Writing today’s show notes was a head trip. Carmen shared his first mix for Soundwave three years ago. That’s not a significant amount of time, but it feels like it. That was our first pandemic summer. You never knew if your next visit to the grocery store was going to be the one that exposed you to COVID and could kill you. Three years later and we’ve gotten along with our lives. Yes, COVID is still a threat, but now it’s manageable. Yes, we’ve all been changed by the experience, but hopefully, we’ve all grown somehow.
That’s where my mind went when I thought about what to say for today’s show notes.
Carmen Rizzo
I hope that Carmen takes this in the spirit intended. Camrens music has been part of the soundtrack for my pandemic. I was already a fan of his before launching Soundwave, and he was on my list of people I wanted to guest deejay on the show. During that time, Carmen’s music has appeared on mixes from other guest deejays and in shows and mixes I listen to on Mixcloud and Spotify. Carmen’s music has been a constant presence in my life for the last three years.
No words from Carmen on his mix. No playlist. Carmen’s mix is personal and lovingly hand selected. You’ll have to experience it. I’ve been listing to it as I write these show notes, and I assure you, you’re in for an emotional journey.
Join us next week when our guest deejay will be Henrick Öhberg.
I had the good fortune to meet Cole through Yann Novak (listen to Yann’s mixes four Soundwave here). I asked Yann who he thought would share a mix with us, and he highly recommended Cole. I could have sent Cole an invitation to guest deejay on Soundwave without listening to a note of his music. I trust Yann’s taste in music and artists that much. But of course, I listened to Cole’s music. Yann was spot on.
Cole’s mix is a unique blend of electronic and organic elements, creating a captivating sonic landscape that will take you on a mesmerizing journey. It’s okay if you lose yourself. That’s part of the journey, too.
Be sure to lose yourself in Cole’s latest album, Traces Blurs Signs, where he continues to eschew categorization.
Cole has much to say about the mix you’re about to experience, so I will get out of his way, except to mention that next week’s guest deejay is Carmen Rizzo.
See you then.
Cole Peters
I realized not long ago that so much of my work in music over the past 20+ years has been based on the practice of collage. When I started assembling my own music in the early 2000s, it was awful techno cobbled together out of random samples scavenged off the internet. In the mid-2000s, I’d transitioned into producing instrumental hip hop, composed from samples pulled from old vinyl records. From 2010–2013, my work took more experimental turns, and sampled material merged with my recordings of effects-laden guitar. Collaged electronics and field recordings were the recipes that helped me find my way back to music and sound art in 2019, and these have remained at the core of my work since then.
Through all of these eras, assembling mixes of other artist’s work has been a constant practice alongside creating my work (though often, these mixes have remained a private exercise). A mix is, to varying degrees, also an exercise in collage. In some ways, I view my approach to constructing mixes and assembling my work as complementary and mutually instructive.
I’ve always been somewhat obsessive about the transitional moments that string a mix together — those passages where one work seeps into another, the interplay of compositions that, for a short time, enter into an unexpected dialogue. These moments largely guide me in the composition of a mix, as opposed to selecting tracks first and then determining their sequence. I work best when starting with a single piece of work and letting that piece’s tone, texture, pace, dynamics, and nuances inform my following selection and onwards until the mix feels complete.
Often, this leads me to identify previously unrealized sympathies between otherwise unrelated works, such as the complementary tonalities between Alyssa Moxley’s “Night smoke over the caldera” and Chloe Alexandra Thompson’s “Glass Bits” or crys cole’s “A Piece of Work” and Ayami Suzuki’s “Glade.” I found that these pairings especially seemed to merge hypnotically. Similarly, I appreciated how well B.P. and Masaya Ozaki’s pieces on this mix came together — both titled by GPS coordinates, both exploring textures between the subtle and the barely contained.
Of course, a mix doesn’t need to be composed solely of perfectly seamless transitions. I quite like the sudden shift between “Glass Bits” and B.P.’s field recording and the melodic tension between “Glade” and Philip Samartzis & Eugene Ughetti’s “Katabatic Winds Part 1,” where Ayami’s voice and the electronic tone in “Katabatic” seem to drift awkwardly in and out of harmony. Elsewhere: I hadn’t initially intended to place John Bence’s “Disquiet Part 1” immediately after Lawrence English’s “Evocation at Peron,” but the transition between the caustic layers of wind and the soft choral voices turned out to be an unexpectedly haunting shift in texture and intensity. And I never would’ve expected that “Disquiet” would flow so perfectly into Jeremiah Cymerman and John McCowen’s “Gospel Hill” — this was truly the happiest of accidents. (I was also amused that “Disquiet,” being based on reconstituted choral voices, matched so well with a track titled the word “gospel.")
For me, these moments where previously unrelated works come together to form new and complementary statements are something truly fascinating and worthy of considered enjoyment — not because of any cleverness on the part of the mixer, but because of the sheer delight and beauty of unexpected synchronicity.
I met Tim through Sanderson Dear, who get deejayed on Soundwave a few months ago (listen to Sanderson’s mix here). As is my want, I asked Sanderon who he thought would share a mix on Soundwave and he highly recommended Tim.
As it happens, both Tim and I are fellow devotees of the Excursions in Ambience compilation album series (listen to my Excursions in Ambience compilation retrospective here). That may explain why Tim’s mix, which features songs completely new to me, feels so familiar. It’s a delight to share Tim’s mix with you.
Tim has words about his mix below.
Join us next week when our guest deejay will be Raziel Panic.
My 2021 album Excursion was a release born through influence. It was inspired by improvised live electronics, a deep love of electronic music from the 1990’s, and even the compilation series Excursions in Ambience, of which the album was named after. I wanted to revisit those influences for this mix, crafting a similar sonic tapestry, through a different lens. I’ve included the inspiring music that influenced me to start making music, as well as some new works that elicit that same emotional frequency. Enjoy the journey.
I was introduced to zakè's captivating music by the talented Luke Entelis (listen to Luke’s mix four Soundwave here), and I'm excited to share his unique sonic tapestries with you.
Zach is the stateside label boss of the Past Inside the Present record label. Zach is also a multi-talented musician, composer, and sound artist. With a deep passion for exploring the intersection of sound and emotion, zakè weaves intricate sonic landscapes that transport listeners to ethereal realms. His musical journey began at a young age, as he discovered his love for experimenting with various instruments and sound manipulation techniques.
Zach Frizzell, AKA zakè
The songs in this collection share a common thread of introspection, contemplation, and a sense of profound emotional depth. Each composition invites the listener into a world of deep reflection, where silence and subtle nuances create powerful moments of introspection. Zach’s mix has been my companion during grey mornings. With my cup of coffee in hand, his music eases me into my work day, infusing even the most mundane tasks with intrigue.
Join us next week when our guest deejay will be Tim Dwyer.
Anne’s music is a beautiful blend of ambient, experimental, and modern classical styles. I was introduced to Anne’s through Soundwave guest deejay Peter van Cooten (listen to his mix here and here), host of Ambientblog and DreamScenes on Concertzender.
Anne Bakker
Based in the Netherlands, Anne Bakker is a multi-instrumentalist, composer, and producer. Her music often incorporates field recordings, found sounds, and electronic elements to create unique and immersive soundscapes.
Anne has released several albums and EPs on labels such as Dronarivm, Whitelabrecs, and Rusted Tone Recordings. Her music has been described as “a delicate and hypnotic work that shines with an inner light” and “a moving and atmospheric experience.”
Many of the tracks in Anne’s mix feature minimalistic arrangements and slowly evolving textures, often exploring the sonic nuances of single notes or simple harmonic progressions. Using drones and sustained tones is also prevalent, creating a sense of sonic stasis or timelessness. Several pieces also feature acoustic instruments, such as piano, guitar, and strings, woven into the electronic soundscapes to create a delicate interplay between the organic and synthetic elements.
Join us next week when our guest deejay will be zaké.
Welcome to Soundwave, where we dive deep into the experimental, electronic, and ambient soundscape.
Today’s episode takes us on a nostalgic journey with a retrospective mix of the groundbreaking Excursions in Ambience compilation series. These albums played a pivotal role in shaping the ambient music genre. From the first volume in 1993 to the final fourth installment in 1996, the Excursions in Ambience series explored the intersection of dance music and ambient sounds, capturing the essence of a musical movement that continues to influence artists today.
As a former deejay at WMFO 91.5 FM, these albums were a constant presence in my playlists, providing the perfect soundtrack to my late-night walks home after spinning records at the radio station.
We dedicate this week’s show to the memory of Michael Kandel, who made several appearances on the Excursions in Ambience series and passed away in 2015.
Join us next week when our guest deejay will be Hekla.
Each track from Sanderson’s mix carries its distinct tone and texture, yet they all resonate with a shared melancholy and longing.
Sanderson has over a decade of experience pushing the boundaries of electronic music. His productions are like a carefully crafted time machine, transporting the listener to otherworldly realms of sound and sensation. At least, that’s what my experience is like.
If you enjoy today’s mix, as I’m sure you will, and want to hear more music from Stasis Recodings, you can look forward to an album from Glo Phase this Where We At…, the label’s third compilation, will be released this May. Don’t want to wait that long? SubDan’s 12” EP, They Shine, is fresh off the presses.
Sanderson has some words about his mix below.
Join us next week when for our Excursions in Ambience compilation retrospective.
See you then.
Sanderson Dear
It’s often difficult to distill the ethos and mantra of an imprint into 60mins while still maintaining a purposed ebb and flow. That was my challenge with this mix. My name is Sanderson Dear. I’m the label manager for Stasis Recordings, a Canadian electronic label operating out of Toronto with an international cast of musicians lending their talents to shape our sonic character. We’ve been releasing music since 2010. This mix highlights and focuses heavily on the chilled-out side of the music ledger. Most of the tracks are from our catalog, but I’ve also snuck in a couple of gems from the crew on other labels I am a fan of.
“After” is one of those pieces by Louis which never fails to leave me speechless. The strings, the spatial dynamics, and just the overall emotional tone. Appears on his vinyl release for Indigo Aera, in my opinion it is the standout track.
“Breathing-In” is Louis’ contribution to our 2020 7” box compilation. The compilation is a decade celebration of releasing music. It’s a project we took 4yrs to organize, and it’s the release I’m most proud of us realizing.
“Entwine (reprise)” is from our upcoming 2023 vinyl LP by Glo Phase.
“Rising Tide” to this day, Urenga’s “Floating Island” release is my favourite out of all the titles we’ve released by him on Stasis Recordings.
“Caju (extended version)” is part of a special vinyl companion to our Time Capsule compilation we’re organizing and planning to calendar soon. It’s a tune by Adriano Mirabile which describes his downtempo chillin’ sound.
“Mistpouffers” a new Off Land jam, appears on our next label compilation hitting digital shops this May.
“Flow” is from our recent vinyl release by SubDan. a 4-track EP bonding 90s D&B elements with ambient chillage vibes.
“Ambrosia” label debut by Mellonius One. Best way to describe his sound, ambient scapes, and soundtrack composing meets downtempo breaks.
“Horizons” by Diahgonal. The production alias of Ruben Alonso Tamayo.. super proud to have some Mexicali techno representation on our little international imprint.
“The Detective” is a jazzy, downtempo track from my first long player.
I was first introduced to Jolanda through her captivating work in Peter van Cooten’s mix for Soundwave (listen here), and I’ve been hooked ever since. I invited Jolanda to share a mix with us.
Jolanda’s mix features artists whose works are marked by their unique approach to sound and a profound sense of introspection. It is a haunting and deeply introspective exploration of the mystical power of sound.
Hailing from Italy, Jolanda has been making waves with her unique blend of organic and electronic soundscapes, drawing inspiration from her love of nature and the cosmos. Her album, Full Moon Session, was just released earlier this month, which includes live performances of songs from her Nine Spells album.
Jolanda also led the folk band She Owl, delivering two full-length albums and performing more than 300 concerts across Europe and the US. But in the past two years of isolation, Jolanda focused on a deeply personal project, one that connects her to her ancestral roots and promotes healing.
Jolanda has some words about her mix below.
Join us next week when our guest deejay will be Sanderson Dear.
See you then.
Jolanda Moletta
When I started working on my debut solo album Nine Spells, I wasn’t aware of other artists doing ambient/neoclassical/experimental music except for a few names. I didn’t know how my album would fit into these genres. I just had a vision of wanting to create something with only vocals and I imagined something meditative that was like a prayer, or an invocation. In months following the release of the first singles, it became clear that there was actually a community, and a scene, of these genres. My mix aims to put a spotlight on the many incredible women who are also creating beautiful music within this community. I am happy to now call some of these artists my friends, and others I would love to meet one day and maybe even collaborate with. So I truly do hope that you’ll warm to this mix and come to love their music as much as I have.
Antti Tolvi is a visionary musician hailing from Finland, who has been making waves in the underground music scene with his exploration of ambient and experimental soundscapes.
I was introduced to Antti Tolvi through his remarkable album, Spectral Organ / Feedback Gong, available from the always-reliable room40 label. And let me tell you, it was a revelation. His approach to music blendis elements of drone, ambient, and free improvisation to create a sound that is simultaneously intimate out of this world.
Antti Tolvi
Antti’s mix for this episode includes three captivating tracks that perfectly capture his unique style. “in all the cold” by John Franek is a haunting piano piece that creates a sense of space and distance, while “nachtstück” by Eva-Maria Houben invites the listener to engage in a meditative reflection on their innermost thoughts and feelings. Finally, Taku Sugimoto’s “Quintet (2017) – Berlin, 2017.08.06” uses silence and understatement to create a sense of vastness and infinite possibility.
All of these tracks share a common theme of introspection and self-reflection, evoking a sense of quiet contemplation that is perfect for those long winter nights.
Join us next week when out guest deejay will be Sanderson Dear.
Rhucle appeared on Soundwave in March of 2021 with a mix became the soundtrack to my walks with my dog. Today’s show promises to be as intimate and magical as the last.
Rhucle
Rhucle is an electronic music producer from Japan. His music is a blend of ambient, lo-fi, and field recordings featuring the sounds of nature. Rhucle’s music evokes a sense of calm and introspection and is perfect for relaxation or contemplation.
Today’s mix is like a dream of reuniting with long-lost friends and never wanting to wake from that dream.
Join us next week when our guest deejay will be Luke Entelis.
