Part of the extreme sport-like difficulty of being a music mixer is attempting to blend contradictory styles of music. The segues must remain germane to the integrity of the entire playlist. It’s no easy feat, and often, like painting a painting it’s the accidents that turn out to be best parts of the canvas.
On this second volume of yuletide tunes (even more so than on Volume 1), I attempted to do just that: Have happy accidents. So you’ll hear Big Band blasters dovetail into country songs that shift into solemn carols, and classical instrumentals giving way to polychromatic pop numbers.
Some words about some of my choices:
The Carpenters‘ Merry Christmas Darling is, to me, the last really stellar Christmas song to make its way into the honorable holiday music canon. The title alone calls back to the 40s or 50s; and Richard’s arrangement makes it work in ways that other contemporary Christmas tunes can’t duplicate. And anything with Karen’s vocal is transformed instantly into something golden. Instead of featuring a cut from the last truly great modern Christmas album, 1963′s A Christmas Gift for You from Phil Spector, I chose this song.
The most beautiful non-secular Christmas song is O Holy Night, from the French Cantique de Noël. And its history and transformation over time is fascinating. The elegance of the melody married to such compelling lyrics: Fall on your knees! O hear the angel voices! O night divine, the night when Christ was Borne — makes for something astonishing. We’ve heard the song so many times — usually delivered with blaring glory notes and glissandi — that the song’s impact has dulled. But country singer Martina McBride, with her open, clear tone and natural annunciation brings everything that’s mystical about the song into high relief. This is the finest version I’ve experienced. Read more
This is part 2 of my In A Landscape mixtape. Part one encompassed more of an ambient, ethnic-tinged, bardo balm. Part two? Well, prepare yourself.
The closing mix was inspired by astrologer Kate Petty, in particular her detailed investigation of the various permutations of the ongoing and epic Uranus Pluto square. As she writes in Reclaiming the Apocalypse: “An apocalypse (meaning ‘un-covering’), translated literally from Greek, is a disclosure of knowledge … a lifting of the veil or revelation…”
How to make a mix that channels apocalyptic chic? You can’t. A demiurge must be summoned and control relinquished. Before you know it the tracks are selected, sequenced and you’ve tumbled down a rabbit hole of gyrating goodness. The tonal structure of this mix — like fire and water — should steam and float about your brain like an ember or bubble.
Included: 80s synth classics (Martin Gore‘s remake of Sparks’ Never Turn Your Back on Mother Earth and the Eurythmics‘ Jennifer, an ode to looking fabulous while drowning), a 50s R&B scorcher from Ruth Brown. For movement and joint support, several dance and house cuts culled from the discursive Morse code of our data-dotted Age of Anxiety. And a bonus track: A morose rap/narrative from Schoolboy Q that you can dance to too — the best cut from his new LP Habits and Contradictions.
This is the first section of a two part mix. I’d had some requests to put something together that wasn’t so dance and beat-oriented (as this month’s earlier mix).
And so here is what you get:
Atmospheric autumnal tracks that span classical, world, ambient, glitch, David Lynch, chill, zombie (whatever that is) and pop.
This collection is best experienced with wine and natural lighting.
Please no synthetic scents or substances while listening.
Black holes. We all ponder their mystery and often our life can feel as though we are living right on the edge of a black hole, shaking, shattering and ready to be sucked — in — to — smithereens!
There’s a scientific term for the edge of the black hole. It’s called the event horizon.
“Accretion discs are the beautiful tails of a black hole, formed by stars being dragged into that invisible thing that spells the end of matter, the observable universe, and known physics. They’re nightmarish, really. But from this distance they’re beautiful stationary things. By the time we look at them they’ll’ve already spiralled, changed, moved, chewed up who knows how many worlds.”
In fact as you’ve read this entry several stars have already gone down the rabbit hole. Where will they emerge?
You can watch the video above or read about the entire production here.
Today’s post? Anything but verbiage.
So I made a music mix while Mercury stationed in Scorpio and triggered a ping pong of sonic impressions which I tracked, mixed and recorded.
I like the Renaissance approach to creativity. In addition to my work as an astrologer I like to publish, paint and I’ve recently finished a teleplay with my writing partner, Noble Smith. Having worked as a DJ decades ago in Hawai’i, I’ve never lost my love of a good segue and so I mix tape too.
A note about the collection of tunes below. I avoid most anything that’s considered pop, not that I dislike pop music but simply because there’s so much of it that’s not good. Too, unless a songwriter is really gifted, like Aimee Mann or Elvis Costello, I get bored with confessional writing as I’m not that interested in hearing people’s stories about love calamities or the Rolex and weed they just purchased.
That leaves electronic and ambient music as my primary placeholders. But I also love jazz (50 and 60s especially or really old jazz, like early Duke Ellington and Louis Armstrong). I’ve a penchant for soul music from the 70s and I also enjoy pounding modern dance music that knows how to swing and not just thump. So expect all of that.
Anyway, I said I’d do anything but compose words today and here I am five paragraphs deep. Jesus.