Recently going through some archives, for the sake of cd-r salvaging and transference. Recordings of some mix sessions I did about 7 year or so ago, when -- one among other radio shows I did on a local community station in Chicago -- I was one of the hosts of an experimental music/"avant"/"noise" type program.
What this is, or was, was me in the studio booth between the dark hours of midnight and 1 A.M., in a slot that had been allotted for sending such stuff over the airwaves. So after two hours of standard-format hosting complete with the usual blahblah, we had that third of hour of sponsor-/PSA-free midnight programming to mix straight through for an hour, making use of the studio's gear as we saw fit. If the station's engineer had done his job properly -- which was infrequent, because they were usually in arrears on paying him -- we had 3 turntables, 3 CD players, 2 tapedecks, and a DAT to work with (plus means for patching a laptop in, if you disabled one of the tapedecks). And of course the multi-channel mixing board. I did a lot of these shows, co-hosting on an alternating schedule with a local noisician of note who worked wonders during the slot in question.
Several "classic" or obvious choices in this edition. I think my point at the time was to challenge myself, to use a fair amount of material that for various reasons didn't "work" in the sort of mixes I was doing; that was too "difficult" -- either too "thin" or too sporadically busy or whatever -- to easily lend itself to the way I was mixing with the studio's soundboard and equipment. This explains the use of Varèse and Gilmetti and about half of the things in the selection. The intent being to try and make it work via remixing -- mostly by ay of some real-time manipulation of the material, but also heavily supplemented with some processed loops and excerpts that I'd prepared and burned in advance. Originally, I was midly content with the results of this one; but going back and listening to it again after a long time, I think it sounds better than I thought. Maybe not one of the best I did, but not at all fucking bad, in the end.
This being a real-time "radio event" or whatever type thing, recommended conditions would be: Late-night listening, preferably with headphones. So have at it, if you're so inclined.
::: dwnld ::::
◼ vid / 'forever in your infinite clutch' / phthalo / 2001
◼ edgard varèse / 'poème électronique [rmxd]' / columbia / 1972
◼ vid / 'genome illustration' / phthalo / 2001
◼ holger czukay / 'boat woman song [rmxd]' / spoon / 1982
◼ vittorio gelmetti / 'l'opera abbandonatta... [rmxd]' / nepless / 1997
◼ walter ruttmann / 'weekend: dj spooky remix' / intermedium / 2001
◼ einstürdzende neubauten / 'wasserturm' / pvc / 1984
◼ liminal / 'before and after' / knitting factory / 1995
◼ philip jeck / 'vinyl coda i' / intermedium / 2000
◼ sub dub / 'babylon unite ii' / the agriculture / 2001
◼ m singe / 'untitled, live @ cultural alchemy' / soundlab / 1999
◼ christian marclay / 'dust breeding' / atavistic / 1997
◼ morphogenesis / 'live @ shepherd's bush empire' / paradigm / 2001
◼ michael prime / 'hallucinations of falling' / digital narcis / 1999
◼ christian marclay, dj olive & toshio kajiwara / 'live in detroit, 2002' / asphodel / 2004
◼ richard h. kirk / 'synesthesia' / grey area / 1992
◼ steve roden : in be tween noise / 'the radio' / sonoris / 1999
◼ 310 / 'on the lamb' / 310 / 1997