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 ~”
Today’s guest deejay is Mike Cadoo, the founder of n5MD, a much loved and respected independent record label based out of Oakland, California. n5MD focuses on ambient, modern composition, post-rock, and experimental electronic music.
As a long-time fan of n5MD, I showcased Mike’s label on solipsistic NATION, my electronic music show, years ago. Mike guest deejayed on Soundwave in 2021 and returns today with a much-needed mix for me.
I can’t go into the details, but last week I nearly died. You’d never know it by looking at me. Physically I’m fine. But I’m shaken. I find that I quickly get emotional about things. Sometimes I have a profound respect for life, all lives. Sometimes I’m filled with existential despair. I’m told this will pass in a few months. In the meantime, I’m having these overwhelming experiences.
Mike doesn’t know this, but his mix helped get me through the week.
Mike has some words about today’s mix below.
Join us next week when our guest deejay will be Giulio Aldinucci.
See you then.
My song, “Sunrise at Ironhorse Trail,” included in today’s mix, is from a release that I will be releasing on my personal Bandcamp page on World Alzheimer’s Day. My father passed this January in what can best be described as complications due to mixed dementia. All proceeds will be donated to Hope Hospice, which was very integral in the comfort of my father in the last days of his life, as well as, and maybe even more importantly, my mother’s grief counseling after his passing.
Today’s guest deejay is Robert Farrugia, co-founder of Complex Holiday, an itinerant label for inside-out ambient and sound art tomfoolery.
Robert was our guest deejay last fall, and he returns to Soundwave sharing another lustrous mix.
For me, Robert’s mix captures the essence of ambient music, as explained by Brian Eno, who compared ambient music to a painting. You can enjoy a painting on two levels. On one level, you engage with the painting, looking at it, studying it, and reacting to it. But on another level, the same painting is on the periphery of your consciousness. But it’s still there, subtly affecting you.
I’d find myself immersed in Robert’s mix and then be distracted by an email or text message, lost in thought, and slowly becoming aware that Robert had shifted the territory in his sonic landscape. And then the cycle began again.
Robert Farrugia, Photograph by Chris Vella / Storbju
Robert has included a few releases from Complex Holiday on today’s show. Ben Mifsud Joslin album, New Life (Robert was involved in the recording process and performed additional instrumentation on Ben’s album), and Daniel Vujcic’s album, Palinopsia, will be released later this year. Robert himself makes an appearance with “Iota.”
Join us next week when our guest deejay will be Riz Maslen.
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.
Today’s guest deejay is Robert Farrugia, co-founder of Complex Holiday, an itinerant label for inside-out ambient and sound art tomfoolery.
I’m usually fastidious about tracking how I come to know guest deejays on Soundwave. Unfortunately, my initial conversation with Robert began on Facebook Messenger and that chat is lost to the ether. Well, really, Facebook has that conversation stored somewhere. But it’s as good as gone for me.
Whatever lead me to Robert, I’m glad I invited him to join us.
What you may or may not know is that I get the mixes you hear months in advance. I usually enjoy it for a week or two before I move on to listen to the next guest deejay’s mix. I’ll also re-listen to the mix a few weeks before their show is released. I listen to the mixes a lot.
Robert Farrugia, Photograph by Chris Vella / Storbju
Robert’s mix was a welcome companion for the last week. Nationally, the U.S. is caught between wildfires and hurricanes. Internationally, the U.S. has left Afghanistan. And on a personal note, the was my kid’s first week at high school. While our area is 75% vaccinated, I’m still anxious about how this will work out. Within the first week there’s already been a report of a student with COVID-19. Robert’s mix felt like an echo of how I’ve been feeling about all of it.
There’s a tension that builds up early in Robert’s mix that unravels nearly halfway through before exploring different sonic territory. The mix ends hauntingly and somberly.
Today’s guest deejays are Potsdam-based Brueder Selke, brothers Sebastian and Daniel Selke (CEEYS).
Over the years, I’ve gotten quite good at jotting down notes on how I meet people. But sometimes, I forget to capture that information, and in this case, I don’t recall how I met Sebastian and Daniel. If I had to guess, I believe I discovered them while perusing Bandcamp for new music.
CEEYS’s albums explore and combine experimental, minimalist, avant-garde, pop, jazz, ambient, and classical chamber music. I love all that stuff, and Sebastian and Daniel distill all those forms of music into a heady listening experience, something you can lose yourself in. I’ve had “Yes, Brick By Brick” on repeat for few hours, for example.
Their mix for today’s show was a surprise. I trusted they would craft a mix worth hearing, and while it captures their musical sensibilities, it also subverted my expectations. And the mix is dense. In the space of 40+ minutes, you’re going to hear music from 28 different artists.
Sebastian and Daniel have some words about their mix below.
Paleowolf’s Cenozoic album
Before I wrap things up, I want to mention that Paleowolf has released a new album, Cenozoic. Paleowolf continues to create music inspired by totems of prehistoric animals and describes Cenozoic as the spiritual successor to Megafauna Rituals. It’s impressive how much material Paleowolf has churned up within his self-created genre. Listen to the Soundwave Paleomix here.
Joins us next week when our guest deejay will be Roel Funcken.
See you then!
Brueder Selke (CEEYS)
For us, two brothers coming from beyond the Iron Curtain, the Wall, with a strikingly serene sense of modesty and humility, rooted in the daily improvisation to manage and resolve shortcomings during Communist-era GDR times and the later reunion of Germany, the most intrinsic part of being a musician is the encounter with like-minded friends and fellows.
The aim of this handpicked list of talent is to blend established and emerging artists from diverse genres and origins. Some even shared already the stage with us while others are invited to come over to our little filmtown Potsdam, in the future.
Thanks to Joseph, who gave us the opportunity to curate this cozy playlist.
Today’s guest deejay is João Guimarães, AKA Emil Zapffe.
If you’ve been listening to SOUNDWAVE for the last few weeks, then it will come as no surprise that I discovered João on Bandcamp.
When SOUNDWAVE comes up in conversation with those unfamiliar with ambient music, I sometimes have to explain that not all ambient music is swathes of pretty sounds. Ambient can be haunting and discordant. Or, in João’s case, it’s grand in scope. If you want to experience it yourself, go to João’s Bandcamp page and play any of his songs with the volume cranked to 11. His music will shake your windows and vibrate dishes off your table. You’ve been warned.
But if you’re expecting that kind of experience on today’s show, then you’ll be just as surprised as I was. João’s mix covers quite the gamut. Yes, there is that big sound, but it’s also delicate, mournful, and lovely. It’s precisely the kind of mix I’d share with people I have to explain the depth and complexity ambient music offers.
Oh, and I also appreciate that João and I appreciate Peter Wessel Zapffe’s nihilist essay, “The Last Messiah” (listen to an excerpt from the essay on my October 2020 mix). I usually embrace Nietzche’s existential exuberance, but it’s easy to waffle and settle into existential dread, something Zapffe (Peter Wessel, not Emil) explores in his essay. As long as I don’t fall into Emil Cioran’s existential disgust, I guess I’m doing okay.
João has some words regarding his mix below.
Before I wrap this up, I feel the need to mention that it was this time last year that California went under lockdown. Like most people, I’ve gotten along with my life. I work from home, I rarely go out, and when I do, I wear a mask even when I don’t need to. Vaccinations for the entire U.S. are just around the corner. But a year ago, we were all white-knuckling it, and every day was filled with angst. I’m relieved that we’re about to turn the corner.
Join us next week when our guest deejay will be Rhucle.
See you then!
João Guimarães, AKA Emil Zapffe
For this mixtape, I tried to make a selection of compositions that touched me this past year and permitted me to escape reality for a while. Our world outside changed, but our inner world changed too, with lots of questions about the nature of existence, the fabric of society, our strengths, and our deepest fears. Through these sounds, I could cope with reality and dream outside its claw, making my mind and spirit expand beyond self-imposed barriers. I hope the listeners can expand their senses and spirits, and for a while, inhabit their inner world, free of any form of limitation or weakness. In times of fear, all we have is our imagination.
Thanks to Joseph Aleo for this invitation, it’s an honor.
Some months ago, Jason Engling was a guest deejay on SOUNDWAVE (you can hear his mix here). After Jason’s show I asked who he thought might be interested in contributing to SOUNDWAVE, and he recommended Steve.
I’ve been a fan of Jason’s music since discovering him through my electronic music show, solipsistic NATION. If Jason recommended Steve, then as far as I was concerned, it was a done deal. I’m not disappointed with Steve’s mix, and neither will you. It’s a thing of beauty. It’s also a perfect way to wind down four years of a corrupt and inept presidency and an attempted coup. Whew!
Steve has some words about his mix below.
I want to note that Steve included a lovely track from Brian Eno. That’s not anything remarkable, given that Eno practically invented the ambient genre. What is impressive is that Eno pitch-shifted his voice, creating a vocoder-like effect. I usually hate that sort of thing, but Eno being Eno, the song gave me goosebumps. And when I looked over Steve’s playlist and saw that the track was by Eno, I thought to m myself, “That makes sense.”I thank Steve for introducing me to an Eno track I had not heard before.
W. David Oliphant’s Remote Listening: Rag Dun vs Life Garden album
Before we get to Steve, I want to share with you the latest release from W. David Oliphant, who guest deejayed on SOUNDWAVE in September. The album is called Remote Listening: Rag Dun vs Life Garden. Oliphant describes remote listening as “the practice of seeking impressions about a distant or unseen target, purportedly ‘sensing’ with the mind.” Like everything else I’ve heard from Oliphant, his music is stepping into someone’s fever dream.
Join us next week when our guest deejay will be Ishmael Cormack.
See you then!
Steve Swartz
I don’t know anyone who escaped the intense gravity of 2020. In addition to a pandemic, this year also saw the unexpected passing of my father. A loss I’m still trying to process. I’ve spent a great deal of time contemplating death, disease, and division over the last several months. Music has always been my primary outlet of expression. As a result, I made a lot of music in 2020. (Four releases!) But as I land on the other side of them, I find myself increasingly feeling lost and out of place. I am often daydreaming about being somewhere else and unreachable. This sense has carried over into my music listening habits as well. I’ve desired quieter sounds that feel less tethered to a place or time. Fewer words. More feeling. To, perhaps, communicate something words cannot yet find. And that is what I have found in these songs over the last several months. To me, each of these pieces feels like rivers that drift or breeze stirring trees in a geography I would prefer to dwell. So I sit in these songs and let them fill my house throughout the days and evenings until, hopefully, I embody the spirit of their imagined origins.
It’s late and its been a long week so I’m going to keep this short.
The only thing I can think off the top of my head that’s COVID-19 related is that supposedly a bunch of teenagers on Tik Tok punked President Trump earlier today by reserving tickets for his rally in Tulsa, Oklahoma. He was supposed to pack a stadium full of supporters but instead it was barely half full. Was it teens that did this, though? At this point I wouldn’t be surprised if it was pulled of by Russian or Chinese hackers. In any case, whoever did it, well done. That means half as many people might get infected with the virus. Reading Trump’s rage tweets is going to be something.
Our guest deejay for today’s show is Jaime Irles.
Jaime was one half of Known Rebel, an electronic music duo from Ibiza. I very much wanted them to interview them for my electronic music show, solipsistic NATION but it never happened. I always regretted missing that opportunity so when I launched SOUNDWAVE Jaime was one of the first group of people I contacted to participate on the show.
Jaime was kind enough to send me this mix we’re going to listen to on today’s SOUNDWAVE. It’s spectacular and ranges from Burial to Ryuichi Sakamoto and I know you’re going to love it.
Jamie’s going to tell us all about his mix below but before I go I encourage you to pick up his latest album, Cardonova. I was expecting sometime more in the style of what he was recording when he was in Know Rebel but I was delightfully surprised to hear the new horizons he’s exploring. It’s got more of an 80s synthwave kind of sound. Go get it, its only a few a few dollars. The price of a cup of coffee, as they say. And while you’re at it, if you dig any of the the songs you hear on today’s show, go buy them too. Sure, you could stream it, but then the artists only get the tiniest fraction of a penny. They deserve more than that. Splurge and buy one of their songs. Better yet, buy an entire album.
Next week’s guest deejay is Tijs Ham. See you then!
Jaime Irles
The set I have recorded is a mix of organic soundscapes, melancholic melodies, textures and darkambient sounds with a strong cinematic touch.
Burial has been one of my musical referents for years and wanted tostart the set with one of his latests works. “State Forest” is full of gloomy ambient textures and foggy atmospheres.
Lorn is one of the usual artists on my spotify lists, this specific subject takes me straight to an imaginary cyberpunk movie.
I came across A Winged Victory For The Sullen’s “Retour au Champ-de-Mars” a while ago looking for movie soundtracks. I haven’t had the chance to see the French movie In the Shadow of Iris, but the soundtrack is just as beautiful as it is powerful.
“Encounter Me In The Orchard” is a relatively new track from Polish producer Jacaszek. I love the mix of reverb drenched melodies and sonic textures on thisone.
Lauge and Matt Tondut’s “Above the Clouds” is ambient music at it’s finest, melancholic soundscapes that keep the cinematic vibes of the set.
Nicolas Winding Refn is one of my favorite directors and Too Old To Die young one of the best series I’ve seen lately. Watching the show is like being in an art gallery, watching one beautiful moving painting after another and as an accompaniment to that visual work of art, the music of Cliff Martínez with one of his most outstanding works. “I’m Hunting” is the best fit on set but could have used any of them.
The “Annihilation” end-scene wouldn’t have been this impressive if not for this amazing piece of dark ambient. Not the typical Moderat song but I wish they would do more music on this direction.
Lorn again, not much to comment on, I just love “SILHOUETTE “ and his haunting landscapes of sounds.
With Ryuichi Sakamoto and Oneohtrix Point Never’s Rework you can’t go wrong. Daniel Lopatin is one of my main influences and this trackis a clear example of why. A beautiful piece of art.
“Naval” is the last track of from my Cardonova EP I released in April. The album is an eclectic mixture of downtempo, synthwave, and dark ambient sounds reminiscent of past decades,evoking soundscapes and leading the listener through a journeythrough the depths of oneself. I named the track in honor of Naval Ravikant, an Indian American entrepreneur and investor that really inspires me.
I’ve expanded the scope of SOUNDWAVE by inviting musicians, deejays, podcasters, etc to contribute mixes to the show. I’ve been overwhelmed with their generosity and support.
Last Sunday’s show featured our first guest deejay, Sean Horton, who provided a gorgeous mix of music. All week long people have shared with me how much it meant to them. On today’s show we’ll hear another mix of music no less beautiful than Sean’s, this time from my old and dear friend, Steven Howard.
I met Steven last century one day while I was wrapping up my show at WMFO. He was their be trained by one of our staff but for whatever reasons that deejay failed to show up. I gave Steven a 15 minute crash course on how to operate our board, wished him well, and ran off to work.
Steven and I became fast friends and he introduced me to so much music. Over the decades I’ve watched Steven meet the girlfriend he would later marry, become a proud father of two boys, move from Boston to Asheville and help launch two radio stations. You can catch his show, Mental Notes, on AshevilleFM.
Steven was one of the first people I asked to participate in SOUNDWAVE. You will, of course, love his mix but what I think you will really enjoy is the field recordings he weaved into the music. It’s a reminder of the world that’s out there waiting for us when it’s safer to leave our homes.
Before I let Steven talk about today’s show I implore you to purchase any of the songs you hear on today’s mix or any mix you hear on SOUNDWAVE. The artists are pouring their hearts into each track. Your purchases of songs or albums not only helps them continue working on their craft but also puts food on their tables or pays for the roof over their heads.
I knew I had some field recordings on my phone. My intention was always to use them somehow. As I started going through files of artists in my digital library, I dropped tracks into a folder for your project. It was easy to pick the tracks I wanted. I only picked 9 between A-O in my experimental section of my digital library. I then sequenced those into an order roughly resembling a fantasy walk in nature.
Often when I would drive to work in South Boston at 4 am, I’d listen to ambient music like Aphex Twin’s Selected Ambient Works Vol II. I always loved how the city looked with the backdrop of dark ambient playing. When I moved to Western North Carolina I would take drives into the mountains or onto the parkway sometimes alone. Ambient worked well there, too.
Being in many different time slots on the radio has moved me further away from experimental sounds over the past handful of years. I have always felt that way about experimental radio. Sometimes I’ve felt like I’ve made all the segues I needed to make. Then you come along and ask me to do a short 30 minute project. I realize if I’m to make a piece, it has to include some original work.
In the layering of these pieces as I sequenced them, I imagined walking in some unknown place, as if superimposed on a green screen and looking down a crater at pulsing orb embedded in a forest. While it looked ominous there was no danger. I passed along wind whipped water of a mountain lake and looked up and saw the late morning sky and heard a plane’s echo of the mountainside. Behind some five miles back, that orb has flown off. I hear it and look.
My heart is exhilarated. I feel good. I’m nearer my goal with the others at camp. The stars are coming up and it’s been a long day. It’s time to feed.
Steven Howard “Field Recording: crows in trees before sunrise (Three Lakes, Wisconsin – July 7, 2019)”
