I had the pleasure of meeting Enrico through Giulio Aldinucci, who also guest deejayed on Soundwave (listen to Giulio’s mix here). Enrico’s work combines beautiful and challenging sounds, and I’m excited to have him on the show today to share his unique perspective on music.
Enrico’s mix takes us on a journey through a diverse array of experimental and ambient music. It’s a beautiful mix that evokes different emotions and landscapes and is a lovely way to start the new year.
Enrico is an environmental sound recordist and sound artist from Italy. His work has been featured by some of the most respected labels in the genre, such as Crónica, Gruen Rekorder, taâlem , and many more. He also runs the digital label Galaverna, with Leandro Pisano, Nicola Di Croce, and Vernalis, in collaborate with Krisis Publishing.
Enrico has some words about his mix below.
Join us next week when our guest deejay will be Petter Lindhagen.
See you then.
Enrico Coniglio
Here is a mix I made some time ago on a CD-R that has yet to be released on the internet anywhere. A selection of post-folk & ambient songs coming from the past, with a strong, wintery, and intimate vibe and some evanescent vocals here and there.
Having Joseph on the show is a bit of synchronicity. I became aware of Joseph’s music a few years ago while searching for music on Bandcamp. What immediately struck me was the sense of intimacy I experienced while listening to his music. Yes, I’m aware that the genres Joseph expresses himself through lend themselves to that kind of feeling. And I’m also aware that this is a complete projection, but I got the sense that a movement of thoughts and emotions conveyed in his music.
Joseph Kamaru, AKA KMRU
Shortly after conning across Joseph, guest deejays on Soundwave began including tracks from his album in their mixes. So, of course, I reached out to him to share select tracks on the show.
Joseph’s mix, like his releases, has that sense of interplay between thoughts and emotions. And, perhaps, sympathetically, Joseph’s mix stirred up thoughts and feelings in me, which is the whole point.
Join sun next week when our guest deejay will be protoU.
See you then.
Tenka “Nutrition ~ Microorganisms In The Darkness Of Life ~”
Alisú included Riz Maslen in her mix for Soundwave last fall, which led to me spending hours re-visiting the music Riz recorded as Neotropic, as well as her work with 4hero and The Future Sound of London. I invited Riz to share a mix with us, and it’s something else.
Riz mix begins with a piece by Freddie Philips, a British composer known for his work on television music, particularly the theme for Camberwick Green. It’s what I imagine a mix from Wes Anderson might sound like, and I would have been completely satisfied if Riz stayed within that genre. But Riz pivots to Egyptian jazz-inspired psychedelic rock, shifts to trip-hop, and never looks back. And yet, Riz’s mix never feels incongruous. Each track seamlessly blends into the next.
You’re in for quite the journey.
Each mix shared on Soundwave is special. When I say that, I’m not equivocating; they are unique. But some resonate with me more than others, and Riz’s mix is one of those mixes. As the pandemic continues to disrupt our lives, I’ve found Riz’s mix to sometimes act as a balm and other times a needed distraction.
I envy you. I wish I could hear Riz’s mix again for the first time.
Join us next week when our guest deejay will be Robocat.
I met Steve through Jason Engling, who guest deejayed on Soundwave a couple of years ago. Steve shared a magical mix that I have listened to many times. Today’s show is no less resplendent in its emotions and sounds. It’s a journey.
Earlier this week, I was telling a friend about Soundwave and Steve’s mix. I explained that because Soundwave was created to help me cope with stress and isolation during the first few months of the pandemic, it is a touchstone to those fearful and uncertain times. For me, Soundwave has become a weekly meditative act of reflecting on those early days and the impact of the pandemic on nearly everything in our lives. While I go back to that emotional space weekly, my thoughts and feelings about those times have changed.
As I write this, it is a beautiful day in San Diego, and I can see the ocean from where I sit. I’ve seen this view many times, and while the view is the same, I’m not the person I was at the beginning of this pandemic. I’ve changed. We’ve all changed. I find myself asking who this person is I’ve become and what will I do? Where do I go from here? Steve’s mix provides the soundtrack for the journey.
I often feel misplaced. Out of tune with much of the goings on of the world around me. As a result, sound and nature have always been a source of refuge. As a child raised around fields and Great Lakes, I’m always drawn to music and sound that drifts, billows or breathes. And so it is with this mix of music. It’s intended as a reflection of my lack of place but also my sense of solitude, refuge and wonder. For me, these are the underscores of moments of abandon out on the road or a morning walk in my neighborhood. Moments of solitude where my mind surveys the landscape of hardships and joys. Spaces where my thoughts drift to someone I deeply miss. Or during the exhale at the end of a long day. To me, these pieces of music are boundless and internal. Drifting like a breeze or a trace of a memory. Something otherworldly but familiar. Nostalgic and grateful. The spirit of a land but not a place.
Gert appeared on Soundwave last year, and I enjoyed his mix so much I invited him back. Today’s show is equally fantastic. Gert can expect another invitation from me in 2022.
Gert says today’s show features a perfect mixture of tracks that have influenced him and tracks that currently influence him. He said they’re all such beautiful tracks, and what’s best, you can find them all on Bandcamp, some of them entirely for free.
Today’s mix also includes a track form Gert’s project, Distant Fires Burning. You’re gong to love today’s mix and you’ll want to hear more music from Gert. Good news! You can find his latest album, Inperspectycon Vol.1, here.
Gert De Meester
One thing that’s interesting about the 21st century is music is so freely available, and it’s nearly endless. Consequently, I don’t think most music gets the attention due, and I’m not wagging my finger. I’m just as guilty. It’s exceedingly rare that I will listen to a song or an album repeatedly. There’s so much I want to listen to, and I’m often impatient to listen to the next song, even while I’m listening to something that very moment.
Take today’s show. It’s spectacular. But you’ll listen to it once. Some of you might even listen to it twice. And then you’re on to the next show. Or the next song. Or the next video.
As the producer of Soundwave, however, I have a very different relationship with the music you hear.
I’m sure I’ve mentioned this before, but I receive these mixes months before I publish them on Soundwave. I live with these mixes. I marinate in these mixes.
I’ve become very familiar with Gert’s mix. It’s a gorgeous experience. But after repeated listening, I’ve come to appreciate just how dense the songs that appear in today’s show are. I’ve become intimately acquainted with every snap, crackle, and pop. I lose myself in the swooshes, the sizzle, and grit.
Gert’s mix is made for repeated listening. I encourage you to do so.
Join us next week when our guest deejay will be Michael Southard of Triplicate Records.
I discovered Anthéne when Ishmael Cormack (listen to his mix for Soundwave here) requested music recommendations on Twitter. There were some great suggrestions, and I listened to everything I could find on Bandcamp or Spotify. Anthéne’s music was warm, dreamy, and organic for all its etherealness. Naturally, I extended to Anthéne to guest deejay on Soundwave.
Last week I drove from San Diego to Sacramento with Jonanathan Ammons’s mix providing the soundtrack for that apocalyptic journey. This week Anthéne’s mix was the music for my night drive back to San Diego. This time there were no abandoned cars, wildfire smoke choked skies, or searing sunlight. Instead, a beautiful, three-quarter orange moon floated on the horizon while the stars came out, one by one. It was a long drive, and I played Anthéne’s mix several times, which got me as far as Los Angeles.
If you feel like sharing, please tell me where you listened to today’s show.
Join us next week when our guest deejay will be Complex Holiday.
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.
I follow all the guest deejays on Twitter (check my SOUNDWAVE list here), and the Hypnagogue Podcast kept turning up on Kirk Markarian’s Twitter feed. I trust Kirk’s taste in music, so I listened to a few episodes of Hypnagoge. I loved everything I heard and invited John to guest deejay on SOUNDWAVE.
John’s mix is everything you’d expect in a SOUNDWAVE mix, but what especially delighted mas his selected dub tracks.
I’ve been a fan of dub since last century.
I first became aware of dub when I read William Gibson’s cyberpunk classic, Neuromancer. In the novel, Case, our protagonist, finds himself in a Jamaican space colony called Zion.
Case gradually became aware of the music that pulsed constantly through the cluster. It was called dub, a sensuous mosaic cooked from vast libraries of digitalized pop; it was worship, Molly said, and a sense of community.
I was intrigued by that mysterious description. Shortly afterwards I came across the 21st Century Dub album on ROIR. I was hooked and became a dub devotee. I even adopted the persona of a character called King Dub. I’d speak with an Jamaican patois, and combined with some echo and pitch-shifting, I became a deejay from the deepest realm of dub spinning tracks from everyone from Ras Michael and The Sons of Negus to The Orb.
When I launched SOUNDWAVE I assumed there would be a lot of dub. The genre is a natural fit for the format of those show. I’ve been disappointed that dub has been a blind spot and I’m relieved that John is the first guest deejay to include dub tracks in the mix. Hopefully he won’t be the last.
Join us next week when our guest deejay will be Roedelius. Check out his livestream concert here.
John Shanahan
The Hypnagogue Podcast began over a decade ago as an offshoot of the Hypnagogue Reviews site, which I ran from 2003 until 2017, when I decided I didn’t have anything worth saying anymore. Now the music does the eclectic talking for me every two weeks, built from the amazing range of music sent my way.
I laid down this Soundwave mix as I do my own show—picking an interesting place to start and following a stream of semi-conscsiousness through my library to see what associations arise. So we kick off with haunting sound-sculptor Joe Frawley and move with the piano into the sparse, emotional spaces of Memory Bell. The Detroit76, a Matt Borghi side project, shifts us smoothly into beat-driven groove territory, segueing into tasty licks from Austin funk-dub duo Canartic, which melts neatly into into vintage Cyberchump. Forest Robots offer a bridge by way of plucked-string tones in a wash of electronica, and Corciolli & Emmanuele Baldini use it to escort us further intro electro-acoustic territory. That put me in mind of the modern chamber music of Domingues and Kane, after which we flick the switch to Tim Story’s brand of electronic chamber music. At the end, the ride finishes courtesy of the person who brought my show to Joseph’s attention in the first place, Neuro…No Neuro, aka Kirk Markarian.
Innesti’s mix concludes my deep dive of musicians I’ve discovered on Bandcamp and invited to deejay on SOUNDWAVE.
Innesti
When I found Innesti on Bandcamp, I immersed myself in their music. I think it was Brian Eno who described ambient music in a metaphor of a painting: you can either have the painting as something that’s part of your background and enjoy it on that level, or you can choose to shift your focus to the painting and experience it at that level. Innesti’s music definitely fulfills those categories but awards active listening.
I’m listening to some of Innesti’s music as I write this. It’s the golden hour, and the kitchen I am writing you from is magically lit, and Innesti is providing the soundtrack to this enchanting moment.
I’ll most definitely feature more artists on Bandcamp on the show in the future, but not at the same volume.
If you’re unfamiliar with Bandcamp, it’s a service that sells music and gives musician and music labels a fair percentage of money generated from sales on Bandcamp.
The pilgrimage to Amoeba Music
Speaking of buying music, yesterday we took our son to Amoeba Music in Los Angeles. He recently got into vinyl, so and I’m happy to indulge him. California has leveled off on COVID-19 infections enough that the state is opening business to the public. Even so, there was a long line to get in the building because they can only admit people in at lowered numbers for everyone’s safety.
As soon as you feel safe enough, I encourage you to head out to your local music store and pick up some albums for yourself or someone as a gift. You or they deserve it, and your local music store needs your support.
Join us next week when our guest deejay will be John Shanahan, host of the Hypnagogue Podcast.
I ask each guest to deejay who they know who would be interested in participating in the show with a mix. Harrold Roeland, who was a guest deejay on Soundwave back in December, suggested Peter. I’ve known about Ambientblog for years and have listened to many of Peter’s mixes on Mixcloud. I’m thankful that Harrold made the introduction because Peter’s mix is exceptional.
Peter’s Soundwave mix.
Mix is not the word for what Peter does on today’s show.
It’s more accurate to say that Peter composed a concept album masterfully weaved from a multitude of sampled material. Take a look at the “playlist” below to get an idea of the scope of today’s show. It’s a work of art you get to immerse yourself in for the next hour.
Peter’s mix, like all of his Ambientblog shows, is an experience. Follow Ambientblog on Mixcloud to hear more of his work.
I’ve included an excerpt about today’s show from Peter’s website below.
Today’s show is special because it’s also Soundwave’s one-year anniversary.
I launched Soundwave to help me cope with the stress and isolation of COVID-19.
This close to what we all hope is the finish line of the pandemic its easy to forget that we were all white-knuckling it for the first couple of months. Every day was filled with existential dread. Would this trip to the grocery store kill me or someone I love? It’s exhausting to live that way.
During that time, I could not watch tv or movies or listen to music because they were not speaking to the truth of our new reality. I’d watch a tv show and fret how there was no social distancing and why the cast wasn’t wearing masks. Pop music was particularly difficult to listen to because it was so painfully vapid. How am I supposed to enjoy a love song when I might be a patient or a vector in this pandemic?
The only music that I could tolerate and gave me solace was ambient, classical, experimental, and instrumental music. It was the soundtrack for my stay-at-home lockdown. And if I found some relief with this music, why not share it with others? Any why not ask people I respect to share their mixes?
I’m humbled by everyone’s gift of generosity of time and effort. We’re all going through this together, each in our way. I’m grateful that during this pandemic that each guest deejay lovingly crafted mixes to share with us.
My first vaccination shot.
Today’s show is also special because today, I also got my first shot for the COVID-19 vaccination.
I was shopping for groceries when the Mercy Plaza Pharmacy called me and told me they had extra doses. Could I stop by for a vaccination? Most definitely.
My cilantro stymied the woman who was ringing up my items at the grocery store: were they regular cilantro or organic? She was about to do a price check when I explained that I needed to get the hell out of there to be vaccinated. I didn’t care about the cilantro’s cost; ring me up so I can leave! She understood.
The folks at Mercy Plaza Pharmacy couldn’t be nicer. They’re a family-owned business, and the owner checked up on me after my shot to see how I was feeling. We talked about San Diego, Sacramento, and our kids. This is going to sound weird, but I had such a great time that I can’t wait to go back.
So here we are a year later. We’re almost at the finish line. Hopefully, next year, this will be behind us, and we can all enjoy each other’s company. I’m looking forward to meeting some of you in person. Maybe I’ll even get to meet Peter.
Join us next week when our guest deejay will be Michał Milczarek.
See you then!
Ambientblog album art.
It’s my honour to open the second year of this series with my contribution. Of course, we can only hope that the series will continue for musical reasons, not because of the pandemic.
Clicking through the list of contributions, you’ll find that most of them are what I call mixtape-style compilations: a head-tail-mix of (full) tracks. Traditionally, my (Ambientblog) mixes are different (which does not mean necessarily ‘better’, by the way) in that they incorporate many sampled parts of tracks (a full-length track is either an exception or a very short track itself), mixed in a layered collage-style. I always try to shuffle the collage’s fragments so that they seem to melt together and thus start telling a different story.
Whether this is successful or not can only be determined by the listener.
This mix is simply named after the podcast Soundwave. It is a happy coincidence that it literally starts with waves—sonically manipulated by Jos Smolders—and ends with the same waves morphing into the sound of a cheering crowd.
Different kinds of soundwaves are all around us, every moment. Sometimes we’re aware; most of the time, we are not. This mix (hopefully) shows that it can be rewarding to take a moment’s rest to really listen and let the sounds affect you.
Frank Riggio’s Empreinte Initiale EP
