Robert Koch is a German, Los Angeles-based artist, composer, and record producer. Koch made a name for himself as a member of the band Jahcoozi before launching a solo artist. His electronic music sound has been called “Wonderful and strange – pop music from the future” by John Peel.
Robert has woven a gorgeous mix that includes music from artists such as the late Harold Budd; Berlin-based musician, composer, and producer Midori Hirano; and Canadian instrumental music producer Jay Cliffen and select tracks from Robert’s new project Foam and Sand.
Foam and Sand is an ambient soundscape and visual endeavor inspired by Robert’s daily meditation habit.
The project took shape during the pandemic lockdown of 2020. Robert used tape recordings of slowed-down pianos, modular synths, and other sonic sources. The signature sound is created with loops that magnify the irregularities and imperfections of cassette recordings and that are then shaped by Robert into hazy meditative journeys. Through the process, the grainy subtleties of sound give way to vast and lush atmospheric soundscapes, making audible the complex interplay of micro and macro and highlighting the interconnectedness of these two spheres in life.
Harrold was our guest deejay back in December 2020. His mix spanned the gamut from Biosphere to John Coltrane. It was so gorgeous that I asked him if he would be so kind to grace us with another one. Today’s show is equally breath taking and the range is just as broad and unexpected yet some somehow manages to be cohesive.
Harrold is a trained composer, a poet, sound designer and performing musician, specializing in the use of environmental sounds and long attention spans. His works try to invoke the timelessness of the world and its landscapes. He sings medieval and renaissance music with Ensemble Vlechtwerk, and hosts the radio show Sensenta, a musical serial, at the Concertzender every Sunday evening that explores many of these themes.
Oh, and Harrold also shares his daily haiku+picture on Instagram, which you can experience here.
Join us next week when our guest deejay will be Robert Koch.
See you then.
Harrold Roeland
A slightly moody mix. I couldn’t help but point to the current affairs in Afghanistan, which are much on my mind, as is the death of Raymond Murray Schafer. Such an admirable composer and thinker, such a loss for the music world. So there’s a reference to today in the description. I don’t mind if that has lost its urgency by the time this mix sees the light of day, but just so you know it’s there. The soundscape weeps today.
Toby Wren is an Australian guitarist who has an album called The Carnatic Jazz Experiment. As the title implies, it heavily uses Southern Indian Carnatic Rhythms. I think he’s a genius and this album deserves to be much more widely heard than it is now. The album is strictly acoustic, so the electronic echoes added in the end are my own, better to segue into the next track.
Lotto are from Poland, a band playing very minimalistic Post-Rock. Drones with drums. Once, for Sensenta, my weekly radio show at the Concertzender, I needed a variation on one of their tracks we played the week before. That’s the one you hear, the original but with little echo’s and delays added. I think it makes the track more hypnotic than it already is, and hope they will forgive me for messing around with their work. Both the original and this version appeared on Sensenta, and you can find their original version on their excellent album Elite Feline. If you like this music, check out their album VV too. It’s a gem.
To add some depth, Lull fades into the background around the 18 minute mark. Low frequencies galore. Though used for effect and drowned out here, Mick Harris’s album, Like A Slow River, is a beauty when it comes to dark, noisy ambient. Music like a haunted transistor radio.
Kloob hails from Spain. Synthesizer-based ambient is what he’s good at, and he seems to be getting better at it each year. This is an oldie, from his album Deep Emotional Phases, a remix found on the album as a bonus track.
Martin Stürtzer is next. I ran into his work through the Concertzender. A synthesizer wizard from Germany, he knows just how to twiddle those knobs and connect those modules to make splendid colourful textures. This is one of his more minimalist works, taken from, at the time of writing, a brand new album.
Martin Stültzer’s track turns out to combine well with another new work: Loscil’s “Lux”, from the album Clara. I mixed the two together on the radio the day prior to making this mix, and thought that move deserved repeating here. Loscil joins the mix from Canada. Pure blissful ambient.
The time of writing is 15 august 2021. In the wonderful country of Afghanistan the situation seems to be going completely down the drain. The news is worrying and hard to drive out of one’s mind. Thinking about what could happen to innocent people, especially girls and women, is enough to give you a knot in your stomach. Anouar Brahem’s work Improbable Day feels right. He is a famous Ud player from Tunesia. During the Arab Spring, he was home and couldn’t believe what was happening around him. He then wrote a full album about that. His opening track is our closing track for this mix. Yes, the context is much different than that of Afghanistan, but the music is fit for an Improbable Day.
Some of the earliest releases on Silent Records can instantly transport me back to the end of the last century. The From Here To Tranquility compilation series simultaneously turned me on to so many great musicians and blew my mind (check out my interview with Kim for solipsistic NATION here). The 50 Years Of Sunshine compilation album was a delightful celebration of the 50th anniversary of the discovery of LSD. And albums from Psychic TV, Zoviet•France*, Vuemorph, and Heavenly Music Corporation expanded my consciousness and my musical horizons.
When I invited Kim to guest deejay on Soundwave I didn’t expect him to play select tracks from his label, but I was surprised at how much he learned into guitar and instrumental music, which, as of the recording of today’s mix, Kim was immersed in. And it was a welcome surprise because although we celebrate ambient music on Soundwave, the show’s format is ambient and classical, instrumental and experimental. I’m thrilled when guests deejay explores other music forms on the show.
Kim has some words about his mix below.
Before we get to Kim’s mix, I wanted to share that nearly two years into the pandemic, I finally caught COVID. I don’t know if it was because I’ve been vaccinated and received my booster, and I caught the omicron variant, but I was barely sick. I was congested and tired. That was it, thankfully.
I launched Soundwave in the early days of the pandemic to help cope with the stress and isolation of self-quarantine. I spent the last two years moving from dread of the virus to grim acceptance, and once I caught the virus, I barely noticed it.
Of course, I don’t want to suffer from long COVID. Bit if this is the worst of it, I count myself as very lucky.
Join us next week when our guest deejay will be Harrold Roeland.
See you then.
Kim Cascone
After many years of programming acousmatic laptop music, I’ve shifted my creative focus to the electric guitar again. This mix is a small sampling of avant-guitar work that has inspired me of late and includes a new work of mine.
Kazuya is a Japanese artist who creates immersive, ritualized compositions through bronze bells, gongs, and singing bowls. Kazuya’s music is rooted in Buddhist (Zenzhu) philosophy and sensibilities unique to Japan. Kazuya’s work and interests are also contemporary and span many cultures. Kazuya is also an award-winning writer and a connoisseur of Japanese Literature, Buddhist Folktales, and Zen Philosophical Works.
I came across Kazuya’s music at the beginning of the pandemic. At the time, my attention span had been whittled down to a blunt end. I could not read or watch anything. I couldn’t find escape in music because none of the lyrics of the songs I listened to spoke to the new reality in which we all found ourselves. The only thing that provided solace was ambient, classical, instrumental, and experimental music. The kind of music that was essentially free of lyrics. The kind of music you could project your own meaning on or lose yourself in.
I launched Soundwave to cope with the stress and isolation Brough about by the pandemic. I clutched at it like a drowning man grasps a life preserver. Soundwave gave me solace and succor in the months ahead that were far more challenging and heartbreaking than I could have imagined.
Kazuya Nagaya
Kazuya was one of the first musicians I invited to participate in Soundwave (listen to Kazuya on the second episode of Soundwave). He could not have known when he recorded “Thanatos” from his Dream Interpretation album that I would play that song repeatedly for days. It seemed to sum up everything I was feeling in those early days of the pandemic. It was crucial to me to have Kazuya on Soundwave. It took over a year for Kazuya to find time to prepare his mix, and it took six months before Kazuya’s mix was scheduled to arrive in your ears. But here we are.
Nearly two years into the pandemic, I am in a very different place than I was initially. But Kazuya’s “Thanatos” and today’s mix ia a touchstone to those painful times. At the same time, the way out is through, and Kazuya’s music also served as a form of catharsis.
Join us next week when our guest deejay will be Kim Cascone.
Christoph is a composer and musician living and working in Berlin, focusing on chamber music and music for film. Besides releasing music on various imprints, Christoph runs his own record label Monochrome Editions. He also releases electroacoustic music as Field Rotation.
That’s all verbiage I copied and pasted from Discogs. I could use words like minimal, haunted, and mournful to describe it but you really, you need to experience Christoph’s music for yourself.
Christoph Berg
While writing this, I can tell you that I was listening to his Tape Anthology Vol. 1 album over my AirPods. My wife is asleep next to me, and I don’t want to disturb her. I was caught up in the emotions that Christoph was stirring in me when I began to be aware of the sounds of my stomach gurgling. But then it dawned on me that it wasn’t my stomach. It was gentle rumbling sounds within Christoph’s music. I’m sure that wasn’t Christoph’s intent, but for me, it gave an intimate and organic feel to his music. The experience endeared me to Christoph in an unexpected way.
Christoph’s mix, on the other hand, seems to capture the desolate spirit of our pandemic winter of 2022.
Everyone I know seems to have COVID. I have a dry, slight cough. It could be from the booster shot I received last week, a common cold I picked up, or the virus. And so, as part of my now monthly routine, I need to schedule yet another COVID test. But this is the shape of our lives now, so I square my shoulders and get on with it.
Christoph’s mix provides the soundtrack to what feels like it will be a very long winter.
Join us next week when our guest deejay will be Kazuya Nagaya.
Last May, I discovered Iu on Bandcamp’s The Best Ambient Music blog post and instantly became a fan. Iu’s songs delicately unfold as you listen to them. It feels that her music might immediately unravel with any sudden movement. Calmness and patience are required, which reinforces the experience of Iu’s gentle songs.
Iu Takahashi
Iu herself does not appear in her mix, but I encourage you to listen to her new releases, both of which were released in December.
One release is her “Stay” EP from A RED THREAD. Iu made this work thinking about her grandparents, who have dementia. Both of them are now living in a facility. She stayed for a few days at their house, where no one lived, and was inspired by the clothing, dishes, and plants left there. For the sound source, she used environmental sounds coming from the house’s windows and an old electronic organ that she used to play when she was a kid. In the midst of realizing the changes in her daily life, the sounds of construction, cars, and crows cawing that may otherwise sound like noise make it feel as if time has stopped only in this house.
Iu’s second release is her “Interspace” EP from The Slow Music Movement. In these three tracks, she intentionally created gaps by reducing the number of notes, and she wanted to enjoy the coincidence and awareness with the outside sounds.
I can’t think of a better way to be in the New Year than listening to Iu’s music. And today’s mix, of course.
Genius and Soul is a weekly show featuring jazz, Black classical music, and more, with mixes lovingly selected by our guest deejays. Our first guest is Brian Jackson, an American keyboardist, flautist, singer, composer, and producer. Brian has recorded and performed with everyone from Gil Scott-Heron to Stevie Wonder, and recently released an album with Jazz Is Dead’s Adrian Younge and Ali Shaheed Muhammad.
You can listen to our first episode on your favorite podcast app or listen here.
Join us next week when our guest deejay will be Christoph Berg.
I’ve been a fan of Alex’s music since the last century. It feels strange to write that, but it’s true.
I discovered Alex on his Cypher 7 album, Decoder that he recorded with Jeff Bova. Decoder came in all all-back CD jewel case. Very mysterious and very sexy. Decoder was released on Strata, Bill Laswell’s sub-label of Subharmonic Records, and that was all I needed to know in my decision-making process to purchase the album. I was not disappointed. Decoder was as mysterious and sexy as its CD case. The music was minimal, sinuous, and entrancing.
Alex Haas
I’ve been listening to Alex’s music over the decades. When his album, The Woods, recorded with Michel Banabila and Bill Laswell, popped up on my Spotify Discover Weekly playlist, I immediately invited Alex to guest deejay on Soundwave.
Alex’s mix is exactly what I expected and delights with music from unexpected sources. You’re in for a treat.
Before I get out of here, I want to wish everyone happy holidays.
I also encourage you to followGenius and Soul on your favorite podcast app. Genius and Soul is a weekly show featuring jazz, Black classical music, and more, with mixes lovingly selected by our guest deejays. Our first guest deejay will be legendary composer, pianist, singer, and flautist Brian Jackson. Genius and Soul launches on January 1, 2022.
Join us next week when our guest deejay will be iu takahashi.
A year ago, while perusing Boing Boing I read a post about Hollow Earth Radio, a Low Power FM (LPFM) non-commercial DIY radio station based out of Seattle. I was intrigued about the station’s promise of “local music, found sound, paranormal encounters, crank calls, dreams, etc.! 24 hours a day!” and tuned it. The station is a delight, and I became Sean’s show, Aquanautic Frequencies, and invited him to guest deejay on Soundwave.
Aquanautic Frequencies broadcasts every Wednesday from 11 am-1 pm PST. Spinning strange and groovy and tunes from the deep. Featuring clangy krautrock and kosmische musik, brain-melting prog, afrobeat, and jazz from Saturn, pulsing psych, weird Bungley rock, Pacific Northwest favorites, outsider music from Finland and beyond, turntable experiments, avant-metal, random radio transmissions, and even the occasional jangled pop number as long as it fits the mood. His shows are broadcasted live at the station with vinyl only, programmed from his music collection, or home recorded with two turntables and mixer fed into a recording console.
In addition to the radio show, Sean is a scientist and has made music a creative outlet for about 20 years. He is the co-founder of Fringe Biology Recordings (fringebiologyrecords.com), a Seattle-based record label of outsider/self-educated recording artists specializing in experimental rock, avant-electronic music, sci-fi soundtracks, kosmische musik, and science-inspired music.
What I love about Sean’s mix is that it took Soundwave’s instrumental aspect and ran with it. And Sean’s mix obviously showcases some of his obsessions in music. I always welcome music from Secret Chiefs, Sun City Girls, Can, and Sun Ra, and I was happy to be introduced to artists like Bo Hansson, Thomas Dinger, and Diminished Men.
Sean has some words about his mix below.
Join us next week when our guest deejay will be Alex Haas.
See you then.
Sean Sleight
Many thanks for the invitation to contribute a mix. I wanted it to have a positive vibe in these weird times and thought of Winter Solstice when daylight is at its minimum. Now that it’s almost the darkest time of the year, I thought maybe it was time to reverse polarity and share some warmth for the days ahead.
daniel’s mix is important to me for several reasons.
One reason is that I meant daniel through Soundwave guest deejay Michael Donaldson (listen to Michael’s mix here) when he posted an interview with daniel on his Micro.blog. Initially, I read the interview simply because it was on Micro.blog, a cool social media network I am a member of. But what hooked me was the interview itself and daniel’s exploration of sound through this music.
The other reason today’s show is important to me is that while I love all the mixes on Soundwave, and I mean that, daniel’s mix hit me in all the right places. He included some familiar and precious tracks from the likes of Miles Davis, This Mortal Coil and Skinny Puppy. This is stuff I immersed myself in the 80s and 90s, so it felt like putting on a well-worn sweater. But daniel’s mix included a lot of stuff I had never heard of before, like Oliver Coates, Besombes & Rizet, and Angelo Badalamenti. It was a perfect blend of the familiar and unfamiliar that his mix provided just under an hour’s with of dopamine hits.
The final reason is that I listened to daniel’s mix many places (while working, walking my dog, doing the dishes, etc.), but the place that had the most significance was in my car while driving my grandkid to day school. The experience is already special because I enjoy watching all the adults delivering their most precious of cargos and seeing the love and concern on their faces. daniel’s mix heightened and already tender experience.
daniel has words of his own regarding today’s mix below.
Join us next weekend when our guest deejay will be Sean Slight.
See you then!
danielfuzztone
Like much of the ambient-drone music I produce, this mix was born from a live performance and then manipulated in the digital domain via Audacity. Nothing beats the hardware-software hybrid.
While I’ve DJed for three decades years — including two long stretches of college radio — my skills were a bit rusty, to say the least. I wanted to showcase some of my long-time favorite artists — Brian Eno, Boards of Canada, Spacemen 3, Jean-Michel Jarre — along with several newer ones (and maybe even a few you wouldn’t necessarily think of in the ambient realm).
I performed the set in real time using two MacBooks as playback decks, connected to a cheapo RadioShack DJ mixer from the ’90s.* Recorded in Audacity. Numerous field recordings and samples were also added at this stage — including a mix-long drone of processed shortwave static.
The result is a dark, noisy vibe with bursts of melody, strands of light, and even occasional beats. It’s mysterious and romantic, a droning, pulsing soundtrack from the past 50 years. Enjoy and #DroneOn
— danielfuzztone
POST-SCRIPT: Look for several back-to-back releases in early 2022 via Bandcamp, as well as a live performance in January.
*Due to the lo-fi-meets-hi-fi nature of the recording, you’ll occasionally hear pops and ticks from some of the aging gear. Relax. It’s all part of the ride.
Today’s guest deejay is Tom Moore, AKA Dead Melodies.
After listening to his latest album, Fabled Machines of Old, I invited Tom to guest deejay on Soundwave back in June. The album was released on Cryo Chamber, and it’s what I’ve come to expect from every release from the label: exquisitely crafted dark ambient music that takes you on an emotional journey. Sometimes harrowing, but always rewarding.
Today’s show has been a different experience for me than what I’ve become accustomed to. Usually, I receive mixes for Soundwave six months before I share them with you. I do this for practical reasons. I like to have the mixes well before the release date, so I don’t have to scramble to get shows out weekly. I listened to the mixes you repeatedly hear for months, a byproduct of this arrangement. I become intimately acquainted with the music. They become the soundtrack for my life.
Tom’s schedule did not permit him to send me his mix in advance. I only just got his mix for Soundwave two weeks ago. I didn’t think that would be time enough to allow Tom’s mix to “breather,” but fortunately, I was able to lose myself in the music, and Tom’s mix quickly became an old friend.
Tom has some words about today’s show below.
As always, the shadow of the pandemic looms over Soundwave.
Yesterday I spoke with a professional colleague, and he shared that his production partner had come down with COVID. He told me that he had contracted COVID some months ago, and as a result, his blood pressure is up by 20%; he has experienced liver damage, and his joints ache. I wished him a speedy recovery and that his partner would not suffer lasting effects from the virus. There but for the grace of God goes I, as they say. Except that I expect to catch the virus myself at some point. I don’t know where you listen to Soundwave, but here in the U.S., it seems we want the pandemic to last as long as possible.
But today, I’m still healthy. And I have a lovely show to share with you.
Join us next week when our guest deejay will be danielfuzztone.
See you then!
Tom Moore, AKA Dead Melodies
Thanks for the invitation to put together a mix for the show. It was a fun challenge deciding what to do as I trawled through all my influences and favourite artists, but it wasn’t long before it dawned on me it was near impossible to capture even a fraction of the music that makes me tick in an hour-long cut. So I decided to look at my music, pick out some rarities and remixes, and see how best to present them. My output is pretty diverse, but these rarities seemed to tap into a dark-ambient meets post-rock style. I paired with a few popular tunes from my Cryo Chamber releases to keep on the theme and hopefully create a haunting yet soothing listening experience.
Honourable mentions to the collaborating artists named on the tracks – a remix is always much more than a reforming of stems, but a respectful collaboration with layers of new instruments added, paying homage to the original piece while expanding the sound. Thanks to; Everyday Dust, Zenjungle, Understated Theory (my side project/band), and Owsey. Thanks to Cryo Chamber and Sparkwood Records, who have published a few of the included tunes.
