10:15 p.m. to 11:15 p.m.

You have just entered room "Chat 4288249832993874950."
austin has entered the room.
austin: woohoo
fred: whoo!
austin: austin mix chat take 2
winnie: grr where's everyone else?
fred: tom and joyce can't make it
austin: californian slackers
fred: haven't heard anything from mike
andy has entered the room.
austin: and here's andy
winnie: mike's been mia for the past few
winnie: yeah, i guess T&J have lots of papers to write
fred: and heeeeeeere's aaaaandy!
andy: ah - sweet relief . . . I couldn't find you guys
winnie: did you draw this monkey picture?
winnie: (austin?)
winnie: (on your mix jackets)
austin: no. it's no the website
winnie: oh it is?
austin: www.papercdcase.com
winnie: is that your character?
austin: or soemthing
fred: so austin -- can you explain why this mix is in 3 sections? or is that just how i perceive it?
winnie: oooh
andy: it IS in 3 sections . . .i feel it too
austin: it's funny you think of it in sections
austin: i tried to start from one point and end up in another
austin: and loosely connect the ends
winnie: hmm i sort of feel it
fred: the 3 sections i hear are "reconstructing rock", jazz electronica, and then austin electronica music
winnie: particularly between the first and second
austin: what do you feel between the first and second?
andy: I hear the whole song structure thing slithering away
austin: exactly..,
andy: from tight and focused to loose and ambient/scratchy
winnie: well i guess the transition intAndvoro jazzanova
winnie: cos it starts out all mellow indie-ish
fred: what did you mean by reconstructing? shouldn't it have been deconstructing instead?
winnie: oh yes, good point andy
austin: you start with all the structure and elements of rock, then i took it away piece by piece.
andy: on the other hand, often I listen harder to the start of a CD
andy: so I wondered if my feelings were more about my attention span than the mix
fred: but if you're taking away pieces you're deconstructing, right?
andy: but yes - A, that's how it sounds
fred: no, i def felt that it got more abstract ... esp since you lose words
austin: reconstructing because the mix was supposed to form a loop. i tried to add more structure back in towards the end
austin: i'd say the middle was the most abstract
andy: rilly!?
andy: I think the end is
austin: or maybe around track 13 14
andy: dunno - 15 and 16 are pretty far away from badly dressed babs
andy: i feel that the journey continues
andy: or rather that . . . .THE JOURNEY CONTINUES . . . .
andy: (lots of reverb)
fred: haha
winnie: i feel like there's some structure to 16
austin: haha well i felt that 15 and 16 were both pretty structured
austin: but there is a gap between albym leaf and badly drawn boy
austin: definitely
fred: how do you say the end is more structured? oh actually now that i think about it i remember thinking 15 was sort of structured b/c i kept listening to it
andy: sure - but it's bassline/groove based, rather than verse/chorus/verse like the opening
austin: i think the fun thing for me wasn't the mix on the whole. but connecting the songs together
andy: it works real well I think - I like how it shifts
fred: yeah it def flowsn
fred: oops
austin: but there was a melody that was gradually developed and reused through out
fred: i love the part from 1:40 on #15
fred: that's the part i kept replaying
austin: as opposed to say tracks 12 and 13
austin: i just found out today that this dj also produced tracks with the alias prefure 73
austin: but it's entirely different
austin: lots of remixing of sampled hip hop
andy: F - yeah - that part of 15 is v. cool
austin: sorry. i meant prefuse 73
andy: reminds me, somehow, of that royksopp track on joyce's mix
fred: i hear that
winnie: yeah sure
andy: Austin - i hear what you mean now - 12 and 13 are definitely less structured than what follows
andy: or . . . less . . . characterful? - I dunno . sumpin'
fred: my fav is def the marianne faithfull -- i like it much better than the song you played me, andy. is she one of those people that's been around for ages and has adapted her music to the times? like cher (heh) or i can't think of
fred: oops
fred: who else
austin: i see how it's not really a closely knitted cycle. but do you see the relations between the tracks?
winnie: less tuneful maybe?
austin: yeah she's been around for ages
andy: yes yes - she's been around since 64'
austin: gone through rehab
winnie: or madonna
andy: quite the ride too
austin: that def changed her music
winnie: (sorry, i'm getting left behind)
fred: yeah madonna
fred: good example
winnie: better before or after?
andy: fred - the track you know was from her first cd after rehab - 15/20 years ago
fred: mm
andy: better after
fred: i haven't heard her pre rehab
winnie: interesting
austin: well she didn't really write much music after. i think she mostly produced.. am i right andy?
winnie: before, she was just known as a stones groupie or something, wasn't she?
andy: before she was a fey fake folkie/Mick Jaggers gf/druggy wasted icon
andy: she and jagger were together solidly for a long time
fred: can you imagine kissing mick jagger? eee
andy: her autobiography is really interesting
fred: she produced?
andy: i know - but when he was 20
winnie: i feel like you'd get smothered by those lips
fred: that must have been pretty novel, as a woman, no?
winnie: (wait, am i thinking of steven tyler?)
andy: and the biggest badass in europe
austin: hahaha me too
winnie: anyway, i'm curious as to what exactly the connections are between the tracks
andy: anyway
fred: maybe i'm thinking of steven tyler too
winnie: or the intended connections anyway
fred: yeah me too
winnie: tyler, at least, isn't 80,000 years old
andy: 70,000
winnie: yeah
andy: but in his day . . .jagger makes eminem look like britney
andy: anyway
andy: love the brad mehldau . . but how did it get onto this mix?
winnie: so yes, austin, what's the missing link?
winnie: or something
andy: odd but good choice
austin: sorry i'm still trying to figure out what eminem britney looks like
austin: on to brad...
andy: eek
fred: i thought #8 was the link from sigur ros (deconstructed rock) to the jazzish techno
andy: hmm
fred: i thought that whole transition worked well
fred: is that guy a jazz guy?
andy: yup
andy: i really like the jazzanova thing . . .like the brand new heavies meet the young stevie wonder
andy: well
andy: kinda
austin: yeah i chose the song cuz he tried to take a jazz's perspective on rock. and that explains jazzanova
austin: but also...
austin: the drums is really reminiscent of the beats in drum and bass and break beats. it's the same beat. i don't know whether it was intended
andy: in the brad mehldau?
andy: hmm hold on there
andy: ah ha! - slowed down a bit, or looser, but yes
austin: 4:55 onwards. and there's another one earlier
andy: sneeeky
austin: 3:00
winnie: wow, that's pretty interesting
fred: hold on ... let me check
austin: so that explains track 10
andy: actually i think it's there even earlier . . .before it hots up
andy: chicken and egg - maybe lots o beats come from old jazz drumming
fred: wait which track are we talking about?
fred: for the dnb beats?
austin: sorry. the connection to track 10
austin: we're talking abot track 8
fred: i'm confused
andy: the drums in the brad mehldau, F
fred: okay
andy: btw - the marianne faithful track - is that from the new cd?
andy: and if so - who wrote/produced it etc.
austin: yup. let me check
andy: the new album is all collaborations, yeah?
austin: yeah bekc, pulp, billy ocrgan, dave stewart, blur
winnie: really? i didn't know that
winnie: who's dave stewart?
fred: i'm not quite hearing the dnb drums at 3:00 or 4:55 ...
andy: eurhythmics
winnie: that's an interesting line-up for collaborators though
fred: billy corgan?? no way!
andy: i think it's clearer earlier F
andy: even at 1:28 - t'ain't nothing weird, but it lopes along underneath his l.h triplets
andy: then gets steamy at 2:17
andy: mebbe I don't mean dnb, just some kind of other beats
fred: i hear faint little skittery bits every once in a while underneath, is that what you mean?
fred: but they're very short and very isolated ... ?
andy: skittering for dnb, but the drum sound itself sounds like stuff that's been sampled and spat out for ages
andy: i woner how much jazz drumming has been cut and pasted - I think a lot
fred: i have to say i still don't like sigur ros
fred: i really don't see why people like them so much
andy: i'm in 2 minds
austin: just listen to track 8 and 10. i hear a lot of similiarities
andy: hmmm - you could almost swap the drum tracks
fred: i hear it
austin: i put the sigur ros in there cuz of their take on vocals. they try to merge lyrics and singing
fred: what do you mean by merge?
andy: it's just the sound - no meaning
andy: winnie's kind of lyrics (he he)
andy: oops, sorry
austin: haha yup
winnie: haha. very funny.
austin: but he reused the words
andy: are they words??
andy: sounds like gibberish to me
fred: oh you mean they use their voices just as texture for the music?
austin: i think they're trying to creat a structure to the vocals and turn it into an instrument. the words sort of become the chords of an instrument
austin: they call it hopelandish
fred: speaking of vocals, i liked the chord/vocals on #9
andy: nice idea - doomed to failure
fred: hopelandish??? that sounds silly to me
austin: haha. i'm seeing them next week. we'll let you know
austin: will let you know
andy: we're genetically (probably) wired to pick out a human voice from the thickest texture
fred: people have been using voices as instruments for ages.
andy: you can hear words buried deep in sound in a way that youcan miss flutes, geetars, etc.
fred: like the women's chorus in the planets ... neptune?
andy: they still sound like an entirely different entity to the orchestra though
andy: it still sounds like orchestra + chorus - not a new type of ensemble
andy: well
austin: well to tell you the truth. sigur ros probably just couldn't write lyrics for the songs cuz they don't really know what they're about
andy: anyway - didn't Liz fraser already do this with Cocteau Twins decades ago?
andy: ha! drunken Icelanders
austin: well i just thought it fit in the framework. lyrics/no lyrics + electronica
andy: oh i do like this Brad Mehldau track
andy: yeah - and I like the Sigur Ros here . . .it works in the mix
austin: the more i listen, the more it sounds like rock (the Brad tarck)
andy: yes
andy: he covers lots of odd rock songs, yeah
andy: the Tori Amos of jazz
fred: haha
fred: really? i'd never heard of him
fred: but then, i don't listen to any jazz
austin: yeah. i have to check out his other albums. he treis to do something different everytime
andy: he's done a Nick Drake I heard somewhere
austin: he's done radiohead too
andy: riverman I think
fred: heh. funny
andy: ah yes- that's right
austin: ok computer
fred: sounds interesting
andy: wish i liked jazz more
austin: that's an ironic statement
austin: what do you mean?
andy: heh
andy: I admire jazz
andy: I recognize it's innovation and power
andy: improvisation bores me blue
austin: i se
andy: so the parts of jazz I like best are the least jazzy
winnie: i have a similar problem (if that's what it is)
winnie: i always chalked it up to classical traning
andy: it just seems to . . . casual
andy: ooh - i mean 'too'
austin: yeah. it must be the classical musician in you
andy: just want to make that known
austin: two
andy: yup - i think it is :-( love that planning
andy: but also - I find that inprovisation usually cmes in little chunks
andy: it happens in small phrases, then a pause while the musician thinks
winnie: yeah, that's the way jazz performance seems structured, anyway
andy: i like stuff to move ahead more, get pissed at the breaks
andy: but - it's so hip, ah well
fred: well, i like how w/ tori (sorry to bring her up again) she changes bits, like a little change to the riff here or a slightly diff solo, but it's w/in the structure
andy: why parsec, austin?
austin: so she's sort of improvising too?
fred: yeah, always always
andy: yeah she's a jazzbabe
austin: i have to check her out
fred: this past concert i went to on the bridge to this really well-known song, winter, she changed two notes on the vocal and i was just blown away ... it made it so fresh
austin: the tracks starting from parsec all sound like they have something missing
fred: really? that's funny
fred: what is parsec missing?
austin: a good old macho guitar
fred: haha
fred: were you thinking that for all the tracks after parsec?
andy: god i luv stereolab
andy: who needs jazz
fred: the layered vocals on parsec are like the vocals on #9
winnie: yeah, fer real
fred: there was this drummer i knew who liked to try to come up w/ dnb beats he could play live
andy: or rather . . .stereolab is how I like my jazz
fred: this stereolab track fits w/ the sigur ros idea of integrated vocals, no?
andy: also Austin - stereolab has lots of nonsense words
andy: ha!
winnie: are roni size & reprazent's drums live?
winnie: or are they sampled?
andy: yeah - even when they sing in English, she so mauls the syllables that's it''s indecipherable
austin: i tried to concentrate on two things when making this mix. finding tracks that gradually became less rocky (however you want to define that), and connecting them together
andy: ron size is both i think W
austin: roni size samples a lot
austin: but he has live drummers in his concerts
fred: hmm. well i guess we should wrap it up
fred: parting shots?
andy: I like this Sigur Ros track - it's sleepy and sweet
fred: it's treacly sweet
austin: just one last point. a perfect world had meaningless lyrics too.
andy: ah ha!
fred: really?
austin: i asked my japanese officemate what they meant
austin: something about pretty girls in a perfect world
fred: http://www.tedmills.com/pizzlyrics/pizzicatofive.html#perfect
fred: p5's lyrics are awesome!!
winnie: those are scary pictures
fred: this new morning'smemorandum number two:the perfect worldwill simmer with love
austin: thanks fred
fred: no prob
fred: anyone else?
fred: i have to say i esp dug tr 1-6
fred: #4 was a nice surprise, although i think i've already said that
andy: me too - but everything was interesting, and a couple of tracks have sent me off hunting
austin: you should listen to that album. lots of gems
fred: yay austin ... heh
winnie: i like mehldau more each time i hear him
andy: me too
fred: i'm still shying away from anything jazzish
andy: it starts like old Randy Newman
andy: before he went soft
austin: mmm pity i didn't get you guys excited about the rest
austin: track 10 and onwards
winnie: well i was already keen on badly drawn boy & wilco
fred: really? i thought brad started like it was going to get into stormy weather or something like that
andy: but that was your plan . . .remove the bones!
winnie: and pinback
winnie: and stereolab & sigur ros
winnie: (and i already knew those tracks)
austin: mum is pretty interesting i thought
winnie: i never really saw the connection between
fred: no, i def liked some of the other tracks as well, like #9 and #15
austin: good good
winnie: before
winnie: , i mean
fred: oh yeah, #13 reminded me of matmos
fred: strongly actually
winnie: i wasn't really trying to hear one, but the connections you made are really compelling
fred: i liked #10 and 12 also
austin: maybe i'll should have written down my reasons for each track. or i can try to remember
fred: heh
fred: you should send out a "mixer's intro to the mix" spiel
fred: posthumously i suppose heh
fred: anyway, i gotta get to bed
austin: yeah i was going to take sigur ros's approach. untitiled: music speaks louder than words. haha
andy: likerwiser
austin: aight. nite nite
fred: whoa -- i like this bit at 2:00 on #13! this one's better than i remembered
andy: adios, and thanks a - another goodie
fred: yep yep
austin: thank you for listening
fred: catch you all laterrrrr
andy: tata
andy has left the room.
austin: laters guys.