Today’s guest deejay is Michael Jakucs, AKA Sunwarper.
After hearing Michael’s music in both Brian Sangmeister and Forest Robots’s mixes for Soundwave, I invited Michael to share a mix. Based on Michael’s music, I knew we were in good hands. But I did not anticipate the surprising directions he took his mix and yet felt utterly familiar.
Let me explain.
The focus of Soundwave is ambient, classical, experimental, and instrumental music, with an emphasis on the ambient. And that’s fine. I’m all about that ambient life. But for me, it’s always a delight when a guest shares a mix that leans into the show’s classical, experimental, and instrumental aspects. Christian Sager’s doom metal/math rock/hip hop mix comes to mind. As does Charles Hazlewood’s mimimalist/modern classical/free jazz mix.
What makes today’s show special, for me, is that it’s very much steeped in shoegaze and dream pop. So while I only know several of the artists in Michael’s mix, I already feel well acquainted with the music I’m unfamiliar with. It’s very déjà vu. I keep asking myself, “Isn’t this a 4AD release?”
Michael Jakucs, AKA Sunwarper
Michael just released a track composed for the season finale of the webcomic The Eagle and the Snake called “Forever Becoming.” He also has a full-length album, Radiant Visage, that will be released on October 14 and available for pre-order on September 9.
Join us next week when our guest deejay will be n5MD founder Mike Cadoo.
Today’s guest deejay is Johan de Reybekill, AKA Phaedrus.
I discovered Johan through Quasi, the album collaborated on with Dronny Darko (listen to Dronny’s mix for Soundwave here). I was swept away by the experience and listened to Johan’s projects and concerts. Of course, I invited Johan to guest deejay on Soundwave, and he’s shared something wonderful with us.
I have a routine for my four-year-old grandkid when it’s time to sleep. I tell him a story that includes events from his day and his friends, the Little Old Mouse and Purple Monster. Then I play some ambient music for him to drift away to, usually Brian Eno, whom we call Uncle Eno. My go-to’s are Eno’s Ambient 4: On Land and The Pearl, an album he recorded with the late Harold Budd. I’ve listed to a lot of Brian Eno since becoming a Dziadzia (that’s Polish for “grandpa”), and as much as I love Eno’s music, sometimes that means switching things up. Johan doesn’t know it, but I’ve used today’s mix to send my grandkid off to Sleepytime on more than one occasion.
Johan has words about today’s mix below.
Join us next week when our guest deejay will be Sunwarper.
See you then.
Johan de Reybekill, AKA Phaedrus
In this mix I have worked with subtle contrasts like: “noisy / minimalistic”, “melodic / droning”, “dark / gentle”, “static / volatile”. A majority of the pieces on the mix is from some of my favourite Scandinavian artists.
The process of creating the mix made me realise just how much I love listening to music in that special way, where I am actively listening to the music in depth; its composition, qualities and details.
I found myself going for long walks just to listen to the mix in its entirety, go home and make adjustments, go for another walk, and so on. I loved the process of working with my own and others’ music as an integral part of what came to be the mix. It was a pleasure and an honour to contribute to Soundwave.
Today’s guest deejay is Matt Donatelli, AKA Survey Channel.
I met through Francisco Dominguez. After Francisco shared his fantastic mix earlier this year, I asked him who he thought would want guest deejay on Soundwave. Francisco recommended Matt, and after doing a deep dive on Matt’s music, I wholeheartedly agreed.
If you love today’s mix, and you will, then you’ll be happy to know that Matt spins on CAMP Radio. His show is called Aural Dogma. Tune in!
Matt has some words about his mix below.
I am increasingly grateful for Soundwave. I initially launched the show to help cope with the stress and isolation of the first months of the quarantine lockdown. I told myself that I would wrap the show up once the pandemic was reasonably under control: Soundwave would have severed its purpose. But the pandemic is not done with us. Over the last few months, I’ve seen more and more people who are frayed and exhausted. I’m a bit worn out myself, and Soundwave continues offering respite and delight. I hope you feel the same.
The Metallic Ratio by Eva Kierten
Before I go, I want to let you know that Other Forms of Consecrated Life (listen to their mix for Soundwave here) just released Eva Kierten’s new album, The Metallic Ratio. Kierten continues to gently plumb emotional depths.
Lately, I’ve been seeking out a variety of cleansing soundwaves in countless flavors. From the oddly contemporary sounds of “early” electronic group Syrinx, the the folksy-pivot of ex-Sneaker Pimps vocalist Kelli Ali, to the wonderfully weird Iasos. I find myself constantly visiting old favorites, as well. This mix is a snapshot in time of the tunes that spoke to me; working through me as I built it. I’ve added a few minor soundbytes to a couple of the tracks — I find the mixes with a personal touch that can tell a story to be the most successful.
Overall, I hope this mix acts as an inspiration for listeners to continue to seek out music in any genre; there is always something waiting to be heard.
I met Hessel through Soundwave guest deejay Harrold Roeland (listen to Harrold’s mix here and here). I asked Harrold who he thought would share a mix on Soundwave, and he recommended Hessel. I would have extended an invitation to Hessel based solely on Harrold’s word. However, listening to Hessel’s albums on his Bandcamp page merely confirmed Harrold’s regard for Hessel’s music.
Hessel is a musician, composer, and producer. In the 60s, Hessel’s fascination with electronic audio devices, in combination with a preference for writing and performing extremely idiosyncratic music, created a wide range of experimental electro-acoustic music, sound-poetry, and contemporary music radio productions.
Hessel ran a private cassette label Exart from 1982 to 1995 and released work under various pseudonyms such as Y Create, Forbidden Photographs, and Gorgonzola Legs. More recently, he has released Ymuiden, EPoX with Martijn Comes, and has a track featured in the Daredevil Meditations compilation album.
Hessel has some words about his mix below.
Join us next weekend when our guest deejay will be Survey Channel.
Musician, composer, and publisher Peter Rehberg unexpectedly passed away at 53 on 22 July 2021. Peter Rehberg was born in the UK in 1968 and returned to his family roots in Austria after growing up in Hertfordshire. He subsequently became a crucial figure in the world of contemporary electronic ‘underground’ music after making his debut in 1995. He achieved this mainly through the Viennese label Mego, renamed Editions Mego in 2005. Rehberg made his debut as Pita on the Mego label with the 12-inch Fridge, a collaboration with General Magic. A year later, his debut album Seven Tons For Free was released. The Mego label, especially after Rehberg took over as curator, grew into an influential label for new developments in electro-acoustic music. Mego became the catalyst for the musical adventures of artists such as Christian Fennesz, Jim O’Rourke, Stephen O’Malley, Russell Haswell, and Florian Hecker. Later, under Editions Mego, the label regularly released leading works by artists such as Oneohtrix Point Never, Kevin Drumm, Bruce Gilbert, Mark Fell, Oren Ambarchi, Bill Orcutt, and Emeralds. Peter Rehberg also continued to compose, produce and publish his music, often in collaboration with others. The collaboration with Stephen O’Malley under the name KTL resulted in several albums, of which KTL’s ‘VII’ from 2020 is the most recent.
Rafael Anton Irisarri “Mellified”, Peripeteia Label: DAIS. (2020)
Irisarri’s album Peripeteia fuses drone, electronic and ambient music. His immersive compositions are visual, panoramic, and cinematic as sceneries and films inspire them. Some of his music would suit artistic sci-fi or horror movies. Irisarri’s newest album, Peripeteia is based on a sudden change of circumstances in his life.
Eli Keszler “The Basement”, The Scary Of Sixty-First (OST) Label: Deeper Into Movies Records. (2021)
For the past five years, the London / NYC film collective Deeper Into Movies has been screening essential contemporary cinema, overlooked gems, and rarely seen documentaries in reparatory cinema and DIY spaces. In December 2021, they launched the new label Deeper Into Movies Records, which promises to continue Deeper’s mission into sonic form by releasing recent scores from emerging filmmakers and lost or rereleased soundtracks. This first release from the new label is Eli Keszler’s score for Dasha Nekrasova’s notorious award-winning debut feature film The Scary of Sixty-First.
Dale Cooper Quartet & The Dictaphones “Huis Chevêchette”, Astrild Astrild Label: Denovali. (2017)
The characteristics of Astrild Astrild are classic drone soundscapes mixed with deep tone saxophone parts that became Dale Cooper Quartet’s trademark since the release of their debut album in 2006. Slowly paced, the new tracks follow the Quartet’s basic structure and classical sound. The new full-length conceals more live takes, including guitars, bass, and Rhodes keys. With these new elements, the songs of Astrild Astrild are pushed further into a large tunnel of deafening rhythmic parts and field ambient textures.
Claire Rousay “Peak Chroma”, A Softer Focus Label: American Dream Records. (2021)
A Softer Focus, released on American Dreams Records, is a leap towards a neatly holistic perspective of music-making. American percussionist and sound artist Claire Rousay is an archaeologist. She digs and sifts. Different layers overlap different substrates of meaning, emotion, and compositional complexity. Dirt gets in the way, requiring a gentle brushing aside to unveil whatever unstable nugget lies beneath. “Peak Chroma” is one of the two non-instrumental tracks on the record. With its collage feel, it generates beauty in buzz.
Cortini is best known as a longtime member of Nine Inch Nails. While NIN keeps him busy, he has also developed a reputation for collaborating with luminaries from the dimmer worlds of ambient, drone, and noise. The album Scuro Chiaro centers on one specific instrument, created by Cortini himself: the Strega. It is a semi-modular synth and effects box. With bass, percussive treble, and a flute-like whisper, Nessuno is one of Scuro Chiaro’s highlights. Cortini integrated his favorite features from various cult-legendary modular systems into one small unit. He uploaded his musical consciousness into this machine and subjugated it to his will.
Loscil “Orta”, Clara Label: Kranky. (2021)
On the album, Clara composer Scott Morgan takes the source material and breaks it down to its most basic essences. With this foundation, he paints deep colored sound-beds. Morgan uses a three-minute composition performed by a 22-piece string orchestra in Budapest for this album.
The final piece mixes Sanctuary, Hessel Veldman, and Andy Stott.
Composer Jose A. Parody says: “In my mind, ‘In Absolute’ is a very visual piece. Much like a close-up shot in a film, slowly zooming out to reveal an intricate scene, ‘In Absolute’ embodies the same feeling. A simple idea ever-expanding. Without the brilliant string and woodwind ensembles we recorded in Iceland last summer, it would not have been possible.”
Ymuiden is an experimental audio sound map of IJmuiden (1876), Noord-Holland, The Netherlands; a city where Hessel grew up and still lives today. A place that has seen much happen has seen many changes, a place of hard labor and knows a short raw history. The album, comprised of seven experimental dark ambient soundscapes, is laced with industrial elements, creating a hypnotic, dark undercurrent of sound.
Andy Stott “How It Was”, Faith In Strangers Label: Modern Love. (2014)
Faith In Strangers may be body music (in the broadest sense); it invariably favors the dripping, pulpy atmosphere over the vestigial pulse of Stott’s earlier work. “How It Was” exemplifies this approach: though a small army of drums gallops beneath the surface, we only hear the rattling of the metal wall they seem to be running into. Subdued pads carry the melody, and while they’re quieter than the stomping rhythms, they have the power to dominate the mix, smothering us with sweetness. I’m glad we published this on Production because it revealed some problems that were not apparent tint he developer device emulator.
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.
Yann guest deejayed on Soundwave last year, and it’s a delight to have him back on the show. And it’s not just because his mix is utterly fantastic, but because today’s show reminds me that I’ve known Yann since 2009 when I showcased his label, Dragon’s Eye Recordings, on solipsistic NATION.
Not that I know Yann besides what I see him post on social media. But when I launched Soundwave, I reached out to many people through solipsistic NATION, and Yann was one of them. I like his label, and I respect Yann’s thoughts about music. The mix he shared on Soundwave was beautiful and unexpected. Today’s show is no less lovely and surprising.
So, no, I don’t really know Yann. But it’s good to know people are creating, releasing, and sharing music because it needs to be heard.
Yann Novak
Yann included “A Trembling of Light” in his mix, which is from his recently released album, Reflections of a Gathering Storm. It sets the tone for today’s show. If you like it, you might consider giving his album a listen, maybe even spend a few bucks on it. Maybe play it loud enough that the neighbors can hear it, like I did.
Join us next week when our guest deejay will be Ishmael Cormack.
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.
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.
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.
