SOUNDWAVE : 135 : AMBIENTBLOG

Today’s guest deejay is Peter van Cooten, host of Ambientblog and DreamScenes on Concertzender.

I met Peter through Harrold Roeland and I invited Peter to guest deejay on the show (listen to his mix here). I did not anticipate that a mix from Peter would be something of an event. Peter’s mixes are more like epic tone poems that contain both the cosmic and the mundane in one listening experience.

 

Cloudwatching Sequence
Cloudwatching Sequence

Furthermore, Peter meticulously crafts his mixes. Peter might use a passage once from a song or as a leitmotif. His mixes are dense and multilayered. Peter’s skill is that despite the complexity of his mixes, they are seamless and fluid. You don’t need to know the immense effort that produced the mix you are listening to appreciate its beauty and artistry.

Because Peter mixes feel like an event, it felt appropriate to release today’s show for Halloween as we celebrate the darker half of the year.

Peter has some words about his mix below.

Join us next week when out guest deejay will be Mike Lazarev.

See you then.

 

Cloudwatching
Cloudwatching

Most (if not all) previous Ambientblog mixes always had some dark moments; they are never “just” relaxing. You can only feel release if you also feel tension.

This time, I wanted to avoid the darkness and create a “lighter mood mix.” Not of the “Ibiza Chillout Lounge” kind, but one that can be played in the background and is still exciting enough to listen to. I hope I succeeded, but of course, you’re the one to decide about that!

 

With two hours, Cloudwatching is longer than usual. Only a few tracks are included in their full length, but most are heavily edited or even just short fragments. Also, they are often overlayed, so you’ll hear the music in a different context. The extensive playlist below may help you track down the original in their full-length versions.

I hope you’ll enjoy watching these -imaginary- clouds!

Cloudwatching Playlist (includes start length, artist title, album title, year, and label).

  1. Francisco López “Untitled #373”
  2. Lawrence English “Pre-Approach”
  3. William Basinski & Janek Schaefer “. . . on reflection (four)”
  4. Arve Henriksen & Eivind Aarset & Jan Bang “The Swans Bend Their Necks Backward To See God”
  5. Masayoshi Fujita “Harp”
  6. Mombi Yuleman “Mental Telepathy”
  7. ASMUS TIETCHENS “Paralelle Ebene 1”
  8. Abul Mogard “Like Water”
  9. KEDA “La Lune De Corée”
  10. Tapani Rinne & Teho Majamäki “Reflection”
  11. Radboud Mens “Convolution”
  12. Alex Haas & Michel Banabila “The Woods (ft. Bill Laswell)”
  13. Imperial Valley “Fields North Of Kane Spring, Oct 8, 1938”
  14. James Murray “Clearings”
  15. Raum “Daughter”
  16. Tierro Cosmico “Eres Nocturna”
  17. Emmanuel Holterbach “Rivage (Shore)”
  18. Holland Patent Public Library “a road I’ve passed but never taken”
  19. Thomas Ragsdale & Richard Arnold “The View”
  20. David Cordero & Kenji Kihara “Grazalema”
  21. Abul Mogard “The Rain Has Gone”
  22. Robyn Miller “Gateroom”
  23. From The Mouth of the Sun “Paint & Stories”
  24. Olga Wojciechowska “Recreating Worlds”
  25. Biosphere “Aura In The Kitchen With The Candlesticks”
  26. Jolanda Moletta “Spell II: Daydream And Nightbloom”
  27. Budhaditya Chattopadhay “Dhvani”
  28. Cell “Geiger”
  29. Clarice Jensen “Fear”
  30. Erik Wøllo “Peace Bells”
  31. Tarotplane “Auximenes”
  32. NORMAN W. LONG “Return & Recovery”
  33. Marine Eyes & Antarctic Wastelands “Enshrouded”
  34. Ryoji Ikeda “Data.Tron (2007-14)”
  35. Masayoshi Fujita “Pons”
  36. Tetsuroh Konishi “Kevaan Aania”
  37. Madeleine Cocolas “Presence”
  38. PINKCOURTESYPHONE “Comfortable Predictability”
  39. Clarice Jensen “Love”
  40. Radboud Mens “Modular”
  41. Arve Henriksen “The Farmers Of Sonic Alchemy”
  42. Daigo Hanada “Kage”
  43. Ivan Cebrian | Victor Cerdan “Snow in silence”
  44. Robert Rich and Luca Formentini “First Day”
  45. Sofie Birch & Antonina Nowacka “Outro”
  46. Sven Laux & Fione “Stay”
  47. loscil “Dub For Cascadia”
  48. Powlos & Holt “Our Shimmering Breath”
  49. Anne Chris Bakker “Johan (In Memoriam)”
  50. Glåsbird “Sirsa”
  51. Trio Ramberget “D Minor Postlude”
  52. Galya Bisengalieva “The Crash”
  53. Madeleine Cocolas “Enfold”

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SOUNDWAVE : 73 : JONATHAN AMMONS

Today’s guest deejay is Jonathan Ammons.

Jonathan guest deejayed on the show last October. Jonathan’s mix was so moving that I invited him back to Soundwave. Today’s mix is equally remarkable. I had the unique opportunity to listen to it while driving from San Diego to Sacramento to visit my wife this weekend. It’s wildfire season in California (it’s always wildfire season), and Jonathan’s mix provided the soundtrack to my apocalyptic drive. The skies were tinted dirty brown from the ashes from the wildfires, but somehow the sun managed to blast the landscape with glaring light: grass and trees parched from California’s megadrought. Every 20 miles or so, I’d pass an abandoned car to the side of the highway. And yet, Jonathan’s mix somehow lent some beauty to such desolate scenery.

Jonathan has some words about his mix below.

Join us next week when our guest deejay will be anthéne.

See you then!

 

Jonathan Ammons
Jonathan Ammons

I think that my past year has looked like many people’s lives during the middle of one of the largest global pandemics in history. A lot of isolation, a lot of finding ways to busy yourself or occupy your mind. In the past, as someone who worked from home, I had enjoyed drone, ambient, and all of those experimental genres for the way they occupied a space without dominating it. If ambient music was created to generate music that did not evoke strong and tumultuous emotions — as Brian Eno claims— that was exactly what I wanted droning on in the background of my house while I pecked away at a keyboard for work. As a journalist, it provided this stoic, emotionless wallpaper for the background of my daily existence.

Covid changed a lot of that. They daily monotony left me just craving a change of emotion. But I didn’t want words; I didn’t want lyrics that would remind me of how things were when we were able to go places, meet people, kiss strangers at a bar… I wanted the same stability that the drone I’d come to love gave me, but I wanted something a little more expressive.

I also noticed that the more I used any streaming platform, the more the algorithm would eventually whittle things down to the same handful of artists. I wanted new things. I wanted variety in a locked-down life with no chance of spontaneity. So I decided to cut all algorithmic music out of my life. I stopped listening to Spotify or Pandora or any of those generated playlists and dialed back in to the radio.

I have to give a giant shoutout to Noods Radio out of Bristol, England, because they have been a major lifesaver. A station dedicated to the wild and weird sounds of Bristol. You never know what you’ll find, but the rich spread of creativity has introduced me to a slew of new artists. Props to BBC6’s great ambient show, as well.

Northern England’s A Beautiful Burning World make’s gorgeous sounds using very simple gear and tape loops. They even have a subscription system for $15 a year, and you can get their entire discography for cheaper than that! Much of this mix comes from artists discovered through the radio or combing around Bandcamp.

Seamstress makes delightful chill-out beats. Scanner gorgeously blends drone and ambient with deep arrangements that are so subtle, but meaningful. And I don’t know why it took me till now to notice Garth Stevenson’s incredible compositions. We really are in a golden age for the reinvention of modern classical music. Just look no further than Tristan Perich’s fantastic work.

I also have to give a shoutout to Kimathi Moore. Kima is an incredibly talented sound artist here in Asheville. His style’s shift between ambient, drone, and Edgard Varèse-like tone poems. I got the chance to work with him on a music video he shot for my latest album, and got to see just what a meticulous worker he is.No wonder his sounds are so precise and pristine.

Of course, I had to include some Harold Budd. I included a selection off of his album the Serpent (In Quicksilver) because I remember hearing an interview with him in which he claimed that it was his favorite record that he’d made. A major loss for the ambient music world, losing one of the original masters to this damned virus.

And lastly, the original tracks are two previously unreleased compositions. I started messing around with more tape loops in my studio this winter, and really decided to dive into it, which is how “The Same River” originated. The closing track is actually from a much larger piece I have coming out in the Fall. “A Certain Kind of Light” is a 40-minute piece in five movements. It was an experiment to see just how far I could go using only a single chord. The incredibly talented Olivia Springer performed all of the string parts for that piece. I’ve included the final movement of that piece to close out this mix as its debut.

Endless thanks to Joseph for having me back for another Soundwave mix. It’s been a pleasure to follow along and hear what everyone is listening to these days!

  1. Jonathan Ammons “The Same River”
  2. Scanner “The Ascent”
  3. Floating Points “Apoptose Pt. 1”
  4. Kimathi Moore “Eyris”
  5. Harold Budd “Rub with Ashes”
  6. Seamstress “Save the Bees”
  7. A Beautiful Burning World “Sonder: III”
  8. Garth Stevenson “The Southern Sea”
  9. Tristan Perich “Drift Multiply: Section 3”
  10. Jonathan Ammons “A Certain Kind of Light: Movement V”

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SOUNDWAVE : 66 : COREY PARLAMENTO

Today’s guest deejay is Corey Parlamento.

Corey was on Soundwave last summer, and his mix was unique because it was an extension of his show on AshevilleFM, where he played instrumental soundtracks. Sadly, Corey no longer produces that show. Fortunately for us, Corey kept to that format for today’s mix.

When I invite guest deejays on Soundwave, I’ll ask them to write up a description of their mix: the reason they chose songs, if there was a theme or story they wanted to convert through their mix, etc. The mixes speak for themselves, but I think it adds another level of appreciation for understanding their intentions.

If they don’t send me a description, I’ll usually write my impressions of their mix. But for today’s show, I decided to call Corey and hear in his own words the motivations behind his mix.

 

Corey Parlamento
Corey Parlamento

Corey’s mix is built around the kernel of Black to Comm’s “Stolen Androgens.” Corey said he listened to this track repeatedly long before he assembled today’s show. The song begins so abruptly and then loops itself around some fascinating accompaniment. He liked how voice is used in this track.

Corey has had Yasuaki Shimizu’s Music for Commercials album for quite some time and incorporated it into his radio show for segues. The faint sound of water drops is what attracted him to Shimizu’s “Seiko 2.”

Fatima Al Qadiri’s “Souleiman’s Theme” is taken from the Atlantic film score, Corey’s current favorite soundtracks of the last couple of years, and transitions nicely into Kali Malone’s “Hagakyrka Bells,” from her album, The Sacrificial Code.

Corey also selected a track from the remastered soundtrack for Lady Macbeth by Third Ear Band, followed by Mary Steele’s “Al Rosana (My Rose),” which is available through Canary Records. This label specializes in archival music. “Al Rosana (My Rose)” is recorded from the 1920s in New York City and features a sonic blend of many cultures. Corey told me this piece is eery and conveyed a sense of decaying time.

Lustmord follows Mary Steele with a piece from the First Reformed soundtrack. Up next is a track by Michael Gordon, a composer for the movie Decasia, directed by Bill Morrison, who assembles found damaged footage.

Loren Connors takes it down a notch after Gordon, who is one of Corey’s favorite guitarists.

Corey wanted to follow Connors with a longer track from Sean McCann’s “Puck” but settled on “Nightfall.” Corey describes the album that track was taken from as having a lot of space, weird vocalizations, subtle noises, drones, and crashing sounds.

Corey closes his mix with a track of his own which he recorded under the name Livingdog. The track is taken from his album, The Four Times, released by Cold Moon Records out of New York City. This is the one-year anniversary of The Four Times, and Corey says the album was inspired by Le Quattro Volte. The movie has no soundtrack, but Corey’s imagination was capture by the meditations on a goat farmer who is reincarnated into a goat, then reincarnated into a tree which then turns into smoke.

And there you have it, Corey’s mix.

Oh, and Corey wanted me to tell you that he’s got a new album coming out on July 23 called Many Aways. I will, of course, remind you when the album is released

 

Jon Hassell
Jon Hassell

Before I leave you to Corey’s wonderful and mysterious mix, I have some sad news. When I launched Soundwave, I didn’t anticipate having to say farewell to so many talented and wonderful musicians in one short year. Today it saddens me to tell you that Jon Hassell, a trumpet player pioneering electronic musician, left planet earth last week. Jon played with everyone, from Brian Eno to Peter Gabriel to Techno Animal. I first became aware of Jon on his appearance on the Myths 3 : La nouvelle sérénité compilation album, and he’s been part of the soundtrack to my life ever since. You owe it to yourself to make Jon part of the soundtrack to your own life. I encourage you to purchase his music or stream him on your favorite streaming service.

Join us next week when our guest deejay will be felt body.

See you then!

  1. Black To Comm “Stolen Androgens”
  2. Yasuaki Shimizu “Seiko 2”
  3. Fatima Al Qadiri “Souleiman’s Theme”
  4. Kali Malone “Hagakyrka Bells”
  5. Third Ear Band “LADY MACBETH”
  6. Mary Steele “Al Rosana (My Rose)”
  7. Lustmord “Hanstown Kills”
  8. Michael Gordon “Decasia, Part 5”
  9. Loren Connors “No Goodbyes”
  10. Sean McCann “Nightfall”
  11. Livingdog “Body Of A Tree”

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SOUNDWAVE : 27 : JONATHAN AMMONS

Today’s guest deejay is Jonathan Ammons, a journalist, radio producer, and musician living in Asheville, North Carolina. You can find his music on Bandcamp and listen to his radio show from WPVM and Pacifica Radio Network at the Dirty Spoon.

Jonathan is yet another amazing person I was introduced to through my old friend, Steve Howard (listen to Steven’s SOUNDWAVE mix here). Meeting Jonathan is one of the unexpected pleasures in the evolution of SOUNDWAVE.

I launched SOUNDWAVE to help cope with the stress of the pandemic. In the first few months of COVID-19 it seemed that stepping outside your house might kill you. If that wasn’t terrifying enough, my family was scattered about the country so for a long time it was just me and my dog. That took a toll on me and my usual distractions, music, reading and television, could not hold my interest at all. In fact, they annoyed me or angered me. The only thing that provided any comfort was ambient, classical, experimental and instrumental music. I reasoned that if that music was giving me solace it might help others as well so I launched SOUNDWAVE. Very soon afterwards I decided to invite the talented people I know who might enjoy or, more importantly, need to share a mix of their own. And that very quickly led to asking my friends who they knew personally who might want to participate in the show. That decision introduced me to such wonderful people as Adrian Utley, Hannah Peel, Charles Hazlewood and Jonathan.

I don’t really know Jonathan, though. We’ve just had a few email exchanges arranging today’s show but through his mix I feel I know him more intimately than I might know him through a dozen conversations. That’s all projection, of course, but that is the power of music. It bypasses the rational and hits on emotional truths, which is why I launched SOUNDWAVE in the first place.

Jonathan has some words about today’s mix below.

Join us again next week when our guest deejay will be Axel Arturo Barceló.

See you then!

 

Jonathan Ammons
Jonathan Ammons

Back in 2016 there were a series of forest fires that broke out throughout Western North Carolina, surrounding my home in Asheville. The air was thick with smoke, and a perpetual haze fell over everything. It just so happened that it fell right on the heels of a devastating national election, and for a moment, it truly felt like the whole world was on fire. 

I had just started spending time with a very lovely lady, and I asked her one night if she’d like to go watch the mountains burn.So I threw some camping chairs in the truck, grabbed a camera and a bottle of Champagne, and we headed out to the center of the fires. 

There’s a strange feeling when you sit and watch your home burn to the ground. Halloween orange glowing from every hilltop, brick red clouds in the night sky. Knowing that everything would grow back eventually, but that the sights you grew up seeing would be permanently scarred. The world would be better, maybe even healthier than it was before, but it would take a lot of ash and rubble to get there.

I started making my first ambient LP — First Sight — during those fires. At the time, my office was on my screened in porch, and I could sit while I composed and watch ash fall from the sky. I like to think that much of my approach to the way I currently make music came from that experience. 

I remember calling a friend one day, and saying, “you know how I’ve been complaining a lot about that knot in my stomach that wouldn’t go away? I think I finally figured out what that is. I think it’s despair. I just think it’s the first time I’ve ever felt it. Ithink I just didn’t realize it because it doesn’t feels as hopeless as I would have thought.”

From that point on, I was able to see the fragile, delicate things that fall apart, and not feel the overwhelming sense of loss I had initially felt. Instead, I understood it to be a burning of the dross, a disposal of things that were unnecessary. When a fire burns, after all, it makes way for far better things than grew there before. Sometimes you just have to let it burn.

I like to think of this mix as songs from the fire. Pieces of music that are as devastating as they are restorative. A little hazy, a little bleary, but beautiful in their own right. There are three original compositions in the mix, the first and last are from an as of yet unreleased record (this is actually their debut). The other, “Open Eyes”, is from my new album First Sight. The rest of the mix runs a gamut between crumbling organic sounds and stark synthesis. Ian William Craig actually wrote his new and beautiful record while also being surrounded by forest fires, Goldmund delivers gorgeous ambient versions of old Civil War era songs, and Oliver Patrice Weder delivers the most thoughtful, pensive piano performance… music to watch the world end. My favorite kind.

  1. Jonathan Ammons “Wishful Thinking”
  2. Tim Hecker “Chimeras”
  3. Wojciech Golczewski “Abner’s Wake”
  4. Jonathan Ammons “Open Eyes”
  5. Ben Goldberg “Demonic Possession is 9/10ths the Law”
  6. Oliver Patrice Weder “Sol’s Lullaby”
  7. Ian William Craig “Mountains Astray”
  8. Goldmund “The Flag of Columbia Shall Float O’er Us Still”
  9. Villages “Life Expectancy” 
  10. Jonathan Ammons “Dead Leaves”

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