which have been in the ownership of the Ö÷²¥´óÐã. This fairly nondescript rabbit warren of a building, just up from tube (that's right the stop that Duffy so ably brought to the public's attention last year when she sang about it) is indeed an iconic place. The studios have housed music making and drama from a who's who of artists for decades. Bing Crosby sang his last live session there, but many more sang their first - including the aforementioned Duffy.

Maida Vale has been a home to talent that remains unsurpassed in love and affection. may be just round the corner (almost!) but the list of artists who admire the wonderful sound these hallowed studios can lend to your craft is as big if not longer than the world's most famous recording studio. The Beatles played many Bank Holiday Shows there, The John Peel Sessions were created there, today we have Radio 1's Live Lounge, regular recordings for Radio 2 with artists of international repute, and of course it is the home of the Ö÷²¥´óÐã Symphony Orchestra and a world of the crème de la crème of classical talent.

How can we forget the Radiophonic Workshop and the great dramas that have been created within these walls? Or indeed, the general buzz of the building as artists of all descriptions and genres come and go to hone their craft with the help of the Ö÷²¥´óÐã and it's production expertise.

This Friday 30 October we celebrate the 75th Birthday of Auntie owning Maida Vale with an array of talent that demonstrates the amazing diversity of the beeb's broadcasting range. Every Ö÷²¥´óÐã Radio network is taking part - Radio's 1,2,3,4,5,6,7,1Xtra and the Asian Network - will all be there. There will be live programming across the 24 hour period to enjoy. It kicks off with The Janice Long Show on Radio 2 with special guests The Sterophonics at midnight tonight. Then throughout the rest of the day you can check out everything from Snow Patrol on Radio 1, Yusuf, Jamie Cullum, Dame Kiri Te Kanawa, Nell Bryden and Scouting For Girls on Radio 2, Yan Pascal Tortelier conducting an afternoon concert on Radio 3, Front Row live on Radio 4, Simon Mayo live in the afternoon on 5 Live, Corinne Bailey Rae on 1Xtra, The Craig Charles All Star Funk Band live on 6 Music, Apache Indian on the Asian Network and a huge tilt of the cap to the Radiophonic Workshop on Ö÷²¥´óÐã 7.

There is also a live drama on Radio 2 - Brief Encounter starring Jenny Seagrove and Nigel Havers, using a script that has been in the Ö÷²¥´óÐã's ownership and unused since 1947! They are accompanied by a sterling cast to recreate this classic story live to air.

Few buildings hold as many memories as the Maida Vale Studios and tomorrow we plan to make many more. You can check all programming out live or you can listen again on the iPlayer. Dame Kiri's performance on Friday Night Is Music Night is on the Red Button and you can catch Snow Patrol filmed for Live Lounge on the Radio 1 website.

It will be a great day - tune in and share it with us.

Lewis Carnie is Head of Programmes Ö÷²¥´óÐã Radio2/6 Music

Related Links
Maida Vale @ 75 - details of all the day's programmes

We don't just make programmes at the Ö÷²¥´óÐã, we make social objects - and social media is enhancing their power to affect people, as is explored by this blog post at . It's an interesting idea, that things like Twitter and blogging create conversations around programmes, gigs and the like, increasing their resonance as a social object, so you can be affected by them even if you've never seen them. This particular blogger downloads Tubeway Army's Replicas, not because he's seen Synth Britannia, but because he's inspired by the .

There's a pleasing degree of chat about the programme on Twitter, generally positive, and it's interesting to see how the programme leads to the production of lists and suggestions, including a which broadens out the original playlist to include tracks by Joe Meek, Bill Nelson and S-Express.

At the Ö÷²¥´óÐã we're attempting to explore the content generated by our programmes at , which has . The idea behind Shownar is to monitor activity around Ö÷²¥´óÐã shows on Ö÷²¥´óÐã Online and the wider web (blogs, Twitter and the like), and work out which are currently gaining the most attention. Worth a look, and definitely a way of making some interesting journeys around the web.

Related Posts
Synth Britannia & JG Ballard
Reflections on making Synth Britannia & Krautrock

When asked about their influences, nearly every contributor in Synth Britannia enthused about German electronic music of the mid 70s. Bands such as Neu!, Faust, Cluster, Tangerine Dream and, of course, Kraftwerk were their primary inspiration.

Faust

Once Synth Britannia was in the can the same team was lucky enough to embark on the production of a film about this German music- unsympathetically labelled 'Krautrock' by the 70s music press in Britain.

As I write, the finishing touches to Krautrock: The Rebirth of Germany are being applied in post-production. The films form two halves of a larger whole and it is fascinating to follow the tracks and traces between them.

In both films the music is intimately connected to the outside world. For the German generation, older than the Brits, it's a wilful stance. Electronic music meant being a non-musician, opting out of imported Anglo-American pop culture and seeking to transcend the country's Nazi past - traces of which were still prevalent in the west-German establishment of the late 60s/early 70s. A way out.

Whilst the Germans used electronics to articulate a sonic utopia, many of the Brits saw electronic music as a way to interrogate reality. Arguably their music soundtracked great industrial cities in economic decline, rent asunder by brutal, skyscapes.

Taken as a whole the two films are a 20 year journey condensed into two and a half hours. It is both ironic and inevitable that something that started as an anti-bourgeois idea in the German counter-culture gets co-opted by the mainstream - with spectacular results in 80s Britain. I am not offering a value judgement, I loved the whole ride and am privileged to have been on it over the last six months.

I have many postcard memories of Synth Britannia and Krautrock: The Rebirth of Germany. Vince Clarke's incredible synth collection in frozen Maine; shockingly bad German cuisine - for a vegetarian; how recent urban 'development' has homogenised British cities; my suitcase happily sitting on the tarmac outside for a couple of hours; having to share a room with assitant producer Sam Bridger in Austria and witnessing his morning 'yogic splits'.

It all blurs into one.

Related Posts
Synth Britannia & JG Ballard
My Krautrock Adventures on the Autobahn

Synth Britannia premieres on Ö÷²¥´óÐã Four on Friday 16 October at 9pm. Krautrock will be shown at the same time on Friday 23 October.

Early on when we were discussing themes and motifs to explore in Synth Britannia the topic of came up in conversation. It was immediately clear that there were parallels between Ballard and the work of the earliest synth pioneers. The world Ballard described in books like and felt like a dystopian vision of the future and yet it was actually the present day rendered alien - a world of motorways, concrete underpasses, airports, subways lit with fluorescent lights, spaghetti junctions and giant concrete tower blocks. In short, this was 70s Britain - old Victorian slums and city centres eviscerated and concreted over.

Heaven 17

This link between the environment and the music became very apparent on our travels around Britain to meet the pioneers of synthesizer music. All of the early synth artists found themselves making music in urban areas from the run down, empty streets of East London to industrial Sheffield under the shadow of the massive concrete Park Hill Estate. By a fortuitous coincidence just at the moment that the world started looking like this, the affordable synthesizer arrived on the market and musicians looking for a way to express their feelings of alienation in this new concrete jungle found just the thing in its strange, eerie, inhuman sounds. The cityscapes of the 70s posed a challenge to artists to write something that would fit there. Songs like John Foxx's Underpass and The Normal's Warm Leatherette are straight from the pages of Ballard and every artist we asked about their influences confessed to being a fan.

However when the 70s gave way to the 80s, synth's potential to be a shiny soundtrack to a shiny new world was noticed. Gone were long overcoats and concrete highrises and in were a besuited, pony-tailed Heaven 17 making a deal in front of a glass skyscraper. Martyn Ware seemed oddly shocked that Heaven 17 was taken up by the yuppie crowd - "Let's all make a bomb was supposed to be ironic!" he moaned. The synthesizer became a way of producing the sounds of a whole band or orchestra, and you could make something like electronic soul.

Inevitably it all got watered down and ubiquitous. And there was something cheesy about the polyphonic synths that replaced their earlier monophonic cousins... but it is interesting that today, just at the moment that Synth Britannia is being shown, that current artists like La Roux and Little Boots are turning to the early synth pioneers for those rawer synth sounds that are still fantastically futuristic even today.

• Synth Britannia - watch online when available

Related Posts
My Krautrock Adventures on the Autobahn
Reflections on making Synth Britannia & Krautrock

Synth Britannia premieres on Ö÷²¥´óÐã Four on Friday 16 October at 9pm

In August myself, Ben Whalley and Sam Bridger set off on a two week road trip around Germany, travelling all over the country to meet the stars of Krautrock.

Austria was an unconventional starting point for our German road trip but it proved to be an apt beginning, giving us a taste of the fascinating and artistically uncompromising lives this generation of "Krautrock" musicians still lead today.

In many ways Hans-Joachim Roedelius was the perfect first interview to give us a sense of the upheavals that Germans suffered in the 20th century and the challenges that artists faced. Being older than most of the other Krautrockers he lived through the war and was drafted into the before ending up in East Germany after the country was carved up by the Allies. He was separated from his family, put in a forced labour camp and wandered Europe working as a masseur before finally settling in West Berlin and becoming one of the earliest pioneers of electronic music. He and Dieter Moebius, the other half of the radical experimental group, Cluster, played that night on a floating stage on the lake at , a strangely magical setting for the sounds of synthesizers. It was humbling to see their unflinching devotion to experimentation even today and to hear of their struggles... I could still hear Moebius telling us "We are not Sirs here like Sir Mick, Sir Paul in England".

was our next stop after a beautiful drive through the Bavarian Alps. Here in the spiritual home of Nazism we heard about the rebellious generation of the 60s from members of the commune freak-out group Amon Duul. Between copious cigarettes and colourful swearing, Renate Knaup explained that after the war the establishment figures like judges, teachers and doctors under the Nazis just carried on the same as usual, no one talked about the war, no one mentioned the word "Jew", just silence. In Germany therefore, the global 60s rebellion took on a different resonance as young people had more reasons than their peers in other countries to take on the establishment.

By now our road trip was fully underway and as well as the best aspect of Germany; friendly people, beautiful scenery, excellent beer and ; we were grappling with some of the less savoury aspects of the trip; wasps, still water being fizzy, the difficulty of finding vegetarian food and some dodgy menu translations... "bovine animal shred" anyone? It is often underestimated how huge Germany is, it would have been eight or ten hours to drive to Berlin so we were given a welcome rest from driving and took the plane.

Berlin was another world entirely. In Munich we had marvelled at how clean and shiny everything was... Berlin was gritty, graffitied, littered but all the more interesting for it. Driving round the city you can see the history of this beleaguered place in the buildings; the faded grand flats of Weimar-era Berlin, the numerous concrete monstrosities that went up in the 60s to fill the holes in the flattened city, the shiny glass of new architecture like the and of course the sections of the which turned the city into an island for 30 years. We were taken to the edge of Western civilisation during the Cold War.

"Next stop Siberia" Wolfgang Seidel, a musician in Berlin since the 60s, told us. It was hard to imagine. But this is where and Iggy Pop came to lie low in the 70s, seduced by the past decadence of the city and the promise of anonymity in a city of artists, draft dodgers and scruffy students.

After Berlin we had a taste of more rural Germany, this time flat with pointy houses, as we set off towards Hamburg to meet with the intriguing Faust whom Julian Cope in his genre defining book "Krautrocksampler" had called the most "mythical" of the Krautrock bands. Faust were obligingly nutty, charming, inviting and funny, regaling us with stories of trying to bankrupt with their expensive lunches and treating us to an unforgettable piece of music played on the cement mixer.

Next was , shiny corporate headquarters of the German economy and the favourite destination for German stag and hen groups. Dusseldorf at night was certainly a sight, more Magaluf than Mercedes we thought. We met with Wolfgang Flur who took us to Mintropstrasse, "a normal street to normal people" he whispered, but a place of pilgrimage to electronic music fans over the world, as this was the site of Kraftwerk's studio, . He also took us to a beautiful place by the Rhine and explained how the romanticism of the river had filtered into the music. And he bought me a famous Viennese chocolate cake, a personal highlight of the trip for me.

Last stop was to meet two members of the legendary group Can, Holger Czukay and Jaki Lieberzeit. Jaki told us how he came up with his minimalist drumming style and Holger explained how Can was shaped by the radical thinking of Stockhausen, a composer who helped make Cologne the most important centre for modern music in the world. As we left, now quite tired from two weeks of relentless driving and filming, we pondered again of the ingenuity and tenacity of this generation of artists who built up a new vision of Germany from a cultural wasteland. Their contribution to the development of music in subsequent years, especially electronic music, is unquantifiable and yet they remain relatively unheard of in many circles, not least in their own country. Without exception they are all still committed to pushing boundaries in music today...and this is the overall impression that will stay with me from this enlightening journey through German music.

• Krautock: The Rebirth of Germany - tracklist, exclusive clips and iPlayer

Krautrock will premiere on Ö÷²¥´óÐã Four on Friday 23 October at 9pm and will be available to watch online up to seven days after its last broadcast.

Even after August's highs of The xx and Wild Beasts September's releases might just be the best I've heard in a single month since I started listening to records for a living.

I've highlighted six releases below, but do also check out great new albums by Vitalic in the dance/electronica field; Japandroids, Jamie T, Girls and Le Loup in rock and indie; Q-Tip's phenomenal Kamaal the Abstract in hip hop; Topic Records' great Three Score and Ten compilation in folk; and Michael Olatuja's highly collaborative Speak album in jazz and blues. Truly, it's been a month to remember.

David Aaron Carpenter - Elgar & Schnittke Viola Concertos
(Ondine, released September 7)

Writes reviewer Andrew MacGregor: "I started this journey with a mixture of curiosity and suspicion, only to be disarmed by a remarkable debut. I wasn't expecting the breadth of the concerto's opening to be as successfully captured, not just in Carpenter's plangent, vocal sound, but with the intimate warmth of the Philharmonia, and Christoph Eschenbach's effortless accompaniment. It's a recording with an intimate focus on the soloist, enhancing Carpenter's impact. What a debut."

Read the full review of Elgar & Schhnittke Viola Concertos

Bassekou Kouyate & Ngoni ba - I Speak Fula
(Out Here Records, released September 21)

Writes reviewer Louis Pattison: "Bassekou Kouyate is something of a maverick and innovator in his homeland of Mali, and this album is pretty spectacular. Astonishingly intricate melodies dance over and across each other, long winding solos unfurl over clacking percussion, while the vocals - male harmonies and clear song from Kouyate's wife, Amy Sacko - are soft in tone, but gain in power as the tempo rises. I Speak Fula deserves to find its way out of the world music ghetto and onto the world stage."

Read the full review of I Speak Fula

Dizzee Rascal - Tongue N' Cheek
(Dirtee Stank, released September 21)

Writes reviewer John Doran: "You'll have already heard Bonkers, Dizzee's smash with Armand Van Helden, and the Calvin Harris and Chrome-starring Dance Wiv Me and Holiday. What's surprising, though, is that this is packed with further contenders for top ten hits. A monstrously successful fourth album, Tongue N' Cheek is the release to officially crown Dizzee as UK dance/hip hop royalty. The boy's some prince, you know."

Read the full review of Tongue N' Cheek

Raekwon - Only Built 4 Cuban Linx... Pt II
(Ice H20, released September 7)

Writes reviewer Adam Kennedy: "It's taken the Wu-Tang Clan's slang master Raekwon the thick end of 15 years of inferior albums and market-flooding mixtapes to craft a genuinely worthy follow-up to landmark solo debut Only Built 4 Cuban Linx..., and this sequel had been mooted so long its status in hip hop circles had become nearly as mythical as Dr Dre's still-unreleased Detox. But Pt II soon reminds us that nobody else, not even his Wu-Tang companions, relates street stories with his eloquence."

Read the full review of Only Built 4 Cuban Linx... Pt II

HEALTH - Get Color
(Lovepump, released September 14)

Writes reviewer Mike Diver: "The title's an entirely apt one: HEALTH truly Get Color. They understand the appeal of contrast, how an imbalance between X and Y can actually produce the most beautiful Z. Their music is alive with dissonance, but equally enthralled by elegance and experimentation. Get Color is as close as they've yet come to capturing the sounds inside their heads without actually slicing their own skulls open."

Read the full review of Get Color

A Sunny Day in Glasgow - Ashes Grammar
(Mis Ojos Discos, released September 28)

Writes reviewer Andrzej Lukowski: "If being unweighted by either scorching guitar hooks or intelligible vocals perhaps leaves ASDIG too unearthly for mainstream crossover, the band are hardly un-ambitious. Second album Ashes Grammar is a raising of their game; a seamless, symphonic 22 tracks that twist and glitter like a lake of pristine morning mist. It flows past in an ambient slipstream: intangible, but leaving the lingering impression of a pleasant dream."

Read the full review of Ashes Grammar

Related Posts
Editor's Pick of New Releases, August 2009

My colleague Tristan Ferne who works in Ö÷²¥´óÐã Audio & Music's research and development team wrote a couple of interesting posts on the Radio Labs blog last week that are both well worth reading.

The first, Ö÷²¥´óÐã Radio Waves, is about "a prototype visualisation that takes data about music played recently on Ö÷²¥´óÐã Radio and creates a time profile for any individual radio network, musical genre or radio show".

The second post is a fascinating look at how people describe their musical tastes, from lengthy decriptions to personal artefacts.

Read the posts in full and leave comments on the Radio Labs blog:

• Radio Waves - exploring what we play


• What's your musical taste?