Saturday, May 18, 2013

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Not on the original compilation, Reuber’s track is the CD bonus cut from 2001’s Ruhig Blut and Andrew Thomas’ “A Dream of a Spider” is from Kompakt’s Pop Ambient 2009. Jasper Tx’s “So Now We’re Ghosts No More” on Kning Disk, is quite possibly the most effortless and effervescent he’s ever sounded. Machinefabriek’s epic “Zucht 1” is taken from the 2007 Root Strata compilation of the Slaap & Zucht self-released CDrs. Minamo’s “Hum” is spring audio bliss, taken from Colour & Pattern, on Mountains’ short lived Apestaartje label. Replacing Oren Ambarchi’s “Trailing Moss in Mystic Glow” is Rosy Parlane’s gorgeously understated “Iris Part 2,” while Akira Rabelais’ “Pleure De Le Voir Gai Comme un Oiseau Des Bois” prolongs the shimmery blues vibe. The set closes with an organic, billowy, and tranquil remix, of sorts, from Terre Thaemlitz -- surely one of his best.

Initially compiled October, 2008. Re-mixed and re-assembled April-May, 2013.

Sunday, April 14, 2013

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Envisioned as a double LP re-sequenced and reissued with bonus 7” of cover versions.

By no means does this mix suggest I would be in favor of some label, especially one of those pretend indie labels loopholed into being able to reissue vinyl versions of releases their major/parent company seemingly still has the rights to (you know who you are!) and screwing with history and the next generation’s idea of the original artifact.

So, the first ‘+’ represents the official b-sides from Glider and Tremolo.

The second ‘+’ represents “Angel” (proto “Off Your Face?”) and “Sugar” (orig. 1989, later the b-side to a French only single for “Only Shallow”). Both sounding post-Isn’t Anything, pre-Glider.

The third ‘+’ represents the two cover versions tacked on at the end – the last we heard from the band until this year.

All tracks taken from 2012 reissues except for the covers.

Politically correct? No.
Sacrilege? Maybe.
Fresh? You bet.

Sunday, April 7, 2013

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2nd in the series, initially conceived October, 2008.

Beautiful buncha ambient jamz here, and most of ‘em kinda rare to boot. Wolfgang Voigt’s “Tal ’90 (Version)” (available only with the Raster-Noton ‘Gas’ ltd ed CD & book package) and Giuseppe Ielasi’s & Nicola Ratti’s “Untitled VII” (from their debut collaboration, ‘Bellows’ on Kning Disk) serve as the perfect bookends, also complimenting each other nicely – if ya didn’t know any better, you might think the latter track was penned by Voigt too.

In between, Stephan Mathieu’s track is culled from a 2CD compilation on Kid606’s Tigerbeat6 label, Aero is the nom de plume of none other than Koen ‘Mountains’ Holtkamp, Klimek’s track is taken from Kompakt’s Pop Ambient series, and Pimmon’s “Black Cipher” only found its way onto a Stunned label cassette. The others are from Kranky’s esteemed back catalogue.

Re-mixed and re-assembled April, 2013.

Saturday, March 30, 2013

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Initially conceived October, 2008, for Sebastian Meissner, upon witnessing a live performance at Cranbrook’s Art Museum, a year before the release of Movies is Magic (Anticipate, 2009).

Whatever happened to the promise of Christmas Decorations’ two tracks for 12k’s Blueprints compilation?! Anyway, Pita’s “Retour” has been replaced by “CE3” -- an early favorite -- could it even be described as ‘pretty’?! Initially only available on a split 12” with Kevin Drumm (BOXmedia, 2001), later tacked on to the Get Out CD reissue (EMego, 2008). And Andrew Thomas’ “Hushhh (remix)” has been replaced by Philip Jeck’s “Spirits Up.”

I have fond memories of being asked to DJ a Detroit fashion show and I had Jeck’s “Spirits Up” cranking right before the girls took the runway. Drama. Anticipation. Tension. Thanks Amy!

Re-mixed and re-assembled March, 2013.

First in a series of ambient jamz sets.

Saturday, March 16, 2013

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One of the most enjoyable discoveries I’ve had since closing the metro-detroit record shop has been Cameron Stallones’ Sun Araw project. His first releases were raw and sprawling, and got compared to the likes of Spacemen 3’s “Sound of Confusion,” but he soon channeled some underground-indie-tropicalia into his sound, harnessed some dub and blues, and currently finds himself sounding quirkier than ever, all the while increasing the complexity of his songwriting and guitar licks – reminding one of Royal Trux’s Neil Hagerty perhaps –while enlisting ex-Spaceman Sonic Boom for mastering duties. Full circle I say.

This is a compilation I made for a long-time friend of some of my favorites: from 2008’s “Beach Head” EP to the most recent full-length, “The Inner Treaty,” released in September 2012 on his own Sun Ark label with help in production and distribution from Drag City.


Friday, March 8, 2013

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John Cale "New York in the 1960s" by B. Neptune on Mixcloud

John Cale’s musical legacy stretches back before The Velvet Underground, to the early 1960s, jamming all night flights with early minimalism guru La Monte Young alongside Tony Conrad, Marian Zazeela and as well as original VU drummer, Angus Maclise.
Featuring my favorites from the triple disc set, New York in the 1960s. I’ve taken the liberty to edit lead track, “Sun Blindness Music,” to a mere 5:41 – consider it a “radio” edit that would’ve fit perfectly on a 7” single from back in the day. From there, I’ve mixed in just the ending of “Big Apple Express,” in which a member of the NYFD, downstairs from Cale’s studio, simply can’t take the ‘noise’ any longer and goes off -- “not another peep!” What follows is an hour of intense, droning minimalism, textures and tones to get lost in, whereas “Terry’s Cha Cha” is a welcome reprieve. Quite beautiful stuff just given the chance.
Originally compiled July 2008.

Monday, March 4, 2013

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Part one. Not necessarily a “mystery mix” anymore… Originally conceived as an unlabeled mix – some indie underground classics, others overlooked obscurities – from “the vaults” (1988-2003) that were meant as “fun, timeless songs for easy listening in the car,” and not necessarily needing to know what they are for enjoyment’s sake. Originally compiled 2009.

Images: Rothko, no. 61, 1953 (top), untitled, blue divided by blue, 1966 (bottom)

Sunday, March 3, 2013

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Mystery Mix 2 by B. Neptune on Mixcloud

Part two. Not necessarily a “mystery mix” anymore… Originally conceived as an unlabeled mix – some indie underground classics, others overlooked obscurities – from “the vaults” (1988-2003) that were meant as “fun, timeless songs for easy listening in the car,” and not necessarily needing to know what they are for enjoyment’s sake. Originally compiled 2009.

Images, Rothko: no. 14, 1960 (top), no. 16 (red, brown and black), 1958 (bottom)

Tuesday, February 19, 2013

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Quaristices by B. Neptune on Mixcloud

Inspired by the early release of the massive 4LP Exai, initially I thought Autechre were just trying to compete with Ricardo Villalobos for most audaciously long 'new full-length.' I decided it was time to pick up with Ae where I left off - back at 2008's confusing, daunting Quaristice and all its addendums: (Versions) and the four Quadrange EPs. So, this set takes you from Quaristice's beginning, "Altibzz" to its end, "Outh9x" and tacks on the japanese bonus track, "nu-Nr6d" as well as an extract from the hour-long fourth part of the Quadrange EPs, "Perlence Subrange 6-36," roughly 20 minutes from what I considered to be the most interesting stretch -- between the 19th and 38th minute. I've selected my favorite versions of songs in between, taking much more liberty particularly with the (Versions) and Quadrange, um, versions of "The Plc," in which I proceed to mix Quadrange's "The Plc Ccc" smack in the middle of either side of (Versions') "The PlclCpC." I manage something similar with "Perlence," using the intro to the original Quaristice track, subsequently mixing in "Perlence Range 3" from (Versions), followed by "Perlence Subrange 3" and "Perlence losid 2," both from Quadrange, resulting in another nearly 20 minute linear transformation of the original. It's funny, because, at the time, Quaristice seemed like a marked move away from their long, brain-scrambling programming, with most songs clocking in under the four-minute mark, yet they still chose to release (Versions) and the Quadrange EPs, giving the original tracks time to develop, and essentially ensuring this mix a classic sounding Ae release, albeit over two-and-a-half hours. Good luck!