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David Ralicke

David Ralicke is a Los Angeles composer and multi-instrumentalist.

As a musician he’s toured and/or recorded with Beck, Dengue Fever, M83, Lucinda Williams, Broken Bells, The Shins, Jamie Lidell, John Cale, Feist, Devendra Banhart, Mary Lambert, Kelly Clarkson, Morrissey, Seu Jorge, Sia, Timothy B. Schmit, Hellogoodbye, Charlotte Gainsbourg, Natalie Merchant, Ziggy Marley, Flight Of The Concords, Ozomatli, Cat Power(I’m Not There soundtrack), Fitz and the Tantrums, The Bird and The Bee, Blues Traveler, Ben Harper, Macy Gray, and Van Dyke Parks.

Media: Superbad soundtrack, Hangover II soundtrack, Annie soundtrack, Resident Evil:Extinction soundtrack, Love soundtrack, Sons of Anarchy (TV soundtrack), The Voice; Australia,

Movies: Hang Over II (Dengue Fever).

Compositions featured in TV: Weeds (Dengue Fever), Friends with Benefits, Privileged, Taquita + Kaui, Malcolm in The Middle and ads for Nike and Blue Cross.

Video Games as performer: Grand Theft Auto V, Red Dead Redemption, Red Dead Redemption ll

David was a member of Brazzaville and performed with Joe at these shows:

Joe Frank in Performance at Wadsworth Theater, Los Angeles, 1998
The Blue Room at the original Largo in Los Angeles
Old Man Los Angeles
Just an Ordinary Man (in Los Angeles)
Murdered by the Mind (in Chicago and Los Angeles)

Reviews of Joe’s Work

"[Joe Frank] is one of the great, original radio performers. He's created a sound and style for himself - a complete aesthetic that's entirely his own. I first heard him when I was 19 and it changed everything for me. His work demonstrated the intensity and emotion that the medium is capable of; ingenious…fantastic."

Ira Glass, This American Life

"In an arena in which formats are sacrosanct, Joe Frank has charted new territory with his literate, frequently bizarre, wildly funny essays and parodies... He can be funny, poignant, serious and off the wall - sometimes within the framework of the same piece. Unique is one word to describe it. Brilliant is another."

Los Angeles Times

"Although commonly categorized as radio drama, Frank's work bears very little resemblance to the stagy artifice of plays performed over air. Frank wanders deeply into the unconscious, producing Dionysian stories with a fairy-tale intensity whose effect is often funny, disturbing and deeply memorable."

Salon

"I came upon Joe Frank's work by accident a number of years ago while driving to my home in the Napa Valley late at night. I couldn't believe the originality and sheer brilliance of what I was hearing. From that moment on I became a dedicated Joe Frank fan. Joe Frank's shows raise the most interesting and enduring questions in new and original ways and are consistently thought-provoking and very funny."

Francis Ford Coppola, filmmaker

"Mixing bizarre monologues, multi-sequenced dramatic vignettes and mock-solemn critiques, [Joe Frank's work] is both sophisticated and surreal. A sizable cult has been growing around Frank...a rare radio talent."

The Village Voice

"A strange, different, wondrously offbeat, frequently hilarious, altogether brilliant piece of work..There's never been anything quite like it...Joe Frank is an audio Fellini."

The Los Angeles Times

"The perfect Joe Frank experience is driving down an unfamiliar highway alone at night. You turn on your radio and are greeted by a lush, resonant voice that lulls you into a seemingly simple tale of love: a man at an airport saying goodbye to his wife over the phone, which abruptly turns into a vision of betrayal, alienation and death - often from obscure disease - all brought about by some profound personal failing, which is redeemed at the last moment by a nearly transcendent moment of joy."

Salon

"Radio's Prince of Darkness Rules the Freeways. [Frank is] alternately dark, bizarre and very funny - but always hard to turn off."

The Wall Street Journal

"Joe Frank is an invaluable warrior who stands in defense of our fears, our vanities and our forever-eroding sense of ourselves. He transforms the everyday banality of the human comedy into an inspired weirdness that feeds on pathos and irony, and feels a lot like revelation. Sartre would have called it nausea; Frank makes it art."

Spin Magazine

"[Frank] travels in the emotional landscape of Bergman and Fellini; there's a tension and sense of mystery halfway between Kafka and Chandler... and a satiric edge worthy of Firesign Theatre and Woody Allen... No one else in radio is doing what Frank does."

The Washington Post