Saturday, January 07, 2006

CompuMusik on internet radio

Kill Radio now has a little CompuMusik in its archives for the Chillroom show, hosted by former band mate Bennett Theissen.

Located in Los Angeles, Kill Radio is an experimental internet radio broadcaster.

Why did Bennett make this program 80:17 in duration?

This means I cannot burn it to a CD. Would it be legal to download a mash/mix broadcast? I'm not entirely clear on this issue. I downloaded the show to listen to it.

Bennett begins with, and interweaves throughout the show, selections from my private distribution, non-public release, CompuMusik: "New Sounds of Electricity", beginning with the track entitled "Oplimator". When you hear a UFO or death ray sound, it's probably from my "New Sounds of Electricity" CD.

Bennett is my high school pal and the former singer/songwriter of Camouflage Danse, our old NYC Loisaida noise-punk-ambient-electroviolence band in the late 1980s, 13th Street and 1st Avenue.

While I'm astonished and uplifted by the mashing technique of Aaron Spectre, especially his "Life We Promote" mix, Bennett's more subtle and comical mish and max style is impressive, for connoiseurs of aural nonsensical stromboniness.

You know mash-mixing, that groovy newish activity schedule for combining disparate songs, so they bleed in and out.

When done well, the result is a vast improvement on the original, separate songs. The mashup DJs are doing what the musicians should have done: make their music complex and hallucinatorily volatile, subject to lightning swift or creeping transformations, kaleidoscopic sonicity.

While "New Sounds of Electricity" is not yet ready for public release, my other two CDs are available: "Christian Noise Metaphysics" and "assorted sound confusions".

This coming Friday I will mail out another batch of CDs.

Send me your land mail address, and maybe a package of musical monstrosities will darken your mailbox someday soon.

"assorted sound confusions" makes even me, its composer, feel like I'm on another planet, or at least in a strange hotel.

Playlist for "Chillroom Zero"
January 1, 2006

Steven Streight - Oplimater

Gasp - lock groove

Kotyk - Final Cut

Mandrake Memorial - Snake Charmer

Clothesline Revival - Satisfied

Sore Eros - Ensoul Call

Time - At Shadow's Eye

Neil Young - Heart of Gold (Kamikaze's Slow 45s)

Lothar and the Hand People - This May Be Goodbye

Loop Guru - Strawberry Lotus Focus

The Beatles - Revolution 9

The Peter Peter Ivers Band - Alpha Centauri

John Lennon - India

Yura Yura Teikoku - Soft Death

Lou Reed - Metal Machine Music

John Cale - Sun Blindness Music

New Pornographers - Falling Through Your Clothes

Xentos Jones - The Misanthrope

Nelson Riddle - Lolita Ya-Ya

John Barry - Midnight Cowboy

Velvet Underground - Pale Blues Eyes (LaCave in Cleveland 10/68)

Bullwinkle Theme

1 comment:

steven edward streight said...

[email from Bennet of The Chill Room on Kill Radio]:

Hi hi

The idea behind a mashup is to hear old music in new ways. The basic idea is to use the music track of one song and the vocal of another and to create a new blend. It's still relatively new, my understanding is that mashing first appeared in the late 90s in Holland and was soon picked up in the UK and only in the past couple years has it come to the States. The most famous mashup is probably still The Gray Album, mixing the Beatles Whiter Album with Jay-Z's Black Album, done by the L.A. dj Danger Mouse, though to me that stuff sounds like the aural equivalent of throwing mud on a classical painting. But already the mashing levels have gone even further than anyone first imagined. Loo & Placido from France have created extraordinary pieces melding five or six songs together. I have a piece by CCC called Lust Train that merges I Feel Fine by Cream, Touich Me by the Doors, We Love You by the Stones, and Last Train to Clarksville by the Monkees, and it amazes me how all the original pieces are clearly there yet it makes something altogether new.

I did a Chill Room on this stuff, calling it Mix'n Mash, and you can listen to it at Here are a whole bunch of different kinds of mashups, a really good survey of the field. Over 200 people have d/l'd it so far (and that doesn't include the people who listen but don't d/l)! Mark Vidler of Go Home Productions, whose music I use throughout this show, was very impressed and he told me that my show made him think even more about what he was doing. (His Rapture Rider, mixing the Doors and Blondie, got so much attention it has been officially released.) His website is (If these URLs are not appearing as links, I'm sorry, but onebox has done something that causes this. I want them to be links, so you can just click on them and go there, but they apparently aren't coming up that way. If they ARE appaearing as links, let me know. Thanks.)

As for New Sounds of Electricity, well, I like the simplicity, it's interesting and soothing. Assorted Sound Confusions is quite a sound barrage, and that's interesting too, but not as useful to me as New Sounds. Electronic things are good for me as beds for other things. Because it's all about materials for use.

The Chill Room is about mental liberation, escaping in endless ways from the tether of hard reality. The show I posted this morning is Magickal Performance and it's very different from Zero. The effect I am looking for is pureness of sound, to underscore thematics. Each show has a shape of its own, and it does not exist to please a listener. You have to check your ego at the door. As I say at the start of Zero, you don't even have to listen to it for it to effect you. It's like nature and life, it just is. It's great that you enjioyed Zero, but each show is differemt and what you don't like is on you, not me. I've been doing this for years now, and I'm still learning always, but I do know what I'm doing. You act like you're surprised you enjoy one of my shows! I'm not just sitting in a room doing this by myself, I do have listeners all over the world.

And in that vein, I guess you're joking when you say I should tell you what your music should sound like.

Oh, and I've worked clubs and what I like best in clubs is to get people dancing! Because that is an immediate response to what I play. (Clubs like it too, because yes the patrons buy more drinks.) My Chill Room ambience is a little too intellectual for dance clubs, but in Feb I am going to be dj'ing Chill Room style in a new Hollywood club because somebody there has asked me to give it a try. We'll see if it works.

You don't know what I mean by gltiches on a computer burner? Answer this, Can you copy two tracks that have no aural breaks between them and not have your burner insert a pause that isn't there? From listening to Our Sound I can tell that you can't. That's what I hate about computer cd burners. I started working with one back in 2001, must have made about 200 cd's on one, but once I got a realtime burner I never went back to a computer burner except to make discs of mp3s. I thought, since you have Audacity, that you could record to that, edit and fade and do whatever to the track, and then put that track on another disc. Evidently you're still learning and I'm sure you'll get used to it.

Yes, some CD tracks don't sound as good as others. Feedback, for instance, sounds pretty wretched. That is my fault and I do apologize, but that's because I dubbed that a long time ago and don't have a better (master) copy. I can do better now and in time I'll send you more. However, I have sent you plenty of high quality masters that you didn't use, for your selection reflects more your new interest in the machinery than it does in the quality of the music itself. In a year or so you'll be so much better at this stuff technically. Good luck!

I left a message for you Saturday night, to call me and I'd call you back. Why didn't I hear from you? Don't you like to talk on the phone?

Happy noo fears!

bennett - email

The Chill Room Saturday nights midnight PST
Past shows available on the killradio archive
And on