Showing posts with label GUEST MIX. Show all posts
Showing posts with label GUEST MIX. Show all posts

Friday, 5 April 2019

🛰 GUEST MIX 030 :: TSUKI

If you're in the northern hemisphere, and you're not too close to the equator, spring is probably happening. To celebrate the once more springness of the world, we've enlisted the musicmaking entity that is TSUKI to create our 30th guest mix. Specifically, it's the producer half, Levi Chappell, who has composed this mix.

"My interest in music probably began when I started playing piano at around 9 or 10 years old, after discovering an old Casio keyboard out in the garage," Chappell tells me via email. He then met Chanlar Rose (the other half of TSUKI) in school. "We played music together for a while before ultimately deciding to form TSUKI."

Referencing Shlohmo and Baths music and the way they used "field recordings, distorted samples, or strained falsettos recorded in bathrooms," Chappell admits a considerable impact on the writing and recording process for the duo.

Boasting a Baths track as its finale, this half-an-hour journey of sounds features all the delicacy you'd expect of spring. It conjures time lapses of blossom opening and shoots erupting through the surface of dirt not long rid of frost, with samples of birds singing, water flowing, spring rains and children playing all featuring heavily throughout.

"The mix is an amalgamation of songs that have been near and dear to me over the past few years," Chappell tells us about the mix. "I tried to include the tracks that I've found myself returning repeatedly, stuff that I've found innovative or inspiring.

"I'm hoping it helps these songs find some fresh ears so others can enjoy them as much as I have."

☆TRACKLIST☆
00:00 Falls – Short Field 2
02:43 Ikotu – Swirl
07:29 Fla.mingo – How to Deal With Homesickness
09.26 Tekvision – Lament
11:46 Ojmacoj x Brother Mynor – Drew Barrymore Watches Saturday Morning Cartoons
14:06 Weird Inside – ba2 (unreleased)
15:26 OUSKA – Gonzo
18:11 ?????
21:24 Lumes – Take Me Back
22:49 B.Visible – Disney (Persian Empire Remix) [Demo Version]
24:07 Nongoma – Desire (Persian Empire Remix)
27:07 Baths – Indoorsy



📠
TSUKI Internet Presence ☟
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Thursday, 17 August 2017

🛰 GUEST MIX 029 :: SIMILAROBJECTS

"Over the years I've developed a nasty habit of digging for music during my spare time," Manila musicmaker Jorge Juan B. Wieneke V aka similarobjects writes in an email. "Whether it be the sounds of the past, present or future it always seemed like I've got a habit of seeking for something good for my ears to munch on." He's the latest artist to step up to the plate and smash a guest mix out of the park—and it seems as though he's a good choice because music, and not just making it, is a big part of this producer's life.

"For writers, people say that "reading is writing" and I feel like this applies to us musicians as well," he explains, "so when I'm not creating I just spend a lot of time digesting music from everywhere and anywhere."

In this guest mix, our 29th, similarobjects takes metropolitan Latin flavours and psychedelic guitars, moods conjured with gentle glossy keys and meandering jazz journeys, magical crooning pop party music, and gradually mixes them into the indigenous interiors of the Philippine islands with darkly chiming percussion and fresh organic textures: it is a cocktail of history and culture.

"As of late I’ve really been stuck on listening to a lot of Filipino records from the '60s, '70s and '80s that draw influences from Western jazz, Indo-jazz, jazz-funk, jazz-fusion, ethnic, samba, folk music, Brazilian, as well as some pieces that fall under the category of ethnomusicology," Jorge writes, taking us through the mix. "I thought I'd share a slice of Filipino culture through some of my favorite selections as a lot of these artists/songs really spoke to me and I hope this mix finds you well. And for those who follow my work maybe this mix can paint a picture of where my head is at the moment."

Previously the musical output of similarobjects has been typified by enigmatic atmospheres, otherdimensional flavours, beats that range from dusty organic to clipping and chaotic, a sonic world of synthetics and introspection. The gentle, cleansing house ambience in last December's two-track release Etheric is different to the high-concept frame of SoundCloud album Happiness is a deactivated Facebook Account, filled as it is with nerve-racking breakcore-style beat glitches and a hectic dystopian mood. He mentions in his email that he's working with RBMA Paris alumni JOHN POPE on "a collaborative EP in the form of a videogame," which will be announced properly soon.

This guest mix, however, acts as a precursor to another upcoming release that seems as though it will be moving away from his past futurist abstractions. It's an EP called UGAT.

"Ugat means "Roots" and it carries with it a sense of re-connecting with our roots as Filipino people," Jorge tells us. "The underlying concept of this EP is that the whole body of work is an ode to forgotten and lost instruments, rhythms, cultures, traditions and practices of the Philippine Indigenous Tribes and our Ancient Ancestors."

As such, some parts of this mix – the obscure mystery of 'Suling Suling' and 'Ugnayan' for instance – really feel like a moodboard for the producer, fresh paint on the palette for his next artistic endeavour, the next step of his musical evolution.

☆TRACKLIST☆
00:00 Bong Peñera – Batucada Sa Calesa (1977)
02:54 Bobby Enriquez – Recado (1982) 
09:44 Flip Nuñez – See You Later (1976) 
17:14 Bob Aves – Gongs Can Swing (2014)
20:53 Boy Katindig – Midnight Lady (1978)
31:25 Dakila – Makibaka/Ikalat (1972)
40:06 Pasta Groove – Suling Suling (Dr José Maceda Rework) (19??)
42:08 Dr José Maceda – Ugnayan (1974)
52:02 Joey Ayala – Buwan Buwan (1991)



📠
similarobjects Internet Presence ☟
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Sunday, 11 October 2015

GUEST MIX 028 :: STEVE SANDBERG

A couple of months ago, I got an email from somebody promoting a music project of Steve Sandberg, the composer of Dora The Explorer and, by extension, Go, Diego, Go! Fast-forward to now, and I'm happy to present the following interview and guest mix from Sandberg, whose Just The Tip EP, under one of his monikers Elastic Plastic Generation recently arrived via Teknofonic.

Sandberg is a three-time Emmy-nominated composer, and besides scoring the music for Dora and Diego has also made music for educational apps by Literary Safari, toured with David Byrne and Bebel Gilberto as keyboardist, arranger and vocalist, as well as composed music for Broadway. His own music, as Elastic Plastic Generation, is self-admittedly "crazy and uninhibited," (he's placed a few of these tracks in the mix) whereas a new project under the moniker Alaya is more world-music-oriented, wherein he's crafted "music from a country I’ve never been to but always wanted to visit." He's placed

See below for an interview with Sandberg; underneath that you'll find the mix he has kindly contributed to YES/NO – it's filled with house, Motown flavours, and a sprinkling of samba, showing the musical influences at work on this musicmaker.


When did you first start making music? What inspired you?
My parents bought an upright piano for my older sister to learn on. I had a ritual - every time I passed it, I had to reach up as high as I could to touch and play a key. I must have been 2 years old then. Then I started taking classical piano lessons from a local piano teacher. I guess I just loved sound and was inspired by having an instrument that could make beautiful sounds that I could play.

How did you get to be a composer for Dora the Explorer?
Through a friend I met walking my dog in the park! She was doing some temporary sound editing for Dora before it started airing, and was in the room when the musical director quit. She called me - "Steve, this is your gig! Call this number in 5 minutes - she gave me the number of the executive producer - and tell him you're a composer." She thought I'd be right for the show because I had spent many years playing with NY salsa and Latin jazz bands, and also knew how to score to visuals.

What is it like making music for something like that?
It was a lot of fun because I had never written for a TV show before, and I actually thought I'd be really good at writing for animation. It was something I wanted to do. So I had a great time making up themes for the different characters, creating a musical palate for the show - which turned out to be a mixture of Gil Evans, classic cartoon scoring and salsa - and basically forming a whole style and vibe for the underscoring. I also worked on songs, which was more collaborative. Of course we were all very happy when the show became such a big hit and it went on for many years and spun two sequels. It becomes a bit different when you write season after season - you have to invent new things to keep yourself interested and keep it fresh.

Who are your favourite artists right now?
Me'shell Ndegeocello; Gil Scott Heron; Harry Partch; always Stevie Wonder from Music of my Mind to Fulfillingness' First Finale; Pedrito Martinez live are a few. It's hard to say because I tend to have favorite songs at this point, not favorite artists. And I love old school. Today I was really enjoying listening to Bobby Womack, If You Think You're Lonely Now.

What do you think has influenced the sound of your EP?
That EP came out of a lot of different musics that I love. To name a few:
Old School House Music
Salsa
Samba Reggae
Sly Stone
Stevie Wonder's keyboards
That EP was a labor of love. I had a block of free time and just played around with my DAW and made music I thought I'd enjoy moving to. It's pretty crazy and uninhibited.

How would you describe your own music?
I actually write many different kinds of music. This project, Elastic Plastic Generation, is a kind of iconoclastic world house dance hiphop or something like that? But I also have a worldtronica project -Alaya - coming out in September on the same label, Teknofonic, that is very different - it features breath-controlled synths, my own vocals, and eclectic writing inspired by Eastern European, African, Latin, and other world musics with an electronic palate. Kinda jazzy too. You can hear excerpts on my website, stevesandbergmusic.com.

• T R A C K L I S T •


Steve Sandberg Social Media Presence ☟
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Saturday, 1 August 2015

YES/NO GUEST MIX 027 :: BANSHEEBEAT

It's the first of August. Time continues its onwards flow. Last month a musician-composer-producer called bansheebeat from Tucson, Arizona premiered his very nice track 'Shinsekai' here on YES/NO. The track was a dazzling odyssey of discovery, taken from the musicmaker's recently released, two-years-in-the-making album, Lumine; I'd recommend you check it out – the mix of styles, the beat-led foundations, the compositional style and allusions to VGM and chiptune, all of it resonates happily with anybody with even a remote interest in any of those things.

In celebration of the release of his album, bansheebeat decided to craft a tasty mix for YES/NO. It begins by paying dues to a host of net producers, web-based musicmakers including Mister Lies, Cashmere Cat, Koloto, Skylar Spence… In fact, the transition between 'Mr. Wonderful' by Skylar Spence (fka Saint Pepsi), Clams Casino classic 'I'm God' and the glitching 'Fox Tales' by Koloto, is a few minutes of fantastic, flawless atmosphere; it soon moves on to a second half characterised by more regulated beats than came before, and a more expansive yet still inward-facing atmosphere courtesy of music from Four Tet, Moderat and Monolake, finishing up with the floating, effusive 'Mythril Stone' by beat producer memory cards. Please enjoy this half-hour of music below.

• T R A C K L I S T •


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Saturday, 7 March 2015

YES/NO GUEST MIX 026 :: MORGAN HISLOP'S CAN'T WAIT TO SEE THE INSIDE OF THE CLUB… AND YOUR SOUL! MIX

Something tasty for you today on this wonderful Saturday. The sun is out, the air is warm (warmer than it has been) and Spring is in the air. The land births itself once more, life emanates from previous barren scenery. Flowers and sunshine. Fresh vitality. If you are reading this you are alive. I am writing this whilst alive. Generally it's good to be alive. Let's be alive together~

Anyway the pre-mentioned something tasty is a Guest Mix, no. 26 (twenty-six) for YES/NO, and it arrives like a cherry pie fresh out the oven from the brain of Morgan Hislop. He is a producer and DJ from the UK whose music is a regulatedly manic blend of ear-exciting experimental emissions and dance-laden flavours, whose music has been released on a bunch of nice labels, including Bad Panda Records, Activia Benz and Astro Nautico. He also used to be the drummer for Tropics (a project of Chris Ward "gone band" – like Caribou or anyone else who makes music and needs extra hands to perform it in a live context), and it's an experience with that band which gave this Guest Mix its title: Can't Wait To See The Inside Of The Club… AND Your Soul!

"A good friend of mine said this [the title] to me a couple of years ago as we entered a filmed 24 hour clubnight we were invited to in Mexico City while touring," he explains via email, "and the joke/quote has stayed with me ever since." The in-joke is paradoxically universal: everyone has them, but only some people understand them – from paupers to kings, we all have our private funnies. But that aside, from the clubby origins of the Mix's title you can rightly surmise that it's a totally club-conjuring collection of sounds: "I've always been interested in the ritualistic layout of clubs and the almost worshipful state they adhere to," says Morgan.


From an alien perspective it must be a truly eerie and tribal combination of sights and sounds, claustrophobic and euphoric at the same time. 
MORGAN HISLOP on nightclubs

So from his own intensely skiffling synth-fraught edit of Brandy & Monica's 'The Boy Is Mine' to Slugabed's 2014 rendition of the 2001 emotional dance hit 'Another Chance' by Roger Sanchez, Morgan's mix takes in varying dishes of dance and serves them up as a buffet of delights. French dance don Para One is involved, and so is techno legend Claude VonStroke. There's a remix of Braqueberry's 'Blaque Won' by MikeQ and Divoli S'Vere. MIA's clattering 'Bird Flu' transitions seamlessly into the trance-hinting Tokyo Hands remix of VesperTown's 'Royal Flash'. And he throws in some Ludacris for good measure.

"The mix compiles a lot of eclectic tracks I was DJing out at Festivals and in the second half of last year," he says of the mix, adding: "It also has a couple of unreleased tracks of mine in there."

Without further ado, and without me basically just naming every single track on the tracklist, you should just enjoy the mix. Big thank you to Morgan Hislop. Oh and by the way, he told me that the '?????' intro is a snippet from an episode of Are You Afraid of the Dark? – remember that? (You're old if you do, just face it). The artwork above is a collage made by the fair hands of Morgan himself, scanned in and sent straight to me, how cool is that? Collages are fun.


• T R A C K L I S T •


Morgan Hislop Social Media Presence ☟
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Saturday, 21 February 2015

YES/NO GUEST MIX 025 :: LIZ [SPF420] PRESENTS GEMS HIDDEN FROM THE INTERNET, AND THEN SOME

Guest mix number 25 marks a quarter of a century (?) of guest mixes. Thankfully though, despite my wording, these aren't actually yearly – that'd be terrible. Awful. Instead, it's the latest in a semi-regular series of mixes kindly and lovingly crafted for this digital vessel, this paltry musical entity, by artists who are kind and loving enough to take the time and consideration to craft a mix. It's always interesting to hear what people do with a mix – the tracks used, the order of those tracks, any theme behind it, how it's mixed, etc. And for the people of the world mixes are invaluable: they become private DJ sets for your own little slice of the world you call home. You cookin? Put on a mix. You searchin online for car insurance? Put on a mix. You just sippin coffee lookin out the window? Put on a mix.

With that said, the 25th arrives courtesy of Liz. Aside from being "a floating soul," she owns and co-produces e-venue / online venue SPF420.com with Chaz Allen. "I would like to think that I'm not on earth a lot," she tells me (via email, when I ask who she is and where she is from), "but I am in a very comfortable part of North Carolina where I rarely leave my house." Spoken like a true floating soul.


I am just a girl, that was forced a name at birth, who believes that the sole purpose on earth is since we were born without a choice, almost into slavery, that we must make the best of our lives and do as many good things for the world as possible.
LIZ

Embarking on a big quest with SPF420, one would imagine that Liz would have to like music – and it certainly is the case: "Music has been with me ever since I was child," she says. "I remember my first music video being U2 - 'Still Haven't Found What I'm Looking For'. I love music and it will stay with me until the day I don't fall asleep at night." And apart from being inspired by "the good, the bad, the blood, the sweat, the tears" and Wikipedia articles of a scientific and historic nature, Liz is inspired – in terms of music – by her friends' projects, "even if they're works in progress." The person who most affects her in this way, however, is Skylar Spence. (This, if you didn't know, is the new name of Saint Pepsi because Pepsi didn't like it). "His artistry is incredible, his mind is too beautiful for this world," she tells me.

As for the mix, Liz told me the idea behind it: "basically the theme is Gems Hidden From The Internet, and Then Some," because a decent portion of the tracks are unreleased or not-heard-before-by-public-ears. "These tracks are super important to me because I have worked with (almost) every single artist for SPF420," she says, explaining the mix further, "It's basically just a mix of all my friends and family members, like a little ode to them."

From the bounce of Pocari Sweat (a new side-project of Bear//Face) and ugly mug, to the experimental chimings of 'High Rise' by Blank Body and THIRSTY's huge 'Last Drop' ("who i did the vocal drop for (don't i sound fantastic? hot damn)," Liz reveals), as well as the despairing chill of Yung Sherman's 'Fear' ("one of my favorite songs") and little cloud's very new 'who told u' and its swathes of loveliness, the collection of tracks is based on a foundation of turned up beats swaddled in emotive atmospheres, thick with damaged, decayed yet transcendental electronic sounds.


• T R A C K L I S T •



☟ Social Media Presence ☟
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Saturday, 24 January 2015

YES/NO GUEST MIX 024 :: OH WHERE HAVE YOU BEEN? A DREAM DISCO MIX BY STATS

It's that time again. What time? Guest mix time. It's a bit of a different guest mix this time around because the tracklist isn't so much a tracklist as a set of "ingredients" – it's not in order, I'm not 100% certain that enough of each and every track was used to warrant it being listed as a "track", and I don't know if some of the sounds in the mix were even listed. Instead, elements are spliced and mixed together, just like ingredients. Flour and eggs and sugar and butter kinda stop being those things when you make them into a cake. And so it is with this mix, courtesy of London band Stats – in particular, from just one of its members who is called Ed.

I stopped trying to dissect this mix after a while and just enjoyed it, trying to guess which parts came from where on the ingredients list was just getting to be impossible. To use the cake metaphor again, it's like digging into your favourite cake to try and find the original components that came together to create it. Well, it's obviously not as impossible to discern which sound comes from which song, but it definitely does show the abilities of Ed, who is the actual frontman of Stats.

Filled with meaningful snippets from documentaries and interviews – the voices of people as diverse as Werner Herzog and the digitised female voice of the Narrator for Windows (I think?) – the mix moves through a wormhole lined with pulsing disco basslines and fragmentary electronica, the groovesome nature of the mix clear at the very outset as 'Beam Me Up' by modern-but-authentic disco outfit from Brooklyn, Midnight Magic, moves into Stats' own 'Where is the Money'.


Music contains everything, and you can make a song about anything, so it’s like the world but bigger. Once you’re doing it, it’s difficult to remember how you first started, like when you learn to talk. It becomes second nature, which is more interesting than first nature because it’s not strictly necessary, but it feels like it is.

ED (STATS)

The jaunty poetry (check out 'D'you wanna eat') and art-pop sound of Stats, inspired by acts like Talking Heads, is as clean-cut as it is angular; they incorporate funk grooves and rock noise into their songs, coupled with catchy vocals and spoken word quirks that suit the urban environment in which they exist. Frontman Ed also says, "Stats songs often try to look at what’s specific about how we live right now, especially in cities." So there you go.

Taking inspiration from the opening line to Bryan Ferry's version of 'A Hard Rain's a-Gonna Fall' (Bob Dylan), the mix is called Oh Where Have You Been? "And that," confirms Ed, "is loosely its theme."

Playing for La Roux (whom Stats remixed a couple of months ago) on tour recently, he tells me about the experience of travelling the world, having not really been anywhere apart from the UK. "Songs people write about touring often complain about [it], on the grounds that it’s repetitive and alienating - but I really enjoy everything about it," he tells me. "Because you have so little time and control, you are under no illusions about discovering the 'real' St Petersburg or Los Angeles or wherever: your experience of a city is guaranteed to be short, incomplete and highly subjective."

With much of Stats' lyrical output dedicated to contemporary living, traveling to many different cities was eye-opening for Ed. "One thing common to pretty much every city I’ve seen, from Berlin to Boulder, Colorado, is people saying they can’t afford to live in them any more because property is impossibly expensive," he explains, relating it back to 'Where is the Money', adding, "Many of the songs and films and stories in this mix stay in my head because they seem to relate to things like that."

So, in conclusion: please enjoy the dreamy disco feels running through this mix. I hope you like it. Thank you to Ed, who also would like to thank William Bowerman, Tom Hatfield and Ali Staton.

"This mix is by Stats.
Stats are a minimal pop band.
Stats are six people.
Stats can’t dance and Stats don’t take drugs.
Stats are a grown-up thing to do.
Stats have big plans tomorrow.
Stats are all over the place.
"


1. It is a journey to the end of the world

2. Remember the future (beam me up)

1. You have to keep moving out, but remain in orbit

2. Happy man, happy man, that's me

1. This green world of God’s

2. You can almost taste the hot dogs and french fries they sell

1. Nature here is vile and base 

2. When I’m working, or washing my hair

1. Oh, where have you been? 
2. It was lots of fun, the mechanics of getting together

1. Well go on, tell me something

2. There’s a big building, that's me.

• I N G R E D I E N T S •


Stats Social Media Presence ☟
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Monday, 5 January 2015

Y/N GUEST MIX 023 :: GOODNIGHT CODY

HAPPY NEW YEAR! It's 2015! Imagine that! We made it! We're still here! And to kick-start this year – whose numbers, if you're into numerology, add up to 8 (v lucky number) – we have an exclusive tasty guest mix from a producer whom I admire quite a bit. What a New Year's surprise this is!

First time I stumbled across music created by this man he went under the name Snorlax. As any good Pokémon fan, I followed my nose and leapt into his pool of music and found it to be like, well, just a delight, if I'm allowed to say so. Now creating music under Goodnight Cody, a moniker little closer to real life (his name is Cody Farwell) this producer and bass-player from Los Angeles creates music that at once introduces groove and atmosphere in scene-setting unions, tracks that jiggle your body and your mind at the same time – take, for instance, the wonder that is 'Full Count (Bases Loaded!)', it conjures an actual baseball game, a cartoony, Peanuts-esque baseball game. And that bass, right?!

And yes: he plays bass, has been since age 12, soon after realising he was "a horrible drummer" (which he started playing when he was 8). Then he started writing songs on guitar and piano at 15. "I've always been drawn to music," he tells me, "and I believe that is what started me to create it."

Coming from a punk background, the first electronic music that attracted him was that of Squarepusher; Cody "fell in love with his extreme sounds." Afterwards it was a case of "digging deeper and deeper for new sounds & styles, looking for inspiration."

After I asked nicely, he very kindly agreed to make a mix for YES/NO. And what a mix. Self-confessedly "constantly digging for timeless music from all over the world," it really shows in the collection he's put together for us.


I think what continues to inspire me is the search for the perfect song for the perfect moment

CODY FARWELL

"These tracks in the mix are very important to me," he explains, "as they are all by artists that have changed the way I perceive music." He tells me he never understood or enjoyed electro-pop until he heard Sonic Coaster Pop a few years back, and likewise with blues or gospel – "I didn't think [it] was very interesting, or that it would eventually change my life." He divulges it was listening to Blind Wille McTell that changed all that for him: "I found it to be an experience like no other."

This selection of music – "a good look" into the sounds Cody loves, an international hotch-potch ("I also love hearing a melody or an instrument and knowing what country or region it's from," he says) – is a pick-'n'-mix of wildly different flavours, from the soul-elating gospel of 'It's Been a Mighty Good Day', penned by Dr. Maceo Woods, and its sleepy, acoustic-guitar-laden neighbour 'Doçura Forte' by Brazilian singer Joyce, to the frenetic 'Amscray' by LA producer / boss of label Magical Properties, Daedelus, and the sugary hyperactivity of international J-pop phenomenon Perfume on their track 'ポイント'.

That's not to mention two gems from the brain of Yann Tomita, namely the heart-melting 'Some Day, That Place In Time' (by Doopees) and mix opener by Astro Age Steel Orchestra, 'Living Message From Pan Yard #2', or the v famous 1928 song 'Statesboro Blues' by Blind Willie McTell, or a spot of raï singing in 'El Fermlia' from Algerian artist Boutaiba Sghir – it's all lovingly patched together with Goodnight Cody's mixing skills, a mélange of seemingly disparate genres, jarring time periods and contrasting artists, all united with heart and soul.

So, now it's time for you to enjoy this, the longest mix ever made for Y/N! Have fun! :)

• T R A C K L I S T •
  1. Astro Age Steel Orchestra - Living Message From Pan Yard #2
  2. Sonic Coaster Pop - Spiral Neo Wave
  3. Sonic Coaster Pop - SOCOPOGOGO
  4. Gangpol & Mit - la comptine
  5. Gorillaz - Dub Dumb
  6. naivepop or petitfool - Chopstick Rest -休息は大事だよ-
  7. Harpo Marx - They Say That Falling In Love Is Wonderful
  8. 800 Cherries - Frozen
  9. Hello Astronaut, Goodby Television - Masterpiece Backwards
  10. Oleg Kostrow - Falling Dreams
  11. Daedelus - Amscray
  12. YMCK - 左折して右折して
  13. Soundmurderer - Awamori
  14. Bells Of Joy - There'll Be No More Sorrow
  15. Perfume - ポイント
  16. Boutaiba Sghir - El Fermlia
  17. Itsutsu No Akai Fusen - I will kick a pebble
  18. Squarepusher - Rebus
  19. Hazel Nuts Chocolate - Kitten's Breaks Dub
  20. Mount Kimbie - Maybes (James Blake Remix)
  21. Blind Willie McTell - Statesboro Blues
  22. Doopees - Some Day, That Place In Time
  23. Sam Cooke - (I Love You) For Sentimental Reasons
  24. Dr. Maceo Woods - It's Been a Mighty Good Day
  25. Joyce - Doçura Forte / Água e Luz



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Wednesday, 17 December 2014

Y/N GUEST MIX 022 :: WINTER CHILL MIX BY MUS.HIBA

Mushiba means "tooth decay" in Japanese. Now that we've got that out of the way, I'd like to introduce mus.hiba. He is a producer from Hachioji, Tokyo, and when I asked, What do you do? he answered "I'm an office worker." It's a very modest way of looking at things and his music, subtly dynamic and often creeping up you with gradual intensity, reflects this. Recently, he released his first album on Tokyo-based Noble Label called White Girl – a beautiful exploration of wintry themes and the fragility of using artificial vocalist Yufu Sekka (from vocal database, UTAU) and her almost-alive, delicate whispery tones.

The list of inspirations behind his own music, when I asked him, feels very introspective, the hallmark I would guess of a bedroom producer, which is (I think, at least) how he started making music. mus.hiba is inspired by "Spending time alone, escapism, internet, the cultural climate of Japan, and music that gives a new stimulus to me."


A moderate loneliness and a positive mind.

MUS.HIBA, on what this mix says about him

Moving on from cultural climates, we get to the actual climate itself: yes, it's winter. And to celebrate this, mus.hiba has created a wonderful mix for YES/NO. Called his Winter Chill Mix, he explains the connection between the artists in the mix as "feeling winter and chilly vibes." — "I listened to these songs many times, they are my favorites." And that is as good a reason as any.

Beginning with the gloriously snowflakey and disorienting left-and-right panning in Blum's 'for love', we soon find ourselves at the mercy of multiple synth-gasms in the form of the high-octane, ear-tickling pleasure-waves of $aturn's remix of Diversa's track 'xxxXXX' and in mus.hiba's first appearance on the mix with his remix of 'Because of my eyes' by Tokyo band LLLL.

Mr. mus.hiba sews seemingly disparate elements together, too: we move by way of Irish producer Harmful Logic's lo-pitch hypnotism in 'Kitsune Mask (狐のマスク)' into the bustling mellowness in 'It's All Around You' by American band Tortoise, then back into the aching electronica in the clattering chill of 'Let Go' by London producer Bearcubs. Finally, Argentinian musicmaker Sobrenadar with 'Junio' and its understated icy chill leads into mus.hiba's own 'Moonlight', an intense end to a collection of songs that certainly deserves the title Winter Chill Mix.


• T R A C K L I S T •

  • I urge you wholeheartedly to check out mus.hiba's debut album White Girl – not only is it great on its own, but it's perfect for this time of year. Just look out the window on a frosty morning whilst it's playing~


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Sunday, 7 December 2014

Y/N GUEST MIX 021 :: CLAS TUUTH

One day I will get better at creating the cover art for these guest mixes. For now, I will stick with making stuff on Paintbrush, a buggy port of Paint for Mac. If anybody has any suggestions, or can make art for free (some of the artists have done this themselves) please contact me. Thank you.

For now though, allow me to introduce Clas Tuuth. Well not so much introduce as meet him once more, as I did write about one of the tracks from his recent-ish 003 EP the other month. He's from London and he makes lovely organic-sounding electronic music, as if these electronics were plant matter or animal matter, and lived their own lives, living and breathing within the compositions with naturalistic ease. At the same time, they're filled with urban grit and a decidedly cold sense of loneliness – an almost melancholic feeling, yet content with itself, the soundtracks to solitary journeys and pensive moods.

But as for this mix itself. From the introspective ambience of Clas Tuuth's own intro in the form of his track 'Legion', it is a predominantly '90s-flavoured affair, a voyage through rave-inspired beats and heavenly dub. There's the cascade of beats in 'Hooligan 69' by Ragga Twins, containing within it a sample of Prince's 'Let's Go Crazy', the twisted synth fantasia in the Alley Cat remix of 'Charly' by The Prodigy, the dance-rap of Rebel MC's 'The Wickedest Sound' (featuring, I have discovered, the origin of the eponymous sample in DJ Fresh's 'Dibby Dibby Sound'), ending as it began with the beautiful life-of-its-own vinyl crackle.

It's real nice to hear some music that I didn't really grow up with, but that has inspired a whole generation of musicmakers with its unrelenting beats and simplistic approach to music. I hope you enjoy or at least appreciate :~)


• T R A C K L I S T •


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Friday, 28 November 2014

Y/N GUEST MIX 020 :: VIKTOR TORVIK

I can't remember exactly how or why I stumbled across this guy, or when even – I guess it was like a month ago now. He had made this mix of all these easy listening and lounge music tracks from the '60s and '70s, containing nothing obvious and only music that was fresh to my ears from all over the world. I needed a mix from this guy. Desperately in my soul. So I messaged him on YouTube. And now: here we are.

His name? Marco Luján, aka Viktor Torvik when he's making "retro sets" like this one. He's from Lima, Peru, and I was super happy that he shared with me (with us, you readers and listeners out there!) a lot of Peruvian music which I'd never dreamed of hearing, as well as some choice numbers from across the globe. This blog's middle name is Internationalism, so I deeply approve of this mixture from around the world. In Peru, Torvik is a DJ and also an underground producer of varying styles of music from jungle and soundscapes to lounge and easy listening.

"I am inspired by classic movies, exploitation films, old cartoons and TV shows from 60's and '70s," he tells me. "In the '90s artists like Towa Tei, Dimitri from Paris, Fantastic Plastic Machine, Luke Vibert, United Future Organization, Masters at Work, Aphex Twin and many, many others inspired me to create music." Whilst not listening to music, making it, or making mixes, he also DJs at a place in Lima called Eka Bar.


I wanted to choose a group of songs from all over the world and especially from my country.

VIKTOR TORVIK

So anyway: what's in store for you in this mix? Easy listening, lounge, jazz, Latin flavours, soft rock, psychedelia. It's a fluffy, mellow mélange of music that travels the world from the USA and Brazil to Venezuela and Italy (only half the countries featured in the mix), stopping off on the way for sojourns into the more popular and fleeting sounds of the '60s and '70s. From the USA we have Ray Conniff, band leader and arranger, whose creation 'Lowdown' is smooth and buttery, dripping with soulful guitar. Moving on, there's the weed-advocating 'Marihuana Mantra' by German group Kuno & The Marihuana Brass, whose controlled rowdiness is a soft rock invocation to the drug. Later on we're treated to Los Destellos and their Peruvian brand of Colombian genre cumbia in 'Volando Alto', a mix of tasty, bustling rhythms and rich waves of psychedelic guitar.

One particularly interesting story that I looked into (mainly because I spent so long looking for any evidence of her existence that I got engrossed in the process) was that of Emma Sugimoto. Born in New Jersey but raised in Osaka, she started out as an actress, then a model, then her debut was with 《アイ・アイ・アイ》 – 'Ai Ai Ai' in this mix – via Columbia Records in 1970, going with ELEC Records for a 1974 album 《エマは愛》Emma Is Love. She retired from all this in 1980 and married restauranteur Shimpei Wada, whose French restaurant "シェ・ワダ" – Chez Wada – is still open and, by the sounds of things (I think), thriving.

And on that note, I've spoken too much. Let's listen. The first time I listened to this I was having lunch with Bextree – I ate a toasted ham and cheese panini. Made the whole thing wildly delightful.


• T R A C K L I S T •


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Sunday, 23 November 2014

Y/N GUEST MIX 019 :: IZZY'S CUP OF JOE W/ CREAMER MIX

Ok, so I tried to put this guest mix up the other day and it got blocked from being uploaded because of copyright. On one hand, fine, everyone needs to make money, I get that. But on the other: ¿why be so mercenary about it? What benefit do you get, really, from not allowing an tiny little music site like this one to upload a mix done by an up-and-coming artist just because it contains one track? "Oh but if everyone did it blah blah blah" – NEWSFLASH: everyone's NOT doing it. This isn't a protected beach that keeps getting all of its coral stolen.

This is people sharing things they like, telling a story with music, showing appreciation for other artists who might inspire you or just help you to get through the day thanks to their music. Shout out to all lines of code and robots and spiders out there blocking our freedom (not to mention the intellectual-property-appropriating jargon-spouting business boys and girls that create and endorse them).

Speaking of which, this is a mix by Izzy, one to help you get through the day, or one that at least illustrates a working day. Called his Cup of Joe w/ Creamer Mix (it is the second iteration of the mix with the offending track removed; the first had no creamer), this is the coffee you'd want at the start of a working day. What is creamer? I do not know. Is it this (non-dairy creamer)? Something milk-inspired, at least.


I am Izzy, an individual looking to express myself through various creative mediums.

IZZY

So now you might be wondering, Who is Izzy? Well, let's find out shall we? (A little bit, at least). "You may be able to find me trekking between the NY/Philly/Jersey area," he says cryptically. What does Izzy do? "I create. Whether it be music, photography, my sales job, I make sure I incorporate my own perspective to enrich my experience," he tells me. "I grew up on copious amounts of music. After a while making music just became something that I had to do."

Izzy briefly talks us through the inspiration for the mix: "These artists are all people who have inspired me in one way or another. People like AbJo, Toro y Moi, and Matt Martians, just to name a few, are constantly thinking about how they can further the music; I can relate to that." And with those artists he's weaved a simple background story for the mix itself: "Thematically, it feels like a recapitulation of an average morning," he explains, "the mellow feel of hitting the snooze button ('Aches' by me), literally getting into the 'Grind' midway (Mr. Carmack). Just gradually becoming acclimated to a new state of mind."

I imagine a lot of computer-based clicking and typing happening to the sound of 'Orange Juice Simpson' by Odd Future affiliates The Jet Age Of Tomorrow, with Izzy's own and fluidly brilliant – with its fragmented beats and warming sounds – 'Traveler's Cheque' being like a break for lunch or something, before the hectic 'Silvicide' and 'Navi's Dance' (by AbJo and PYRMDPLAZA, respectively) kick in to soundtrack the bustle of urgent bidness. I like to think the mad synth of aptly titled 'Synth City' by also aptly titled Chaos Kid is put in its place here for rush hour effect, the motion and movement of the track combined with its busy resonance to illustrate the quick crowds of hometime; which is where 'Mothership' (also by Izzy) with its feeling of exhaustion and desire to be someplace else comes in, back to the mothership for the night before another day at the grind.


• T R A C K L I S T •
  1. Telescope Thieves – R U Still Down
  2. FKA Twigs – Ache (Reimagined by Izzy)
  3. Toro y Moi — Rose Quartz
  4. Sango — The Differences
  5. Mr. Carmack — Grind (Lex)
  6. The Jet Age Of Tomorrow — Orange Juice Simpson
  7. Izzy – Traveler’s Cheque
  8. AbJo — Silvicide
  9. PYRMDPLAZA — Navi’s Dance
  10. Flying Lotus — Such A Square
  11. Chaos Kid — Synth City
  12. Izzy — Mothership
  13. Ta-ku — We Were In Love



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Saturday, 8 November 2014

Y/N GUEST MIX 018 :: STONEWALL KLAXON

This mix. It is a wholly original mix. It features only tracks from the artist himself, Mr. Stonewall Klaxon. Obviously, or perhaps not obviously if you're not au fait with Americano historia, this guy is named after Stonewall Jackson, an American Civil War commander. A few potential reasons why: 1. This guy is a Confederate sympathiser (being from Texas and all); 2. Apparently Mr. Jackson was something of a legendary person, why not name yourself after (kinda) him?; 3. Just cos it rhymes; 4. Don't know. Should've asked really shouldn't I?????????? lol oh well. Not the point right now is it.

The point is this is a mix with a difference because it's basically like hearing a Stonewall Klaxon live set. His music is like… really nice. It's beats-heavy, synth-heavy, a waterfallish cascade of electronica set to mostly uptempo rhythms, kind of in a paint-splashed realm between dubstep and footworky stuff, for instance with the white noise watercolour wash and pneumatic drill kicks of his remix of 'TBAE' by urlchild or the hyperactive synth stutterings and finely diced vocals in 'Gary Lazer-Eyes', coupled with the busy explosiveness of 'Neon Swords' and its gurgling vocal samples whose beat seems to hang in the air, and 'Cigarettes', where infra-bass kicks are the gloopy swamp out of which brittle mangrove snares snap and crack.

The mix, which includes samples of Link's sword-swinging shout in Ocarina of Time ('All Of Me') and Navi's "Hey!" ('Neon Swords', the set closer), and a sparkly remix of 'Latch' by Disclosure, pitch-shifting Sam Smith's vocals just ever so slightly, is luscious, the sound equivalent of breakdancing under a canopy of stars, or playing videogames with friends because one of them has a free house and it happens to be a marble-and-gold mansion of a place. Stonewall Klaxon, real name David Andrew Lunson, is 26 currently lives in Austin, Texas, "working as a chef in a restaurant downtown." But cooking skills aside, musicmaking comes first: "Music has always been my passion, and my true priority," he tells me. "I suppose what first inspired me to make music was simply being in the school band and orchestra~ playing euphonium, trombone, and cello."

The rich flavours and dynamics of his sound are, with this information in mind, easily traceable back to this classical and traditional training in music; you can hear the feel-good, triumphal nature of band music in each rousing hit of synth, and in its gentler moments, his music is certainly orchestral, albeit with electronic sounds – the melodies and progressions are so well done, so basically perfect. I've seen reviews of his stuff saying 'Flume-esque' or 'Wave Racer-esque' but you never hear anybody say that any classical music is 'Beethoven-esque' or 'Mozart-esque', really, do you? There is space enough in the music world for true talent and actual hard work to shine through, and it seems as if the gleams of Stonewall Klaxon are just about starting to reach the eyes and ears of the world.


• T R A C K L I S T •
  1. 0:00 Chords (Excerpt) (Vocals are Frank Zappa)
  2. 2:39 Gary Lazer-Eyes
  3. 7:27 Spherical
  4. 12:07 Cigarettes
  5. 15:21 Urlchild - TBAE (Stonewall Klaxon Remix)
  6. 20:09 Disclosure - Latch (Stonewall Klaxon Remix)
  7. 23:21 All Of Me
  8. 26:38 Neon Swords
All tracks by Stonewall Klaxon



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Saturday, 20 September 2014

Y/N GUEST MIX 016 :: USHUA X NA RADHI

It's that time again. Someone donates a hefty portion of their time in order to create a nice little mix for anybody who wants to hear it. There is no exclusivity here, no whatever, we just asked whether Ushua would wanna make a mix for YES/NO or not and he said yes. Here we are. Recently this LA-based producer remixed a track by Jaust called 'Feel The Smoke Rise' with some seriously pugilistic footwork zing. Other than that, there's not much else to say.

With the mix he was gonna put together, he said he wanted to represent or at least showcase his collective, Na Radhi (like Ulzzang Pistol did with his mix a couple of months back). I learnt that "Na radhi" means "with pleasure" in Swahili; "We like to take that thought into our production and just make music we enjoy listening to ourselves," explains Ushua. "Our goal as a collective is to release as much good content as possible and grow." Alongside fellow member, Lo Key Dst, they want to connect with other likeminded musicmakers, release their creations and collaborate with them.


We have studios set up where we live so it's our goal to create as much as possible. Bedroom producers as most would say.

A recent discovery will also be the debut release for the collective-slash-label: "Forthcoming on Na Radhi our debut will feature DJ Unlimited Breadsticks' Grissinni Ghost EP," Ushua tells me. "We met him over the internet and he wanted to put out a release, and Lo Key and I remixed a track also." It's this combo of connectivity and communication that seems to be at the heart of this collective – it is rooted wholly in the internet: a tool for deep, wide searches on SoundCloud for new & unique music, and a way to share these and other things. "Lo Key and I bounce ideas off each other with different aspects of our production. We help each other grow as artists which is a really good thing," says Ushua. "Having similar influences in beats and other types of music, always good to trade files with someone who has a good iTunes..."

His mix is a testament to all things big and beautiful in a world built with bricks of trap and footwork, from the quasi-religious experience of Fatima Al Qadiri's track 'Szechuan', where traditional Chinese sounds meet a kind of mystical grime from under the ground in some desert somewhere, to the synth-soaked breakbeats-in-space of Lockah and Eloq's coproduction, 'Jupiter', and everything in between – Young Triforce Cat Baron's heartbreaking 'Usagi Sadness' and the clever electronic chill of the actually brilliant 'Dayum' by cln.

Ushua talks about it. "The mix is a wide variety of styles from halftime to footwork/cinematic and everything in between, much like Na Radhi there is a nice variety spanning all types of influences and genres," he says. "There are [also] a couple unreleased bootlegs/reworks and a recent release from Na Radhi's Old Ransom for ILoveMakonnen."

But I think you've probably read enough for now. Big thanks to Ushua. Please enjoy the mix.


• T R A C K L I S T •
  1. Ringatone - I'm Sprung (Joey Edit)
  2. Vybz Kartel - My Crew
  3. Ushua – SeanDaWhite (Demo)
  4. dd elle – Kind 2 U (Demo)
  5. Mr. Carmack - Extra
  6. Young Triforce Cat Baron – Usagi Sadness
  7. Ba-kuura – Dream Sim
  8. ILoveMakonnen – I Mix My (Ushua Adn Edit)
  9. Fatima Al Qadiri – Szechuan
  10. Arnold – IDC
  11. cln – Dayum
  12. DJ Paypal X Ticklish – Worst Behavior
  13. DJ Unlimited Breadsticks – ??? (Ushua X Lo Key Dst Remix) Forthcoming on Na Radhi
  14. Lockah & Eloq – Jupiter
  15. Ryan Hemsworth – Weird Life (Druid Cloak Remix)
  16. Jagged Edge – He Can't Love You (Ticklish Reboot)
  17. T-Pain – Drankin' Patna (Ushua Remix)
  18. ILoveMakonnen – Club Going Up on a Tuesday (Old Ransom Bootleg)


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Saturday, 13 September 2014

Y/N GUEST MIX 015 :: JOLLY MARE

I saw a person on Twitter like last week say something like, "There are too many mixes therefore they are obsolete" – when questioned they cited "inflation" but I think they meant "saturation" maybe. Anyway, it's a ridiculous statement: replace "mixes" with any other thing of which there might too many or too much – food, videogames, paintings – and you can see how. I just thought that would be a nice thing to say cause, like, here's another mix. But I'd really hate to be the one to push you over the edge, so if you think you've heard one mix too many, then go take a cold shower, talk it through with a loved one.

This guest mix is from Fabrizio Faberismi, aka Jolly Mare: an Italian DJ, producer, and a participant in the Red Bull Music Academy 2013. I've also read that he has a PhD in Vibration Dynamics, something that led me to stare at gifs of wobbling catilevered L-beams on the wiki page for 'Vibration'; this might be why in an email he sent to me he described himself as "Something in between a gone-bad scientist and a musician." He also loves old music, and if this mix is anything to go by it's obscure old music in particular that is his penchant.


I got good taste in music

Self-confessedly inspired by a "groove, any kind of" when it comes to his own music, it also seems to lead his choices for this wondrous guest mix, itself a lil' under half-an-hour of groovesome entities. Mostly taken from the 1980s, and most you've probably never heard OF let alone actually heard, it runs from the sultry 'Marinero' by Spanish singer Lucía who also provided the Spanish entry, 'Él', for the 1982 Eurovision Song Contest, held in the UK at Harrogate (really weird choice), to the synth-disco of 'Histoire D'un Soir' by Bibi Flash, aka Brigitte Gasté, a French singer active in the '80s. The song really really sounds like Blondie's 'Rapture' – mainly in the rap-singing, the bassline (almost note-for-note), etc.

"There is some freakness in every one of them," says Jolly Mare of the tracks in the mix – and it's true: from the first vital, note-hopping bassline of 'Use My Body' by the unknown Mavis John, through the stretched out, night-anticipating 'Sunset' (L33 and Sven Atterton) and the effortlessly cool remix by Luke Million of The Swiss's summery 'In The City', to the Italo disco of Big Ben Tribe's 'Tarzan Loves The Summer Nights' and the indefatigable soulfunk of 'Better By The Minute' by unlocatable group Glass Pyramid, it's an amalgamation of genres and styles that basically utilise "freakness" as their foundations, namely funk, disco (regular & Italo), soul, boogie, R&B.

What does it demonstrate? "That I got good taste in music," replies Jolly Mare. I mean, well, yeah, these are good songs. And for those of you who are looking for some obscure tracks to boogie the fuck on down to, chill to, do your taxes to, stir fry some noodles to, fix that thing in your car to, clean your living quarters to, whatever to, then don't worry cause this crate-digging mix has done it for you.


• T R A C K L I S T •
  1. Mavis John - Use My Body (1980)
  2. L33 & Sven Atterton - Sunset (2013)
  3. Lucía - Marinero (1986)
  4. The Swiss - In The City (Luke Million Remix) (2014)
  5. Desi - I Want To Be With You (1984)
  6. Gladys Knight & The Pips - Save the Overtime (For Me) (1983)
  7. Big Ben Tribe - Tarzan Loves The Summer Nights (1984)
  8. Bibi Flash - Histoire D'un Soir (1983)
  9. The McCrarys - Love On A Summer Night (1982)
  10. Glass Pyramid - Better By The Minute (1984)


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