Today’s guest deejay is Stefan Beck, AKA Golden Brown.
I met Stefan through Steve Targo from Inner Islands after he guest deejayed on Soundwave. I asked Steve, whom he knew would share a mix on the show, and he recommended Stefan. I listened to Stefan’s music and lost myself in his gentle guitar playing, swathes of warm sounds, and field recordings. So we have Steve to thank for today’s gorgeous mix.
As is my habit, I reacquaint myself with the mixes sent my way two weeks before I share them with you. Stefan provided the soundtrack for hurricane Kay which hit Mexico this week. In the evenings, when it was cooler, I’d go for an hour-long walk and listen to Stefan’s mix. Wednesday was a very sensual night. There was a moment as I was walking past a canyon when a rivulet of sweat ran from my temple and behind my right ear. It cooled and evaporated immediately. There was a hint of sage in the air. And Stefan’s mix played over my AirPods. Delicious.
Friday, San Diego was awash with the rain from hurricane Kay. It was very dramatic. The sky was gloomy, the wind gusted from my patio door, and occasionally raindrops would land on my shoulders from my skylight window above me, all while Stefan’s mix playing in the background.
I hope Stefan’s mix provides an equally wonderful experience.
Stefan has a few words about his mix below.
Join us next week when our guest deejay will be Serge Timmers.
See you then.
Stefan Beck
The songs selected here don’t have any unifying theme apart from that they inspire me and put me in a certain 🌀zone🌀
I think they all have a lot of heart in them and make elegant use of space. Jerry Garcia appears here twice under the radar as well. I can’t resist.
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.
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’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.
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
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.
Today’s a special show because this will be The Weekly Mix’s first broadcast on Bondfire Radio!
Bondfire Radio is an internet radio station our of Brooklyn. I first heard about the station when Macedonia from the Both Sides of the Surface podcast started spinning there a year or so ago. Macedonia has exquisite taste in music so I figured anything he was involved in and was passionate about was worth listening to, so I tuned in. And loved what I heard. So much so that when I launched The Weekly Mix I approached Keisha and asked if she’d be interested in carrying my show. I’m thrilled that I’ve been invited to be part of their family and rather than try and tell you what Bondfire Radio is all about I thought it would be easier, and more fun, to have Keisha talk about the station.
You can tune into my show on Bondfire Radio every Friday at 11:30 AM, Eastern Standard Time.
Before we get to this week’s music I wanted to let you know that you can also hear The Weekly Mix every Sunday on KAOS Radio Austin at 6PM Central. KAOS Radio Austin used to be a pirate radio station but they’ve gone legit and now broadcast over the net instead of the airwaves, delivering the weirdness you’d expect from a city like Austin. I chatted with KAOS Radio Austin’s founding member and programmer, El Demento, last year for Pop Culture Intelligentsia, so it’s my great pleasure to be part of their radio station. It’s also my pleasure to have El Demento on today’s show and I hope to make it a tradition to talk with programmers from every radio station that carries The Weekly Mix.
