8 p.m. to 9 p.m.

You have just entered room "Chat 9730637702747739771."
nelson has entered the room.
austin has entered the room.
andy has entered the room.
austin: alirghty
austin: hello all
fred: welcome all
andy: yoi
austin: we're gaining a presence in nyc
nelson: hiya fellas
austin: now winnie, nelson and i have or are about to make the move
fred: the move?
austin: to nyc
andy: the move
nelson: the _move_
fred: to manhattan you mean?
nelson: the city swallows all of us eventually
nelson: brb, gonna pull up the mix
fred: right-o
fred: did i already say that #15 reminded me of a cross b/t the sundays and my bloody valentine?
andy: ah ha
andy: i like that
andy: and again, sorry, so much of this mix is UK
andy: including #15
fred: i liked the uk stuff
austin: me too
austin: did you write the preludes?
andy: well I made them
fred: interludes you mean?
andy: righty
austin: and interludes
andy: yeah - just cut and pasted
fred: what program did you use?
andy: soundedit
austin: cut and paste from where?
andy: it just has 15 or so plug-ins - very basic
austin: oh i see
andy: from the other trax - like the prelude
andy: it's just the openings of #2, #3, and #4 superimposed
fred: i have to say that whenever i hear the sound of the ocean on a track it immediately makes it hard for me to hear it as anything other than new age shmaltz, esp if it has a piano in it
andy: yup - but the Neu! is way before new age existed
andy: as is the Who for that matter
andy: I'm all for historial context!
fred: did the who have anything to do w/ new age?
fred: i mean what brought up the who?
andy: nothing ever at all, never, no no no
andy: oh - I guess I was thinking of other parts of Quadrophenia
fred: ?
andy: it's full of sea and rain sounds
austin: oh yeah
fred: oh
fred: i'm assuming that's a who album?
andy: and #7 is the sound of rain on the sea
fred: oh whoops
fred: i forgot about #7
austin: it's the soundtrack to a film no?
andy: yeah - #7 is the final track from it - it's a double concept album
andy: yeah
fred: double concept?
andy: concept double album i mean - i.e. it was two vinyl discs back in the day
fred: mm
andy: quite audacious at the time
nelson: how would you categorize quadrophenia?
nelson: i've never heard anything else by them
andy: hmm - well they started as preproto punk
andy: then became poppier
austin: pop rock?
nelson: what's pre-proto?
andy: then wrote Tommy - the first rock opera, god help us
fred: haha
austin: never seen it
andy: punkish but 15 years before ounk
nelson: so before or after the pixies are we talking
andy: then Quadrophenia - great piece, one of the first extended rock pieces to use synthesizers
andy: way before
fred: heh.
andy: they started in 64
nelson: so sid vicious time?
andy: hit their peak in 70
andy: no the pistols were 77
nelson: mmmf
andy: lots happened quickly i guess
andy: I have noticed that i keep putting The Who on my mixes
andy: I like them, but I didn't think I liked them that much
nelson: haha
nelson: continue doing so
nelson: that's part of this big gaping hole in my listening life
winnie has entered the room.
winnie: ah, here we go
fred: the quadrophenia track sounds like a heavy metal track a la metallica
fred: to me
andy: ah - the mystery rock era - right!
fred: not that i listen to heavy metal
fred: haha
andy: no Fred that's so wrong
fred: really?
andy: nothing at all to do with h.metal
fred: you don't think it sounds like a metallica track?
fred: but not metal?
andy: except that they both are guitar based
winnie: there's a huge diff b/w the who and, say, def leppard
andy: nope - don't hear it
andy: winnnnnie!!!
fred: really? it totally sounds like a metallica song to me
andy: yeah - and all asian people look the same
nelson: we do
fred: except not elec guitar and instead of strings they have synthesizers
fred: so much for my breakthrough connection
andy: well - let me check
fred: maybe i'm thinking of guns and roses or something
andy: no - i think there's more in common between the who and metallica
andy: than the who and spoon
andy: for example
fred: who was the one that did the song for oh what movie was it ... oh fuck i'll look it up and get back to you
andy: but it's a pretty general grouping
fred: anyway to finish my thought on the neu track once i got past the new age feel i liked it ... the vocals were great they i pictured this guy sitting on a beach w/ a little tape recorder just making little noises into it
fred: tori has a track that's very like it
fred: vocal wise i mean
andy: I like non-singing singing
fred: yeah
andy: and i love Robert Wyatt on #5 - yeah?
andy: poor sweet frail Robert
fred: not many people do non-singing vocalise do they? i mean for a whole song
andy: did people like Rowla?
austin: it's quite common in electronica
winnie: i really dug #5
fred: sorry i'm still thinking about the neu track ... the steady tapping in it is kind of weird isn't it? it helps break it from the new age feel for me, although i didn't notice it at first
fred: i mean i didn't realize it's through the whole track
fred: nonstop
winnie: did you show us that vid for underworld, andy?
andy: yeah - but not this track
fred: although now that i'm listening to the tapping i wonder if it's really a loop ... but anyway ...
winnie: the opening sounds like the one for whichever one it is you showed
austin: track 7 was pleasant surprise for me. reminded me of the last scene in the movie.
fred: speaking of the underworld, they just put out a greatest hits cd http://www.amazon.com/exec/obidos/tg/detail/-/B0000E6XJQ/qid=1069117584/sr=1-9/ref=sr_1_9/104-5577565-6423107?v=glance&s=music
andy: I like #7 - but really it was the piano and the rain which swayed me
winnie: how's the movie?
austin: the vocals on track 5 was kind of annoying
fred: i have to say i wasn't a fan of #7
fred: i love the guy on #5!!!
fred: he's so little! and cute!
austin: haha well that can be annoying
winnie: like a hamster
austin: just wish he'd cough or something
nelson: haha
fred: speaking of hamsters, there's this guy on nyc's craigslist who'll pay anyone 100 bucks if they can teach his hamster to sit haha
nelson: i dug the tyde and the jam songs
nelson: man, you read the nyc craigslist?
nelson: i can barely keep up with the boston one
fred: haha
nelson: or is it a best-of
winnie: did you already explain how you put together the interludes, andy?
austin: that's great. i'll bring a cat along. that should do the trick
nelson: audioedit i think he said?
austin: make him shit his pants
fred: i usu just read the boston ones but i think i was looking up something else
fred: soundedit
andy: soundedit - just cut and paste stuff
austin: hey andy, have you used soundtrack at all?
andy: nope - what's it do?
andy: i have cubase, but I've never even opened it
austin: it's part of final cut pro. it's got thousands of royalty free loops, and it does pitch, speed synchronisation all for u
andy: oh man, ok
fred: so can anyone think of anyone else who vocalises wordlesslf and pretty much tunelessly for a whole track?
andy: I'll have to do that
fred: oops wordlessly
andy: lauryn hill
austin: haha
andy: sorry
andy: mariah carey
nelson: haha
fred: i'm serious anyone?
austin: you have a thing against female r&b
nelson: well i can't think of tunelessly
winnie: yeah, tunelessly?
nelson: i skip over songs where i can't pick out the melody
fred: the more i think about it the more interesting i think it is ... i'll have to do some research
nelson: you don't mean like scat singing ...
fred: winnie, i mean like on the neu track
andy: it's your next mix F
fred: i liked how the voice is used as an instrument as opposed to being the complete focus
fred: i think that's very rare
andy: yeah I'm trying to thin of others
fred: i liked how the mix was structured, although andy will attest that at first i was thrown by it
andy: stereolab sometimes, but it's still very arranged
austin: well in blues and soul/jazz, i think of the voice as an instrument.
fred: oh yeah andy i think you're right
austin: yeah i'm listening to some stereolab irght now to see if i can find a track
fred: yeah w/ scatting, which i still haven't had much exposure to
andy: yeah austin
austin: do you have the track parsec?
fred: structurally i liked how the second half was so catchy that it made me go back and relisten to the first part more carefully
austin: by stereolab?
fred: yeah i have that track
andy: hmm - scatting
andy: yes - you put that on a mix, A
fred: yeah i'll have to relisten to some stereolab
andy: how about The Cocteau Twins?
winnie: ms john soda sort of does that
andy: where she sings in her own invented language
fred: heh. but tunelessly?
austin: same with sigur ros
andy: maybe that's different
andy: yeah - same thing
fred: interesting
andy: no - she's so tuneful - hmm
andy: anyway . . . .
andy: did this make it as a single mix
fred: yep
andy: or did it sound like two for one?
nelson: the latter
nelson: i was totally hooked on the latter half
fred: i think pulling it back in for the last tracks, starting w/ 18 was good
nelson: the first few took some getting-used-to
andy: damn - i tried to lead it up to the second half, then back in
winnie: no, the ms john soda people use the voice similarly
winnie: it's more apparent live
andy: yeah - all the piano stuff takes forever
andy: but that's kind of the point
fred: heh. no it's good
winnie: the girl sings the actual vocals along w/ this accompanying vocal thing
fred: sounds interesting
fred: you'll have to put up some tracks
andy: ms john soda is such a great name
fred: what's it mean?
winnie: oh, sorry to be hung up on the last thread
winnie: i'm having trouble keeping up here
andy: manuscript toilet dakota
fred: heh no prob that was me on neu
andy: sorry - south dakota
fred: wha?
andy: you forgot the !
winnie: (what's really interesting is that they have 2 bassists, a keyboardist & a drummer)
andy: it's Neu!
fred: heh
winnie: (or maybe that's not that interesting. the keyboardist plays guitar parts on the keyboard)
fred: NEU!
andy: Heh!
fred: that sounds interesting winnie
andy: Most of Neu's stuff is pretty pumping
fred: to use a generic adjective
fred: i'd be interested in hearing more
fred: of them
andy: techno 15 years before the technology
winnie: as in, not like this track?
andy: yes
winnie: this is very brian eno-y
fred: yeah
winnie: very airport music
andy: yup - before him too
winnie: huh
fred: not that ive heard much eno but from that track on trainspotting i hear that
andy: he got lots of his ideas from the whole mid 70's German electronic scene
winnie: when i think neu! i think german guys in black head-to-toe spandex
andy: as did Bowie
winnie: like sprockets
fred: uhhhh okay
fred: is this your experience w/ german guys?
nelson: haha
andy: now on sprockets is the time ven ve dance
winnie: hahahaha
andy: I want to like Eno more than I do
austin: hehe
andy: he sounds great on paper
andy: but then . . .
winnie: hey, by the way people, there was a cool german guy who opened last night
andy: ho hum
andy: the slam?
winnie: bernie fleishmann or something
fred: no she saw a john soda concert
winnie: oh, and to continue being behind
andy: ah oh sorry
winnie: i thought it sounded more like two
austin: fleishmann? fleshman?
winnie: one wrapped around another
winnie: are you familiar?
winnie: (austin)
andy: Winnie - yeah - that's how it sounds to me
austin: rings a bell
andy: actually - one wrapped around another
winnie: but that's cool
fred: i think the harpsichord bit helped put it together and the interludes, but i've noticed that i'm usu pretty easy to please when it comes to the mix as a whole
winnie: yeah, we always knew you were easy, fred
fred: har har
fred: so what is it about the second half that's so darn catchy?
winnie: did you guys already talk about love?
fred: it must be that jangly guitar
fred: courtney love?
fred: haha
nelson: the guitar riffs
winnie: is this the love guy who just got out of prison or something?
fred: i'm so funny
nelson: that start out 14 and 16
nelson: kill me (in a good way)
austin: ok. i'm lost guys
andy: yep - Arthur Lee
austin: are we talking about the second half of the mix?
austin: sorry
winnie: yeah, that's him!
andy: Love are awesome . . . check out 'Forever Changes'
fred: yeah it's def the riffs
winnie: i remember when he came to boston last year
winnie: all the kiddies at tosci's were talking about the show
andy: you saw him???
winnie: (the punk rockers)
winnie: no
winnie: but you know he was there, right?
andy: no!
winnie: yeah
andy: and I missed him again last month
fred: austin, yeah we're talking about the 2nd half
winnie: like august or something
andy: shoot
winnie: i really like 14
winnie: in that generic jangly way
andy: gotta get plugged in
andy: me tooooo
andy: love #14
winnie: it reminds me of
winnie: lll
winnie: ..
winnie: lots of people
fred: yeah it reminds me of ..
andy: rest of the CD is ordinario
winnie: (i meant ...)
fred: heh ... yeah it sounds sort of generic but good pop
winnie: yeah. i'd put it on a mix with love spit love
andy: but i really like #11
winnie: and shit like that
andy: anyone else?
winnie: yeah
andy: very generic
winnie: yes yes
andy: but loverly
fred: the track i didn't like was the smiths track. andy had a video collection of the smiths and morrissey was so fucking annoying i don't think i can listen to the smiths anymore ... well not really
winnie: the opening sounds like it belongs to
winnie: um, the sundays? or someone like that
winnie: well, sans video, i love the smiths very much
andy: yes - the jangle, the jangle . . . oh god, the jangle
fred: yeah i hear that ... are they british?
winnie: they're a staple at the kitchenwares store
fred: really? funny
andy: me too, and F - they are tongue in cheek
andy: morrissey is all about overwraught
winnie: yeah, he was indie before it was cool
fred: he's too queenie for me, but maybe in five years i'll be able to listen to him again j/k
andy: you like 'The Queen is dead' ?
fred: of course
winnie: i'm sorry guys, i gotta cut out early
andy: there you go
andy: ook
fred: okay see ya
winnie: great mix andy
nelson: cya winnie
andy: ta W
winnie has left the room.
andy: well, mebbe we done did it all anyway?
nelson: i'm afraid i'm going to cut early as well, andy. i'm running on three hours sleep last nite. and track 21 is putting me to sleep.
andy: ah - it succeees!
nelson: haha
fred: awww
andy: succeeds
fred: heh
nelson: but thanks for the british stuff
andy: okay - me too
austin: haha. hey why track 8?
nelson has left the room.
andy: to break up the piano I guess
austin: i skip it everytime...
andy: and i like that it does kind of the same thing as Rowla
andy: Austin . . . .so do I
andy: it's conceptual :-)
andy: heard it once . . . got it
andy: great piece for 1968 though
austin: yeah. def interesting
andy: ok folks - i gotta go eat
austin: i've noticed that you and fred share a liking for smashing pumkins
andy: well - it was the opening strum
andy: plus - i offered it as a gift to fred
fred: awww
andy: yeah
fred: it was for me?
fred: you shouldn't cater to the audience
andy: well I knew you like 'em
andy: and it fit
fred: glenn gould certainly would not have approved
austin: haha
andy: i was grandstanding
andy: ok guys
andy: I go eat
austin: thanks for th emix
fred: okee dok
fred: byee
andy: sure thing - thanks for the listening
andy: bye
andy has left the room.
austin: tata