I was first introduced to Jolanda through her captivating work in Peter van Cooten’s mix for Soundwave (listen here), and I’ve been hooked ever since. I invited Jolanda to share a mix with us.
Jolanda’s mix features artists whose works are marked by their unique approach to sound and a profound sense of introspection. It is a haunting and deeply introspective exploration of the mystical power of sound.
Hailing from Italy, Jolanda has been making waves with her unique blend of organic and electronic soundscapes, drawing inspiration from her love of nature and the cosmos. Her album, Full Moon Session, was just released earlier this month, which includes live performances of songs from her Nine Spells album.
Jolanda also led the folk band She Owl, delivering two full-length albums and performing more than 300 concerts across Europe and the US. But in the past two years of isolation, Jolanda focused on a deeply personal project, one that connects her to her ancestral roots and promotes healing.
Jolanda has some words about her mix below.
Join us next week when our guest deejay will be Sanderson Dear.
See you then.
Jolanda Moletta
When I started working on my debut solo album Nine Spells, I wasn’t aware of other artists doing ambient/neoclassical/experimental music except for a few names. I didn’t know how my album would fit into these genres. I just had a vision of wanting to create something with only vocals and I imagined something meditative that was like a prayer, or an invocation. In months following the release of the first singles, it became clear that there was actually a community, and a scene, of these genres. My mix aims to put a spotlight on the many incredible women who are also creating beautiful music within this community. I am happy to now call some of these artists my friends, and others I would love to meet one day and maybe even collaborate with. So I truly do hope that you’ll warm to this mix and come to love their music as much as I have.
Today’s guest deejay is Sofia Nystrand, AKA Vargkvint.
For months, Sofia’s music kept appearing on my Spotify Discover Weekly playlists. If I didn’t find Sofia’s music there, she’d pop up on someone else’s playlist. Or I’d find her music on Bandcamp. In fact, Brueder Selke (CEEYS), played Sofia’s “Utåt” on their mix for Soundwave a few weeks ago.
There’s a reason for this, of course. Sofia has that magical ability to trasnport you to a world that is uniquely hers yet utterly familiar though her songs. Sofia deftly weaves folk, contemporary classical, pop, experimental music, and ambient. It’s a gorgeous thing to experience and I’m delighted to share her mix with you on today’s show.
If you’d like to hear more music from Sofia, she is featured on the Realismo Mágico compilation album from piano and coffee records. Some of the artists you’ll find on Sofia’s mix can also be found on the album (Klangriket, Sjors Mans, Jakob Lindhagen, Alexandra Hamilton-Ayres, Simeon Walker, Ceeys). Sofia has also just released a rework of the first track, “Pomegranate,” by Sergio Diaz de Rojas.
Sofia has some words about her mix below.
Before I get out of Dodge, I’m happy to report that this weekend I briefly had my wife and kids in the same house. It was short lived, though. My wife headed back to work Sunday evening, and the kids will be visiting their dad next week. But after months and months of being apart, it was a small blessing.
Join us next week when our guest deejay will be Jonathan Ammons.
See you then!
Sofia Nyland, AKA Vargkvint
When I was working on this mixtape, I wanted it to be centered around collaboration and how music can change when being transformed by another person’s creativity. I’ve just released a rework album where people have reimagined my songs from the album Hav (I have two of them included in the mixtape), and it made me inspired to find other remixes or reworks to include. One of my favorite songs of this year is the rework that Alexandra Hamilton-Ayes have made of Frances Shelley’s ”Evening Star”. Apart from the amazing reworks, I have included a few newly released songs, and a couple of my personal favorites from artists who I really admire.
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.
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 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.
Today’s guest deejay is Fitz Gitler, and he has a beautiful mix to ease us into 2021.
I met Fitz when I asked Jason Randall Smith (listen to Jason’s mix here) who he knew would be interested in sharing a mix on SOUNDWAVE. Jason did not steer me wrong. Fitz is a musician, deejay, and designs sounds for theatrical productions, many of those in collaboration with director Tim Lee. He also creates under the name Techniken Defunkus or Techdef.
I’m particularly fond of this mix because it was the perfect soundtrack for an eight-hour wintery drive to Sacramento last week. Fitz’s mix had my tapping out rhythms on my steering wheel and grooving in my seat. Don’t be lulled by some of the jazz standards because there are plenty of surprises. More than once, I found myself scrambling to purchase albums featured on Fitz’s mix. As I write this I’m listening to Dan Tepfer’s album, Goldberg Variations/Variations, which is a delight.
Join us next week when our guest deejay will be Pavlo Storonsky AKA Tineidae.
See you then!
Fitz Gitler Photo credit: Cyndi Shattuck
Twenty years ago, I met Jason Randall Smith behind the decks in a tiny bar in New York’s East Village, and music forged our friendship. I’m honored to be in his company and the full cast of mixes that Joseph has artfully assembled.
Jason and I were thrown together by our friend, EL Soundscraper, who I’ve known since junior high, but fortuitously reconnected with because of our shared love of music. Enrique (Soundscraper) called my tracks meditation music—not the sound, but because of how it functioned for me. This mix I created for SOUNDWAVE does that; it’s a sort of spirit guide through the insomniac thoughts of the small hours, and a kind of requiem too. This year has had no shortage of tragedy; there’s enough to go around.
I already loved music in college, but then I met Bill Hileman, aka Ronin Tengu, aka DJ Payce, aka Gandalf Punk. He gave me his world: hip hop, techno, ambient, jungle, acid jazz, funk, plenty of mischief, and more. He passed last month, too young, taken by cancer, not COVID. Bill is with me in every mix, laughing and needling me to keep searching. Too few experienced his true wealth of knowledge and love, but he influenced many, and his spirit lives on in his musical descendants.
It falls somewhere among the worlds of jazz and electronic music, but really it’s a sound design of sorts. I’m still exploring the loose idea “free-format” that I first witnessed in the middle of the night on college radio in the early ‘90s.
Protests blazed across the US, sparked by the killing of George Floyd, from the kindling of over 150 years of police brutality, systemic racism and hundreds of years of slavery. I watched police cars run into protesters. I watched police officers beat and shoot peaceful protesters. I watched protesters raze property, sometimes from their own communities. I’ve even watched a man armed with a bow with an arrow notched aiming it at protesters who quickly took him down.
It is nauseating.
It makes me ill that it’s come to this. I want to hope that out of all this anger, suffering and pain that some good will come of it. But I don’t think my country is ready to have an honest conversation about race that might lead to the healing that this nation so desperately needs.
I’m fried. Once again this show is a balm and a welcome distraction, brief as it is.
Our guest deejay on today’s SOUNDWAVE is Planet Boelex.
I met Planet Boelex through Travis Nobles of hiddenplace music. He suggested that I feature one of Planet Boelex’s live sets on solipsistic NATION, the electronic music show I produced. Planet Boelex’s sound music is impressive because aside from being beautiful it was also distinct. His personality is imprinted onto his music. Electronic music often sound anonymous because some musicians use stock sounds and loops. When you hear a song by Planet Boelex you know it.
I hope today’s show gives you some respite.
Next week’s guest deejay is Dronny Darko. I hope were all in a better place by then.
I’ll leave you with two quotes.
“I imagine one of the reasons people cling to their hates so stubbornly is because they sense, once hate is gone, they will be forced to deal with pain.”
— James Baldwin
“One is responsible to life. It is the small beacon in that terrifying darkness from which we come and to which we return. One must negotiate this passage as nobly as possible, for the sake of those who are coming after us.”
