"North County" (1995) sounds like a radio play version of "Fargo" made by David Lynch and the author of a text-based game. Playing on themes of memory, time, hypertextuality, and principles of storytelling, the piece drops us into the mystery surrounding a skeleton found near a lake deep in the woods of upstate New York. We shift between the perspectives of the dead woman, a forensics expert, and a woman who travels in a text-based virtual world that echoes that of the dead woman. Dreamlike interludes and repeated phrases (“Simon says, tell the story from the beginning!”) and images (a tamarack tree reflected in the waters of the lake) give the sense that we are skipping not from one story to another but between layers of a story told several times over in several different ways. Like Lynch’s films, the piece offers a lot of beautiful and sometimes eerie atmosphere and builds a world the listener can explore through the piece, but the story itself is not linear or resolved in a traditional sense.
- Introduced by Wave Farm Radio Artist Fellow 2020/2021, Jess Speer.

The Wave Farm Broadcast Radio Art Archive is an online resource and broadcast series on Wave Farm’s WGXC 90.7-FM, which is syndicated to stations across the country through The Radio Art Hour. It aims to identify, coalesce, and celebrate historical and contemporary international radio artworks created specifically for terrestrial AM/FM/Shortwave broadcast, whether it be via commercial, public, community, or pirate transmission. The archive is a product of Wave Farm's Radio Artist Fellowship.

Radio artists explore broadcast radio space through a richly polyphonous mix of practices, including poetic resuscitations of conventional radio drama, documentary, interview and news formats; found and field sound compositions reframed by broadcast; performative inhabitations/embodiments of radio’s inherent qualities, such as entropy, anonymity and interference; playful celebrations/subversions of the complex relationship between senders and receivers, and the potential feedback loops between hosts and layers of audience, from in-studio to listeners at home to callers-in; use of radio space to bridge widely dispersed voices (be they living or dead), subjects, environments and communities, or to migrate through them in ways that would not be possible in real time and space; electroacoustic compositions with sounds primarily derived from gathering, generating and remixing radiophonic sources. Note: Wave Farm continues to expand this definition of radio art through engagement with contemporary practices including those revealed by Wave Farm Artists-in-residence, and the Radio Art Fellowship program.