When I started Playing Out Of Time I wanted to revert back to being more of a traditional radio host and less just a DJ playing music without talking. I’d hosted Astral Travelling on 93.3 CFMU for 8 years in the 2010s and enjoyed having the physical infrastructure to host interviews and guests through then; with EVR’s positive notoriety, location, and community ethos, it would be a fool’s move to pass up the chance to start something new, less as an interview and more as a conversation. Tony Price was one of my first choices to have in the booth — fellow Torontonian, multi-channel operator, with a career of at least 15 years (at interview time) in various facets of the music industry as a producer, composer, and figure. His own label Maximum Exposure runs the gamut with a calling back to the late 80s/early-mid 90s grungier aesthetic within dance and rock, but presented in an honest way and not just as pastiche. 

This interview was conducted December 20, 2024, in advance of the release of his kosmische/ambient/library music album Requiem For The Ontario Science Centre. Some parts have been edited for clarity and continuity, with further links and context provided where needed.


Jason Rule: What inspired you to make this album — where did the ethos come from?

Tony Price: Sonically, I guess, half of the records I’ve put out are kind of more dancefloor-oriented rock & roll energy type of material, and I think the other half can quite accurately be described as more cerebral or something. I tend to listen to this type of music more than any other type, [a] more heady, relaxing, out-there type of sound. For a long time I was trying to find a formula for an album-length project that would combine these two sounds, and I’ve made several attempts at doing that. I just felt that it was time to something that stuck to one feeling for the duration. Obviously the big inspiration was the closure of the Ontario Science Centre, that the record is thematically connected with.



Jason Rule: For those unaware, the Ontario Science Centre [opened] for the 100th anniversary of Canadian independence or founding or recolonization, whatever you want to call it, in 1967. [It was designed] by Raymond Moriyama, who recently passed away, a well-respected architect who I think [along with] John B and John C Parkin are probably the strongest creators of the postwar aesthetic and style that we see in Toronto, [within] New Internationalism and Brutalism. With Moriyama I would say he was very adapt in embracing nature as well, and integrating the buildings into nature. The Science Centre in this case is built into a valley, and it very much feels like the building itself is as much an exhibit and something to marvel at as [much as] all the information and education that was inside. It existed for a very long time, in the early 90s it was very popular for raves, I believe it was the first place in the country to have an IMAX dome, basically every high school within a two hour radius of the city has taken a field trip there. It’s sort of at the midpoint of where we both grew up in the city, so its definitely a landmark physically but also culturally, and ironically was soon to be better connected by transit than ever before.

It was recently shut down on orders of the provincial government, [and] the reason they gave was about the decay of the structure — parts of the roof were having issues and [there were] worries of collapse. There’s a lot of speculation over whether it could have be managed decline, or whether it was to just move it to a different part of the city where they had investors that were in tandem with them — but also just the fact it’s in Flemingdon Park, which is a lower income neighbourhood, primarily tower blocks, very much a lot of poor immigrants that move in there. To me one of the biggest losses was that was one of the main spaces in the community for both congregation and education. Now there’s generations who…a new science centre will probably open, but is it or is it not going to have the same kind of unifying effect, is going to have the same kind of community-space aspect of sharing knowledge?

Tony Price: Just to go back to another point you brought up about the history – after the Second World War, there was a big boom in Canada with regards to an injection of money being put into programs to build things like the Ontario Science Centre, and it was built by Raymond Moriyama for the people in Ontario. This was not just a little amusement park for children, I think on the opening weekend John Lennon and Yoko Ono were given a tour of it. It was a very big deal culturally like you mentioned. To have it closed down unexpectedly this summer was a bit of a shock because it’s just a place you’ve grown up with, like your relatives house you visit once a year. I’ve gone there so many times as a child – the first time I used the internet was at the Ontario Science Centre, I’m not gonna get into what the guy in front of my father and I was doing on there, but you can maybe understand why [laughs]. I’ve gone there with my schools on field trips, I’ve gone there as an adult with my friend’s children and that has been quite interesting.

The building itself, it’s hard to talk about it without showing what it looks like, but it’s just the vast sprawling concrete maze, that as you described runs through the Don Valley, and is kind of guided by the river and by the ravine, and its just the beautiful structures that’s always stuck with me. The feeling of walking through this place, I’ve had recurring dreams my whole life in this place, in this brutalist kind of red neon space that I’m always going through, all throughout the decades of my life. It was quite shocking to hear that it was closing down out of nowhere.

Jason Rule: Thank you for sharing those memories – it just shows like I, half the things you said I can remember like one long corridor that goes through something completely benign — it’s not even a main focal point. [There are] the different aspects of the types of signage being used, the same you see in airports which makes it look like this isn’t just a private business, it’s clearly marked as being a government concern, and more in the sense of a public service as any kind of transportation facility, you’d see them in hospitals as well. Now it feels like a lot of [science centres], the ones that are still around that can be municipally supported, [will] still have to look more and more towards private sector funding and those sort of machinations. It was only [around] the mid-2000s that you started to see more branded exhibits, ones that weren’t just presented in and of themselves, but were presented by this or that company, and half the time you wonder “is this a company that’s actually pro-environmental or what’s their damage, what’s going on here?”

With the creation of the album, what were the stylistic cues that you had?

Tony Price: I found myself sitting down late at night and messing around with synthesizers at my house earlier this year. I had an Oberheim synthesizer, a Matrix, rack-mounted synthesizer — 6R for the nerds that are listening if there are any of you. I was putting that through another piece of gear, a Prime Time Two, which is made by a company called Lexicon, which is an early digital delay, which would echo things back and forth. I found myself locked in this bizarre kind of ricocheting space of sound, where these bleeps and bloops were bouncing off of each other, and I just let it keep growing and growing and growing and I recorded like a 20 minute version of what I was hearing, then I just let it sit. Made another one the next night that reminded me very much of some kind of early electronic music from the 60s or early 1970s. When I woke up and found out that the Science Centre had been closed the day before, shut down out of nowhere, I started getting messages from all of my friends, from my sister, and I found myself feeling quite distraught. I was at my computer again just going through previous work, and these two songs popped up and they just kind of told me put us together, and there’s something here. I just started having visions of this place that I told you about in my mind, my minds version of the Science Centre, this kind of 1970s brutalist atmosphere, and the sound kind of mimicked what I would see in my minds eye.

Jason Rule: It feels like that much of brutalism but also earth tones, it feels like a very grounded place as well. You know how in the 60s and 70s everybody was really fond of crimson and brown and beige everything. With this also it has works which we’ll hear from Colin Fisher.

Tony Price: I should say that it started off I guess as this sort of synthesizer mirage type of thing, and then about a month or two after that I was sitting there and listening to it again and it was kind of reminding me of something. I realized that it reminded me of one of my favourite songs from one of my favourite records which is Brown Rice by Don Cherry, and I was like ‘wow, there’s something going on here’. I had been rehearsing with Colin Fisher, who’s a multi-instrumentalist genius from Toronto who is an accomplished recording artist in his own right, but he’s been playing saxophone with me since I was a teenager in various live settings, he’s played on almost every record I’ve made – he makes every record I make, basically, he makes it complete. Everybody check out Colin’s stuff. We had been rehearsing for a show that we were doing together, and it struck me that I needed to get him on this. He came over to my house, and I recorded him playing through 20 minutes of this kind of synthesizer collage, and then I started to process it through various echoes and delay machines, and created this long bizarre…I dunno again I’m just gonna use the word mirage, this saxophone and synthesizer mirage that appears and disappears.

Jason Rule: You can put it down as being something that’s very present. The other immediate thoughts were like Laurel Halo with Atlas, that kind of gauzy, hazed-out dreamlike sensation, but it doesn’t feel as tacked on – there were moments I could recognize that felt like early Daniel Lopatin works where you could tell it’s just loops that come through, fragments of documentaries that the National Film Board did about the opening of it, that kind of warm analogue aesthetic that you would hear with people like Boards Of Canada popularizing that sound. Which is funny because when you think about that really being library music in the sense of stock music, and yet it could have been where you’d find those records in the dollar bin, and then it becomes popular again 30 or 40 years later by a certain cognoscenti. Of course you have to wonder for a lot of the stock music and the AI music that’s now coming out, who knows if that’s going to have some sort of similar revival in 30 years time, even if it feels like the context of it is so different and tangible.

Tony Price: Tangibility, or intangibility, that word is important here because I think that what made the Ontario Science Centre so special to us as children, [and] to our parents as children, were these exhibits inside, where you could go and interact with things. They were very tangible, they were things you could touch. I mean the walls in there, they’re very coarse concrete, you want to touch them, they kind of reach out and touch you! To your point about sonic tangibility, I guess, the way that this was made too…I mean you’re bringing up Oneohtrix Point Never and stuff. I did use a lot of found sound that is weaving in and out throughout this with the saxophone. I wanted it to sound like something that would reach out and touch you rather than this sort of slick surface. I think there’s a lot to say about those two things but yeah that word was definitely in my head when I was on my way over here thinking about the Science Centre, thinking about sound and stuff. I wanted to make something that felt like it had a texture to it, had a feeling that you could touch almost with your mind.

Jason Rule: And that notion of not just tangibility, but the type of interactibility that would engender – there and other museums like it – how that helps to retain that knowledge and maintain that joy that willingness to want to learn, instead of it just being a subject that you learn in school and then you forget because you’re just doing it, like the way we learn French, we learn it like math, we’re not here to try to speak the language we’re here to pass the test. You go to that with a place like the Science Centre, where you have an opportunity to both create physical associations with things but also get that greater understanding, it becomes something that’s much less abstract, much more concrete. That wasn’t a pun, that was genuine [laughs].

Jason Rule: [We played] two selections from the Tomorrow’s Achievements compilation on Public Information, which is all selections from the Parry Music Library, which was a Canadian…basically stock music at the time, library music, that they did in the late 70s & early 80s, but that had a very wide array of at some times badly-dated and some times groundbreaking synth work that was used to soundtrack industrial films and national film board documentaries. Do you have any recollection of those films growing up, of those sorts of sound signifiers?

Tony Price: National Film Board stuff, are you talking about?

Jason Rule: Yeah that kind of faded-out sound.

Tony Price: Yeah, it’s not so much that I remember specific titles as much as it is this kind of aesthetic universe that these things created or existed within, but as we were talking about a little while ago, Canada from the post-war time, just after maybe the mid-to-late 50s to the early 2000s, I feel there was a sort of again let’s just say tangible aesthetic to the cultural products that were being put through the system, whether they were government funded or not, that kind of has dissipated since then. Canada always…when you go into a Canadian university the first thing you start to learn, I studied communication studies, media studies, the first thing we start talking about is [how] “Canada’s identity is very malleable, we don’t know what it is but we try to make it up, blah blah blah”

Jason Rule: It’s either that or Marshall McLuhan and Harold Innis as godheads.

Tony Price: Exactly, which they are to me [laughs]

Jason Rule: Absolutely [laughs] I’m not denying that.

Tony Price: Back to the NFB stuff, there’s a band named after this aesthetic, you know, Boards Of Canada, so there was something to that that definitely worked…if it’s intention was to cultivate a network of aesthetic contributions from Canada that would speak about what it was like to be a Canadian at that time, it obviously worked, I can smell the way those films looked [laughs]

Jason Rule: It’s like that sodium orange glow [laughs]. I think there’s also connections that come through as well with how up until the end of the Cold War, Canada was still very much with Britain’s cultural realm and its aesthetic signifiers. I believe a lot of the composers on Parry Music Library were originally British, they were working with Boosey & Hawkes and with a lot of the companies over there, but over there while we now have hauntology as a [sort-of] genre, of these presentations of a nation that was rebuilding itself after the war, how “this is what our future looks like, and this is what our future sounds like”. It feels far more in line with that that [in the US]. This kind of sound was present in the US at the time but it felt more scattered, more like different independent producers or organisations that weren’t reliant on state funding, at best maybe you’d have academic funding, but you wouldn’t have anything that was presenting a kind of unified vision as was presented then, and now that we look back and see that’s what it was — the new nostalgia and our signifiers. It took up until about 9/11 for the first 80s nights to start coming out then. Now it feels like the shift isn’t just that nostalgia [was] on a 20 year cycle, it now feels like it can be 20 months, or that 20[20] and COVID became the dividing line where nostalgia is just ‘anything from the greater before-times’

Tony Price: [laughs] I see what you saying.

Jason Rule: There’s even a spot just down the street here that sells retro stuff and it’s all things that pre-date 2020.

Tony Price: Crazy.

Jason Rule: The 2010s are looked back upon as a lionized aspect, even though as you were alluding to before that’s when the shift started to happen.

Tony Price: Some kind of a shift for sure. That year, 2020 that caused a kind of mental…we went through a bit of a weird collective time warp or something because when we were playing that Tangerine Dream track or one of the other ones before, I heard myself say out loud “we’re about to enter 2025, we’re halfway through a decade”, but it feels like this decade is either just starting or started about six months ago, because that start to the decade was so strange. Pretend we’re in 1995, and there’s a million ways to get into and out of this topic [laughs] but 1995 we’re looking back, you can see aesthetically the way things were looking in culture, the way things were operating was significantly different than like 1989 in many ways aesthetically. To your point, I don’t even think we know how to think about where we are right now. I don’t know what the markers aesthetically or culturally are of this moment in 2025, I don’t know if we’ve defined it. Maybe we’re past defining time with markers because everything moves so fast, I don’t know.

Jason Rule: It’s not so much ‘genre’ as ‘vibe’ right now, the definitions of what used to be are, if not sacrosant, then generally accepted now feel like they’re becoming more malleable. There’s a greater sense of [asking] ‘what is house music’, it could be one to many things. It was something that was originally a collage, and then it became a genre, and now the term for that is a lot more broadly defined. Going back a bit further about the early 2010s, before 2016, before that sort of social shift came through, there were already signs I think of its becoming new identities, or new ideals that were more streamlined…I would say both in Toronto and in New York. I defer to you because you were more active in the city itself — I was still in college and very much in my own centred world, I didn’t notice it at the time — but it felt like that was around the era when you started to get a more unified and corporatized concept where if there was an aesthetic it wasn’t for the public good, it was very nakedly for private sector concerns.

Tony Price: I don’t know if what I have to say is related directly to that, but it’s making me think of how I felt when I was in Athens earlier this year, and the people their in their 20s and 30s started to use the word gentrification when they were describing certain parts of Athens to me. I would walk around with them and would look around, to me I’m seeing how every single place is an independently owned business in some neighbourhoods – not all of them but many of them, the cafés, the tavernas, the places that have been owned and operated by someone for 50-60 years, the chairs are still from the 70s, the signage hasn’t been touched in 30 or 40 years, and it was making me emotional, like wow I feel like I’ve been so deprived of this feeling of walking into a place that has it’s own atmosphere. I was thinking to myself like man, gentrification in Toronto and New York City, these places are so far beyond…[like we could] go back to hauntology and start talking about Mark Fisher and Simon Reynolds and Retromania and stuff again, but we’re so far past a threshold now in major Western cities. I walked into a Jamaican restaurant the other day, and it had this feeling when you walked in, this bizarre feeling that you were walking into the past, it had a certain smell to it, the furniture as I was describing it must have been from the 80s. The decor was definitely decades old and it was this overwhelmingly emotional feeling for me, to walk into this room and have this palpable feeling of the past still hit me. We’re so far beyond that still being a possibility that…I don’t know, I just feel that nostalgia is kind of my main mode of existing in this world, there’s so much to say about this [laughs]

Jason Rule: I admittedly don’t remember where but it might have been on your substack, which is also a not so subtle plug about how these ideas how Fisher and Reynolds can feel so easily pessimistic, when in fact there’s a positive way to put a spin on looking back, not just as a way of copying something wholesale and trying to recreate it, but [more] like OK, maybe it’s not the exact signifiers, but [asking] what is the deeper meaning of that?

Tony Price: I’m a fan of both of those guys, both as writers and their ideas and stuff, [looking at] the K-Punk blog and Simon’s writing, they were writing a lot of that stuff in the late 2000s, 15 years plus back now. When I first walked by East Village Radio, I was a teenager, this was probably the mid-2000s, and I remember walking past this and looking in here and being like whoa, there was something about this neighbourhood that is no longer here. I think that those guys were noticing this as being a kind of cultural trend, the trend towards nostalgia, the merchandising of nostalgia, the industries of nostalgia. Simon Reynolds has his famous book Retromania which came out in 2010 or 11, where he very much talks about this idea of packaging nostalgia into a Gang Of Four reunion tour, or [playing] at Coachella, or getting bands together to play their classic record from 1989. These guys were picking up on this back then, [and] I think we’re so far deep into what they were talking about back then that it’s now almost irrelevant in a way to use it as they were describing it. We have to find a new way to talk about how looking back might be healthy thing at this point as opposed to a negative thing.

Jason Rule: Yeah, especially because at the time of it’s release — and I know Simon did an interview with Tom Lea and Chal Ravens for No Tags where it’s 20 years after the fact [and] what aspects have changed, and I think a lot of it is just the modes of distribution more than production as well. Around the time that we were starting to get into this, places like record stores and individual blogs were still the means of how you got access to information. When I was working in college radio, you would have individual connections with different distributors, but you would still be speaking to a human being. You would still have to go through these blogs which were still curated by someone else, but there was clearly a human behind it. Now, it just feels like it’s based on whichever algorithms and whichever keywords and whichever vibe can be done.

Tony Price: Speaking of Oneohtrix Point Never, I was reading about one of his records — Replica I think it was — because I was curious about how he made it. I think this record came out in 2010, 2011, something like that. I was on the Wikipedia page for this record and I noticed that there were so many citations linking to blogs and music publications that had interviewed him, and there was so much space in music journalism for him to kind of explain himself, go through his process, talk about what he was doing, and there’s a record of this now, it’s there. A lot of these blogs and websites either don’t exist, a lot of the writers who were interviewing him are no longer working as music writers, and I had a quite profound realization about the state of music journalism and the music industry in general: a lot of discourse has been floating around in the past 4-5 years about the state of music journalism. A lot of music journalists have vocalised that there’s nowhere for them to write. They might want to cover a scene, talk about an artist they see as a rising star of something, and there’s nowhere to put that out, so we find ourselves in these more atomized spaces, with Substacks and stuff like that. I just noticed that there’s a risk here, I’m not saying I’m saying I’m the next Oneohtrix Point Never or everything, that anyone would necessarily care about what I have to say. Say a 15 year old me 20-30 years from now discovers this record that we’re playing right now in a bin somewhere, and they look it up. There are no interviews in text form except for this that are kind of accounting for me or many of my peers and what they’re doing. I’ve produced records for people that are on very big labels, and there are very few interviews with them over the past few years where they can kind of go off about what they’re doing. We’re in a weird space with this stuff, and I don’t know what happens next.

Jason Rule: The way that we’re approaching culture feels like it’s on a flat plane or surface where everything is being made accessible through the same medium, but there isn’t as strong division between…even realism and the concept of what is or isn’t fake? Is this actually journalism or is it just SEO-friendly copy? A few people I’ve seen have mentioned this about Substack — I’ve got one that’s been moribund for a while because I can never get an actual article together [laughs] but even then, it presents itself and it’s marketed as a way of being able to present yourself without the same machinations of pitching to a publication that’s now owned by Condé Nast, because now they own multiple, going through that major label/publisher situation that’s run primarily by people who don’t have any connections to anything that’s not a data point.

Tony Price: Yes!

Jason Rule: Then it’s like ‘well how do you find things?’ — and there are some great people that I’ve found on Substack, but if I hadn’t heard about them from someone else then I wouldn’t have been able to find out about them organically.

Tony Price: I think a lot of people, or the discourse, in the music industry has been focusing on issues with streaming royalty payouts and stuff, and I think that is the least of our worries here. The ecosystem that we exist within in music is so vast, it’s this radio station, it’s producers, it’s the companies making musical instruments and gear, it’s concert venues, it’s nightclubs, it’s barbacks, it’s everyone, it’s people who buy records, the people who press them, make the needles, all of this, and it all has to work together in some way, that’s just how nature goes. With regards to the distribution and stuff that you brought up before, the distribution of music, getting from a hard drive or tape and spreading and disseminating this information to the masses, has become very bizarre. I’ve spoken to people who run labels, who have been very successful in Canada, that are closing the doors because they feel there’s nothing they can do. If I gave you a million dollars and said “find someone that you believe in, promote this record”, there’s nothing you can do. You can pay a press agent $10,000, which is what a lot of them charge now for an album cycle, and they’ll get a 2% return rate on emails that will turn into, if you’re lucky, a Pitchfork review that doesn’t matter.

Jason Rule: And then any attention that comes would likely be through affiliate links, an extra third-party way of going through.

Tony Price: My point is it feels very strange to put out music right now, I dont know what, it’s hard to gauge success, it’s hard to even find what your markers for success will be, I don’t know what my goal is with this record that we’ve got in front of us here. Putting it out, I’m distributing it with a great global distributor, I have great digital distribution, and I have people that follow me on the internet, and I hope they like it, but if you were to ask me ‘what would a successful release look like’, I don’t know what to say.

Jason Rule: That’s the point, at this point it’s like what are even the metrics of success? There was a quote I mentioned to you about people who go out to places, and if I misquote, forgive… “Within a span of an evening, you can encounter the influence of culture that spans a century”. This goes back even to where I would say this shift happened in the middle of the 80s, with the rise of MTV but also the way that after the collapse of disco, that industry of it, the media found another way to bring it up, and now you have the influence of MTV, and you can bring that up with how people [complain] that “MTV doesn’t even show music videos anymore” whereas you can find some amazing works on Youtube, you can find some kind of self-distribution which is like greatly advanced, but then how is that gonna get around if it’s not gonna fit into a Tiktok? How is that gonna get around if everyone is approaching it because people are more interested in a preconceived experience?

Tony Price: I think that a big thing that needs to be recognized, amongst people who care about this type of thing, music just not carry the kind of cultural weight that it once did. I was reading a story, and I always bring this up because it illustrates the situation so perfectly, whatever that big hotel is on the Sunset Strip, I always forget the name…

Jason Rule: The Chateau Marmont?


Tony Price: Yes, at the Chateau Marmont there was a bunch of people sitting in the lounge area downstairs, apparently — this was in 1967 — and Stephen Stills from Buffalo Springfield at the time, had an acetate copy of the new Beatles record, which was Sgt. Pepper’s Lonely Hearts Club Band, and he walked into the lobby and put it on, and people walking in the street heard new Beatles music, and all of a sudden there was a mass of people swarming to hear what this was. This was the big news of the moment, this was something worth stopping your life for to a lot of people! Music was that. It has now transformed into something else that I don’t know…people listen to music more frequently, and to a wider breadth of music than before due to streaming and telecommunications technology, but I don’t know if it matters to people collectively in a way that it did before, and I don’t know if it ever will again.

Jason Rule: I think at this point we can just subtitle this episode of the show “Tangibility” because that’s just a genuine aspect, how if people are engaging with music, in actual human creation and culture, with virtuality and want of access. It’s not just that I can access any recorded album in the palm of my hand, its the idea that one has…maybe not the ‘right’ to, but this disposable aspect, you can’t print out a file and put it on your wall. You can’t file it away physically somewhere. This is what I think is interesting when it comes to records like this, [where] they’re presenting what sounds like a vision of the future, but it still sounds very human, it still sounds like this was actually made by people who recognize the issues that are being gone through on an ontological level.

Tony Price: Right!


Jason Rule: It’s one thing to say “I’m not doing this show because I’m getting paid for it, I’m not doing this because there’s a bottom line, but if people are going through it and they think that that is the ultimate goal, it’s just gonna be the same level of pop repetitiveness at work. The concern there is, and I don’t expect anyone to have an answer to this, ‘how far will it have to go before there’s a greater shift in perspective?’ I don’t want to think it’s an impossible thing, I think people are starting to realize, a fair amount of younger people that I’ve met and worked with look back at the idea of record collecting and the act of buying something as meaningful — you buy a record and it’s not gonna be interrupted by an ad. You go down the street and…[laughs] it was a couple months ago I remember someone playing music out on the street, and then all of a sudden I heard a Spotify ad out of the car speakers, which was bass tuned all the way, and I’m sitting here like ‘you could not…pinpoint a better benign dystopian moment’ if you had written that out.

Tony Price: All that bass! [laughs]

Jason Rule: Is this [record you’re about to play] influential or stuff that influenced [the record]

Tony Price: I don’t know how it influenced me, but this is by a man who is professionally known as Alexander Robotnick. On this record, which is in Italian, I don’t have the full title in front of me, but this is called GMM Suite 2. I’m probably wrong about some of these details, but there was an Italian audiovisual collective in the mid-80s called GMM, and this was a soundtrack that Alexander Robotnick made for some kind of digital video project, and it came out only as a cassette, I think it was largely forgotten or abandoned for many decades, and it was recently reissued, I just found it yesterday. This is a rip of the cassette from Side 2, it’s two suites, they’re really long, we’ll just play a little bit of it. There’s something about the way the tape hiss and saturation adds to this character here. I’ll put it on right now and we’ll listen to it.


Jason Rule: Are there any last words, but also where can we find your exploits online?

Tony Price: Last words are just thank you for inviting me, I’ve wanted to be in this studio for most of my life [laughs] since I started so this has been very fun, thank you for allowing me a space to talk about this project, because as we described that is becoming a scarcity. If you wanna find me on the interent, you can find me on Instagram @maximumexposureinc — I dont do much social media other than that, there is a newsletter that has recently started coming out on Substack, but you can find that through the Instagram page. Website, maximumexposureinc.com, other than that, I dont know. I have an NTS Radio show called the Maximum Exposure Power Hour, which is bimonthly, which is a different vibe than we’ve been navigating here, much more orieinted towards the dancefloor, inspired by classic dance music radio and hip hop radio from the 80s and 90s, I play a lot of slamming house music, freestyle, dubbed out crazy digital funk, and you should check it out because it’s a lot of fun to listen to, I listen to it a lot, I mean, I feel like I didn’t make it so it’s a good feeling.

Jason Rule: We got one more track we’re gonna play out one, what you got

Tony Price: This is Cellular Automata by the one and only Dopplereffekt, this is I think a majorly underappreciated, record, from 2017. It’s astounding it’s more like architecture than it is electro music that they’re associated with, anyone check it out.

TRACKLISTING
Le Révélateur – Bleu Nuit [2011, Gneiss Things]
Roberto Cacciapaglia – Slow Steps [1975, PDU]
Jon Hassell – Darbari Extension I [1981, Editions EG]
Tony Price – Requiem For The Ontario Science Centre [2025, Maximum Exposure Inc.]
Robin Artus & Paul Kass – Alpha Micro [1980, Parry Music Ltd.]
Tony Price – Raymond Moriyama [2025, Maximum Exposure Inc.]
Paul Williams – Poseidon [1987, Parry Music Ltd.]
Tangerine Dream – Phaedra [1974, Virgin]
Oneohtrix Point Never – Time Decanted [2009, No Fun Productions]
Giovanotti Mondani Meccanici – GMM Suite 2 [1984, Materiali Sonori]
Luc Ferrari – Feb 2nd 1975 [2018, Alga Marghen]
Dopplereffekt – Cellular Automata [2017, Leisure System]