reminds me of this (the whole thing is really good but this part specifically is related):It's a form of disruption, that thing plenty of people have referenced of driving into London and getting multiple stations bleeding into one another.
"When I switch to more off-radar radio stations, it's for a different thing — it's like a sort of resistance to listening to the music that's not on a stay-able frequency, so you have to align with the frequency but also engage somehow with the music. I like that sort of level of interference, and this is why I like artists who go into that area of static and subtle noise, spectral noise, ambience and whatever. It’s just funny at times, because you'll try and tune it and this classical radio station will start to emerge into that whole thing, and this bashment with like flippin' Chopin’s whatever symphony playing in the background or something like that. That gives me inspiration more than anything else."
The point was vividly brought home to me on a visit to Cologne some years ago when I stepped out of the train late at night and into a cab, an old Mercedes bristling with aerials and reeking inside of diesel and cigarettes. It was just after midnight and miserably cold. The taxi dashboard glowed with the miniature landscape of lights of an airplane cockpit display, and the intercom speaker emitted a continuous stream of overlapping transmissions as if monitoring every available radio channel simultaneously, some voice, some music. The idea of navigating through this communications maze added an extra dimension of excitement to an otherwise routine journey. What else could the driver be listening to? Was he a radio ham expecting distress calls? What could be happening at this normally dead time of night to generate all of this electronic activity? It was like stepping into the opening short-wave chaos of Hymnen, and I realised that the composer was not simply making it up: this was a chaos he must have experienced many times in real life.
so come to think of it, "hymnen" is a good EARLY example of embracing this stuff in a futuristic, non-nostalgiac way. although of course when it was created maybe radios, etc. still seemed futuristic themselves. someone much later asked stockhausen why he liked radio waves so much and he said "instant electronic music".