Listen to this interview with Fil Corbitt.
Noah Glick: Tell me a little about the show. What started you on this path? What’s the show about?
Fil Corbitt: So, I made a podcast called
Van Sounds for about six and a half years, and I just started seeing music journalism and seeing the practice of listening in a new way. [I] wanted to start a podcast that kind of reflected this new experience of listening.
And [in] late 2019, I started the process of creating this new show called
The Wind, and it just so happened that two months later, the pandemic hit and here we are.
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One of the incredible things about independent podcasting is the gem that you find from turning over a stone, or perhaps from picking up a handsaw abandoned in the snow and building a desk in the woods with it. If this sounds wildly specific, it’s because that’s the story behind
The Wind, a podcast produced by Fil Corbitt on sound, listening, music, and the experience of audio, a podcast that they produced and recorded on that desk in the woods. “Time Flies,” the penultimate episode of the first season, is a letter-to-the-editor-style episode from writer Eleanor Tullock about Hermeto Pascoal, clocks, and the passage of time. It’s a weird, electric mix of Pascoal’s unique approach to instrumentalization and orchestration, including his recording of him singing with his mouth partially submerged in water, and Tullock’s visit to a clock repair shop backed by heavy pendulums. Bracketed by Corbitt’s brand of tongue-in-cheek humor and deep abiding love of n