Engagements with the essay film have utilized the caméra-stylo as metaphor for a film form that articulates intelligence and an individual point of view, typically accomplished through voice-over.” The concept of the Caméra-Stylo reminds me of the line in Birthmark (2018) that was used in the trailer. “I’m using the camera as a flashlight.” Instead of a pen, it’s a Caméra-Lamp-de-Poche or a Caméra-Flash. Used to to illuminate the dark parts of my inner basement, the making of Birthmark, revealed a belief that had to be excavated and destroyed. “Vococentrism is [Michel] Chion’s term for the cinematic soundtrack’s prioritization of the human voice over sound effects and music—their soundtracks are dominated and arranged around the human voice…[and] the very rhetoric of film, its framework, is constructed by the logic and nature of the voiceover.”

Read more: https://laalfonso.substack.com

Drones Over Dufferin https://dronesoverdufferin.bandcamp.com/album/aural-obscura-vol-i / https://dronesoverdufferin.bandcamp.com/album/aural-obscura-vol-ii

Oliver Patrice Weder https://modernarecords.bandcamp.com/album/the-shoe-factory

You’re listening to Cinesthesia, produced live in the studio at Trent Radio 92.7 CFFF FM in beautiful (Nogojiwanong) Peterborough, Ontario, every Thursday at 5 PM. It’s also a podcast on SoundProof, creative nonfiction for audio. I’m your producer and host, LA Alfonso. In this audio program, film theory meets film music.

I’m in love with a genre of filmmaking — the self-inscribed film, when filmmakers use the camera/pen to write their personal story cinematically. Once only in realm of the avant-garde, it’s now a ubiquitous way of making movies. As much as I could, I’ve been following the development of this genre since I became aware of it through the work of Chris Marker in the early 90s. Having seen only Hollywood films before, encountering Sans Soleil (1982) literally changed my life. The movie showed me a way to make films on my own. And, it must have influenced somehow a pivotal point in the making of my student film, The Best Waitress in the World (1992). It changed from the concept of documenting a waitress to making a film about my creative process. It was a switch from artifice to authenticity. I asked, “why fake an audience? What’s wrong with telling them that a film is being made? That’s the truth. The filmmaker is always part of the story. The presence of the observer changes the observed. Taking that into consideration, one must be upfront the manipulation of sound and images. Yet, it’s almost impossible to show the behind the scenes of editing. It has been attempted by filmmaker Orson Welles in his documentary F For Fake (1973) where it was important to expose the lies, so, for a brief moment, the camera pulled back to show Welles in an editing suite. 

READ MORE: https://laalfonso.substack.com

Marc Junker Prepared Piano 1.0 https://junker.bandcamp.com/album/prepared-piano-10

Oliver Patrice Weder The Shoe Factory https://modernarecords.bandcamp.com/album/the-shoe-factory

“My journey started on a boat,” said Ke Huy Quan. “I spent a year in a refugee camp and somehow I ended up here on Hollywood’s biggest stage.” He continued, “they say stories like this only happen in the movies. I cannot believe it’s happening to me. This—this is the American dream.” Later, he said, “dreams are something you have to believe in. I almost gave up on mine. To all of you out there,” he said pointing at the camera and directly at the viewer, “please keep your dreams alive.” It was as if he was talking directly to me. I saw last night’s broadcast as if Data from The Goonies is straight-talking me.

READ MORE: https://laalfonso.substack.com

https://danipinto.bandcamp.com/album/john-muir-at-trout-hollow-original-motion-picture-soundtrack

https://danipinto.bandcamp.com/album/the-whisper-of-succulents-original-motion-picture-soundtrack

Cinesthesia 10 Original Broadcast Radio Playlist March 21, 2024 1. Trent Reznor & Atticus Ross /Penetration (film: The Social Network) 2. Jessica Moss / Memorizing and Forgetting (from: Phosphenes) 3. Daniela Pinto / The End of Days (film: The End of Days) 4. Daniela Pinto / Make it On My Own (film: Priya) 5. Daniela Pinto / She’s My Ex (film: Priya) 6. Daniela Pinto / Battles (film: Priya) 7. Daniela Pinto / Something Real (film: Priya) 8. Daniela Pinto / Proud of You (film: Priya) 9. Daniela Pinto / Whisk You Away (film: Priya) 10. Daniela Pinto / Finding Noah (film: Vox) 11. Daniela Pinto / Opening Theme (film: Vox) 12. Trent Reznor & Atticus Ross / Hand Covers Bruise (film: The Social Network 13. Trent Reznor & Atticus Ross / It Catches Up With You (film: The Social Network) 14. Trent Reznor & Atticus Ross / Intriguing Possibilities (film: The Social Network) 15. Trent Reznor & Atticus Ross / Pieces Form the Whole (film: The Social Network)16. Trent Reznor & Atticus Ross / Hand Covers Bruise (Reprise) (film: The Social Network) 17. Trent Reznor & Atticus Ross / Soft Trees Break the Fall (film: The Social Network) 18. Esmerine / The Space in Between (from: Mechanics of Dominion) 19. Esmerine / La Lucha Es Una Sola (from: Mechanics of Dominion) 20. Esmerine / La Penombre (from: Mechanics of Dominion) 21. Esmerine / La Plume Des Armes (from: Mechanics of Dominion)

TUESDAY — I connected with the director of one of the films at Hot Docs, Maxwell Mueller, and he seemed eager to share himself and his work. I’m interested in films that feature the willingness of the filmmaker to have the effects of a hallucinogen on his state be documented. I did that once too but I never had the courage to look at the footage. In the Q&A, Mueller admitted that having the camera there was “an impediment.” I’m curious to know more specifics. 

Read more: laalfonso.substack.com

Esmerine https://esmerine.bandcamp.com/album/mechanics-of-dominion

Daniela Pinto https://danipinto.bandcamp.com/

Back in 2022, Professor Richard Cousins walked into our class and talked some nonsense. And thinking through nonsense, I wrote this response. I once heard a personal theory about the brain’s inner workings that makes a person erupt with laughter. As the idea goes, when listening to a joke, the set-up engages the brain’s left hemisphere, but then the punchline suddenly forces the listener to switch to the right. For example, the left brain may follow “E-flat walks into a bar.” But when “the bartender says ‘sorry we don’t serve minors,” our grasp quickly slips to the right. According to the hunch, this abrupt shift is what causes laughter. A sudden detour into nonsense can cause someone to laugh.

The getting of “laughs” is the motor that drives the nonsense in some early animations. In comedies like Ernie Kovacs’ Eugene, Tex Avery’s Screwball Squirrel, and Charles M. (“Chuck”) Jones’ Duck Amuck, each short notably plays with defying the audience’s expectations with filmmaking conventions.

Read more: https://laalfonso.substack.com

A manifesto can sometimes precede film movements. The word manifesto came from the Latin manu festus—“struck by hand,” said Julian Hanna in The Atlantic. Performance is part of the manifesto’s materiality, its existence in the world,” he said. “The manifesto—“struck by hand”—has always been about striking gestures.” 

He recalled Lars Von Trier scattering red leaflets printed with “Vow of Chastity” into the audience at a 1995 conference on the future of film. Object Lessons says, “Marinetti made art into a kind of Punch and Judy show, full of pantomime fisticuffs and bold, simple storylines: “Destroy the past, embrace the future.” From Dada manifestos in the Cabaret Voltaire in 1916 to the radical street theatre of the 1960s, one strikes a manifesto like a match. It strikes like lightning.

READ MORE: https://laalfonso.substack.com

https://www.theatlantic.com/entertainment/archive/2014/06/manifestos-a-manifesto-the-10-things-all-manifestos-need/372135/

Seth A Smith https://fundog.bandcamp.com/album/the-crescent-original-motion-picture-soundtrack

Adrian Copeland https://alderandashmusic.bandcamp.com/album/if-this-were-my-body

Cinesthesia 07 Original Broadcast: February 29, 2024. RADIO PLAYLIST 1. aquapher (Jared Bremner) / rings • 2. aquapher (Jared Bremner) / consonant • 3. aquapher (Jared Bremner) / broked • 4. aquapher (Jared Bremner) / vowel • 5. aquapher (Jared Bremner) / ambidexchewus • 6. LA Alfonso / MeMovie: Director’s Notebook, Episode 1 (work-in-progress) 7. Ennio Morricone / On Earth as it is in Heaven (film: The Mission) 8. Ennio Morricone / Brothers (film: The Mission) 9. Ennio Morricone / Carlotta (film: The Mission) • 10. Ennio Morricone / Vista Nostra (film: The Mission) • 11. Ennio Morricone / Climb (film: The Mission) • 12 aquapher (Jared Bremner) / Eincynn

The Filmmaker as the Film’s Protagonist: here is a list (in progress) of personal documentaries, first-person films, diary films, documentaries as film memoirs, and cinematic self-inscription https://letterboxd.com/lesteralfonso/list/the-filmmaker-as-the-films-protagonist/by/release-earliest/ on my Letterboxd account.

Shortly after the release of David Holzman’s Diary (1967), the U.S. documentary scene shifted to factual modes of autobiography inspired by a fictional prototype. The imaginary experiment inspired some documentarists to explore the relationship between the nonfiction camera and their private world. What was once an anomaly in documentaries is now more typically accepted. “The invigoration of autobiography in the documentary has set up new possibilities for both modes of representation.” In his book, Jim Lane offers a modern-day Cartesian aphorism, ‘I film therefore I am.’ However, he says, “Self-inscription in film and video remains a complex practice, beholden to discourse conventions and history.” READ MORE https://laalfonso.substack.com/

Reference: Jim Lane. The Autobiographical Documentary in America. The University of Wisconsin Press, 2002.

aquapher https://aquapher.bandcamp.com/

LA Alfonso / MeMovie: Director’s Notebook, Episode 1 (work-in-progress) https://vimeo.com/821517718

The Watermelon Woman began to look at the concept of the archive. The film is taught by academics, yet it’s a funny movie (Michael Koresky calls it a “romcom”). Thomas Allen Harris says it captures the archive’s politics, drama, and spirit. The Watermelon Woman elevates the institution to a new level of widespread visibility by making fun of it, says Ann Cvetkovich in An Archive of Feelings.

READ MORE: https://lalfonso.substack.com

12. Clips from the documentary Keyboard Fantasies 13. Beverly Glenn-Copeland / Sunset Village (album: Keyboard Fantasies) 14. Clint Mansell / San Junipero (80s-90s-00s-??s) (show: Black Mirror) 15. Clint Mansell / Faith, Hope, Fear & Falling in Love (show: Black Mirror) 16. Olivier Bernet / Eye of the Tiger (film: Persepolis) 17. Blood Orange / Sunset Village (Blood Orange Remix) (album: Keyboard Fantasies Reimagined)

Artist Links

https://christinebougie.bandcamp.com/album/the-rainbow-kid-original-soundtrack

https://beverlyglenn-copeland.bandcamp.com/album/keyboard-fantasies-reimagined

https://beverlyglenn-copeland.bandcamp.com/album/keyboard-fantasies

https://clintmansell.bandcamp.com/album/black-mirror-san-junipero-original-score

Often labelled as subjective or objective, there is nonetheless a long tradition of reenactments in documentary films. Could there ever be objective truth in documentaries? The use of reenactments, says one article, “has filmmakers, film theorists, and critics divided. Some believe the use of reenactments brings historical accuracy into question while others feel it enhances history. More recently, exploitative crime television shows and docudramas that utilize eenactments are often over-the-top melodrama, thus further fuelling this topic and giving it a poor name.” 

READ MORE: https://laalfonso.substack.com

Original Radio Broadcast: Feb. 8, 2024 • PLAYLIST Angelo Badalamenti / Twin Peaks Theme • Bernard Herrmann / A Night Piece for Saxophone & Orchestra (film: Taxi Driver) • Clip from Thomas Flight video (https://youtu.be/D3owqp72SJE?si=rLcaPucYVvsmeWfh) • LoboSono / Solo Sable (album: CINEMATIQUE vol 1) • LoboSono / eau (album: CINEMATIQUE vol 1) • LoboSono / Eau Duo (album: CINEMATIQUE vol 1) • LoboSono / Neige Flute (album: CINEMATIQUE vol 1) • Barzin / Starry Night (film: The Shadow of my Life) • Angelo Badalamenti / Laura Palmer’s Theme • Colin Stetson / Un Fin (film: La Peur) • Colin Stetson / Fallen Friend (film: La Peur) • Colin Stetson / Amongst the Ruin (film: La Peur) • Colin Stetson / Smoke Rising (film: La Peur) • Colin Stetson / Fever Dream (film: La Peur) • Colin Stetson / Playing (film: La Peur) • Colin Stetson / Innocence (film: La Peur) • Colin Stetson / In Hospital (film: La Peur) • Colin Stetson / Healing (film: La Peur) • Colin Stetson / Memories (film: La Peur) • Colin Stetson / Fading Campaign (film: La Peur) • Clip from Cinema Cartographer (https://youtu.be/fOSLfuW6yoU?si=YoRVjZvKZoH-eeOo) • Bernard Herrmann / Prelude, The Nightmare, Scene D’Amour (film: Vertigo) • Julee Cruise / Into the Night (album: Floating Into the Night)

For me, for the filmmakers, I came to love and respect. For my friends who started making movies around the same time I did, cinema was about aesthetic, emotional and spiritual revelation. It was about characters — the complexity of people and their contradictory and sometimes paradoxical natures, how they can hurt and love one another and suddenly come face to face with themselves. — from Scorsese’s Soliloquy

Read: Under_Score for more: https://laalfonso.substack.com

https://lobosono.bandcamp.com/album/cin-matique-vol-1

https://barzin.bandcamp.com/album/the-shadow-of-my-life-original-motion-picture-soundtrack

https://colinstetson.bandcamp.com/album/la-peur-original-motion-picture-soundtrack

Original Radio Broadcast: Feb. 1, 2024 • PLAYLIST • Sarah McInnis / Only Now (album: Threads) • Sarah McInnis / To the Water (album: Threads) • 3C84 Ft. Sarah McInnis  / When I Was Dead (live performance recording) • Edward Artemyev / Meditation (film: Stalker) • John Williams / The Raiders March (film: Raiders of the Lost Ark) • John Williams / Theme (film: Jaws) • John Williams / a. Out to Sea b. The Shark Cage Fugue (film: Jaws) • John Williams / Exultate Justi (film: Empire of the Sun) • Radwan Ghazi Moumneh / Éstrangelment (film: Déserts) • Radwan Ghazi Moumneh  / Fight (film: Déserts) • Radwan Ghazi Moumneh  / Note (film: Déserts) • Radwan Ghazi Moumneh  / The Immaculate (film: Déserts) • Alexandre St-Onge / Désert  (film: Déserts) • Sarah McInnis / Kyle’s Song Ft. Aquakultre / (album: Threads)

Quoted in the New York Times in 2019, director Martin Scorsese gained fame by saying, “Marvel Movies aren’t cinema.” The director of such movies as Taxi Driver and Goodfellas said, “Cinema is an art form that brings you the unexpected. In superhero movies, nothing is at risk,” he said. In The Guardian, in the same year, he said, “Honestly, the closest I can think of them, as well made as they are, with actors doing the best they can under the circumstances, is theme parks. It isn’t the cinema of human beings trying to convey emotional, psychological experiences to another human being.” According to the newspaper, the head of Marvel, Kevin Feige, responded to the criticism by saying, “Maybe it’s easy to dismiss VFX or flying people or spaceships or billion dollar grosses [but, he notes] Alfred Hitchock never won best director, so…it doesn’t mean everything.” He said, “I would much rather be in a room full of engaged fans.”

Read more: https://laalfonso.substack.com/p/lucas-and-spielberg-sitting-on-a

https://desertsfilm.bandcamp.com/album/d-serts-original-motion-picture-soundtrack

https://sarahmcinnis.com

Peter Mettler’s latest, While the Green Grass Grows, won the Grand Prix of the International Feature Film Competition at the 54th edition of Visions du Réel in Nyon, Switzerland, in April 2023. According to Variety, [2] the Swiss-Canadian director had “an unusual project: made in the form of a diary filmed from 2019 to 2021, While the Green Grass Grows is, in fact, a series of seven episodes with a total duration of about 11 hours. It was the finished parts one and six of the series, totalling 166 minutes, that Mettler unveiled” in Switzerland.

It’s Mettler’s second win following his 2002 victory with Gambling, Gods and LSD. “It’s interesting to see the progression of cinema in general over twenty one years,” he said. “When I came to Nyon, I had the same feeling as when I made Gambling, Gods and LSD because both of these films are outside of the usual realm of filmmaking. I was happy to see the kind of projects that are being made now, shown and rewarded. I think it’s a step forward in terms of the risks that people take, the depths that they go into with their work.”

I met Peter Mettler in 2004. Our work connects on many levels, including our insistence on telling cinematic stories in the first person and our continued expansion of the boundaries of image mixing in an experimental art context.

Read more at Under_Score.

You’re listening to Cinesthesia, produced live in the studio at Trent Radio 92.7 CFFF FM in beautiful (Nogojiwanong) Peterborough, Ontario, every Thursday at 5 PM. Then, I publish it as a podcast on SoundProof, creative nonfiction for audio. I’m your producer and host, LA Alfonso. In this audio program, film theory meets film music.

Playlist

Barzin / Main Theme (film: The Shadow of My Life) • Barzin / An Opening (film: The Shadow of My Life) • Barzin / Folded Petal (film: The Shadow of My Life) • Tony Coe / Eva (film: Gambling, Gods, and LSD) • Koch-Schutz-Struder (plus DJ M. Singe & DJ I-Sound), Dimitri de Perrot, Jim O’Rourke / Implosion (film: Gambling, Gods, and LSD) • Knut & Silvy / Dust (film: Gambling, Gods, and LSD) • Henryk Gorecki, Fred Frith / Over There (film: Gambling, Gods, and LSD) • Marie-Helene L. Delorme / Le Depart (Générique de fin) (film: Les Notres – Our Own) • Rolston String Quartet / Black Angels by George Crumb (excerpt) (live) • Marie-Helene L. Delorme / Le Corridor (film: Les Notres – Our Own) • TRUTH / Leviathan • Wrath / Paige Juila • Seth A. Smith / The Crescent (film: The Crescent)  • Marie-Helene L. Delorme / Le Reveil  (film: Les Notres – Our Own) • Marie-Helene L. Delorme / La Douche  (film: Les Notres – Our Own) • Marie-Helene L. Delorme / Interlude  (film: Les Notres – Our Own) • Marie-Helene L. Delorme / La Bataille  (film: Les Notres – Our Own) • Marie-Helene L. Delorme / Le Camping  (film: Les Notres – Our Own) • Michael Gary Dean / Scene I (Transparent Material)  (film: Previz) • Michael Gary Dean / Scene II (Planetarium) (film: Previz) • Emmanuel Schwartz & Philippe B / I Am Gold (film: Nous sommes Gold) • Jean Corriveau / Un Zoo, La Nuit (film: Un Zoo La Nuit) • Third Eye Foundation, Jim O’Rourke, Peter Braker, Dimitri de Perrot / Las Vegas (film: Gambling, Gods, and LSD)

The Dead Of Winter 48 Hour Film Challenge 2024 — launches on Friday, February 16 at 6 PM at The Theatre On King with a meet and greet of your fellow filmmakers, a Q&A, team assignments and your inspiration packages; then you’ll then have 48 Hours to make your masterpiece. Registration is open until Valentine’s Day. Contact filmchallenge48@gmail.com for more details.

Original broadcast date: January 26, 2024, 5 PM

Director Yorgos Lanthimos, known for the films The Favourite and The Lobster, was recently quoted in The Guardian talking about making the audience feel something. He says, “Being moved or laughing is something you can’t help but experience by feeling. I appreciate that much more than the intellectual part of it. You can think, ‘Oh, this is a great film because of this and this,’ but if you don’t experience it at the moment, if you don’t feel something, even if you don’t know what it is, then what’s the point?” [1]

How much of the film’s effect is due to the music?

Lanthimos heard celebrated British musician Jerskin Fendrix’s 2020 album Winterreise, and he “had a feeling that he had discovered a creative soulmate. Lanthimos says, “There are so many different sounds in his work, so many different feelings. There’s humour, there’s melodrama. It’s playful, it doesn’t take itself too seriously, but it can be heavy when it needs to be.” 

1. https://www.theguardian.com/film/2023/dec/31/yorgos-lanthimos-poor-things-interview-director-favourite-lobster

Read more: https://laalfonso.substack.com

PLAYLIST
Jerskin Fendrix / Manhattan, (album: Winterreise)
Jerskin Fendrix / Bella (film: Poor Things by Yorgos Lanthimos)
Jerskin Fendrix / “Wee” (film: Poor Things by Yorgos Lanthimos)
Danny Elfman / Introduction (titles) (film: Edward Scissorhands by Tim Burton)
Danny Elfman / Storytime, (film: Edward Scissorhands by Tim Burton)
Beau Dixon and The Hiscox Bros. / [sound+vision], Sidewalk Movies, live performance recording, 2005 (film: The Empty Gallery by David LaRiviere)
DJ Z-Trip / Tribeca Film Festival, 2015 (film: Speedy by Harold Lloyd)
Jessica Moss / Entire Populations, Pt. II (album: Pools of Light)
Jessica Moss / Let Down (album: Phosphenes)

Thanks to Troy Armstrong, Jared Bremner, Pawel Dwulit, Angel Hamilton, Rob Viscardis, and Victoria Wood for their help in the background.

SoundProof is produced and edited by Lester Alfonso with help from co-producer Carley van Spronsen. Special thanks to audio engineer Michael Phillips for mastering this episode. He offers major label quality music production, mixing, recording, audio editing and just about anything you can think of in the world of audio engineering. Go to www.soundsgoodmikey.com for more details. Thanks to Alex and all the staff and volunteers at Trent Radio 92.7 CFFF FM in beautiful Peterborough, Ontario, Canada. Follow the podcast on iTunes. For complete credits check the show notes or go to www.lesteralfonso.com/soundproof. Thanks for listening!

Track List
1. Norrland by Gidge
2. Interior Astronaut by Nostalgic Home Highways
3. In My Mind ukulele cover by Lester Alfonso (with apologies to Amanda Palmer)
4. Ein Wort by Monoton, Konrad Becker
5. Because it’s There by Chloé
6. Solsbury Hill by Peter Gabriel

Thank you to Wayne Elliott and Julia Fenn for their contribution in the background.

SoundProof is produced and edited by Lester Alfonso with help from co-producer Carley van Spronsen. Special thanks to audio engineer Michael Phillips for mastering this episode. He offers major label quality music production, mixing, recording, audio editing and just about anything you can think of in the world of audio engineering. Go to www.soundsgoodmikey.com for more details. Extra special thanks to Marg and Priam. Thanks to Alex and all the staff and volunteers at Trent Radio 92.7 CFFF FM in beautiful Peterborough, Ontario, Canada. Follow the podcast on iTunes. For complete credits check the show notes or go to www.lesteralfonso.com/soundproof. Thanks again so much for listening.

Track List

1. Nostalgic Home Highways — Bee from That Have Vanished (2012)
2. Nostalgic Home Highways — Windchime from That Have Vanished (2012) (reversed)
3. Nostalgic Home Highways — Horse Head from Shore Acres (2013)
4. Nostalgic Home Highways — Prominence from Shore Acres (2013)
5. Cornelius — Typewriter Lesson (Demo) from fantasma (1997)

Mexicano was written and performed by Lester Alfonso.

SoundProof is produced and edited by Lester Alfonso with help from co-producer Carley Van Spronsen. Special thanks to audio engineer Michael Phillips for mastering this episode. He offers major label quality music production, mixing, recording, audio editing and just about anything you can think of in the world of audio engineering. Go to www.soundsgoodmikey.com for more details. Extra special thanks goes to Dr. Carlyle Smith for appearing on SoundProof. His book Heads-Up Dreaming is available on Amazon. Thanks to Jay Plo for his dream message. Thanks to Alex and all the staff and volunteers at Trent Radio 92.7 CFFF FM in beautiful Peterborough, Ontario, Canada. Follow the podcast on iTunes and for more information just go to www.lesteralfonso.com/soundproof. Thanks for listening.

Track List
1. Charles Laughton reads Night of the Hunter
2. Nostalgic Home Highways — Moonspell
3. Nostalgic Home Highways — A Perfect Day
4. A. L. Lloyd — Long Lankin
5. Nostalgic Home Highways — Understanding Your Dog
6. Nostalgic Home Highways — Snapshot
7. Martha Wainwright and Lucy Wainwright Roche — Long Lankin (Songs in the Dark)

Sound clips from Night of the Hunter courtesy of the Criterion Channel. All copyrights belong to their respective owners.

SoundProof is produced and edited by Lester Alfonso with help from co-producer Carley von Spronsen. Special thanks to audio engineer Michael Phillips for mastering this episode. He offers major label quality music production, mixing, recording, audio editing and just about anything you can think of in the world of audio engineering. Go to www.soundsgoodmikey.com for more details. Extra special thanks goes to Peter Blow for appearing in “Night of the Hunter” and sharing his top picks for the Criterion Channel. Thanks to Alex and all the staff and volunteers at Trent Radio 92.7 CFFF FM in beautiful Peterborough, Ontario, Canada. Follow the podcast on iTunes and for more information just go to www.lesteralfonso.com/soundproof. Thanks for listening.

Songs:

1. Harry Manx, Kevin Breit — Better Man’s Waltz (In Good We Trust)
2. Harry Manx, Kevin Breit — I’m On Fire (In Good We Trust)
3. Harry Manx — Blueswalk (20 Strings and the Truth)
4. Harry Manx — Only Then Will Your House Be Blessed (Live in Sydney) | Moshcam on YouTube
5. Harry Manx — Take This Hammer (Road Ragas Live 2003) from Anita Burgers on YouTube
6. Harry Manx, Kevin Breit — Do Not Stand at My Grave and Weep (In Good We Trust)

SoundProof is produced and edited by Lester Alfonso with help from co-producer Carley Von Spronsen and audio engineer Michael Phillips. Only Then Will Your House Be Blessed includes contributions from Angel Hamilton, Harry Manx, and Lester Alfonso. Check out www.soundsgoodmikey.com for all your professional recording studio needs. Thanks to Alex and to all the staff and volunteers at Trent Radio 92.7FM CFFF in beautiful Peterborough, Ontario, Canada.

Grateful for the musical contributions of Shaun Friedman, Nostalgic Home Highways. Starman covers by Roberto Cacciapaglia, Seu Jorge, Matt Johnson, Garbage (Destroying Angels), and John C. Reilly. Additional songs: Wild is the Wind by David Bowie and Leaving on a Jet Plane by Peter, Paul and Mary.

SoundProof is produced and edited by Lester Alfonso with help from co-producer Carley Von Spronsen and audio engineer Michael Phillips. Let the Children Boogie includes contributions from Angel Hamilton, Jay Plo, and Lester Alfonso. Check out www.soundsgoodmikey.com for all your professional recording studio needs. Thanks to Alex and to all the staff and volunteers at Trent Radio 92.7FM CFFF in beautiful Peterborough, Ontario, Canada.