www.openlab.fm | 106.4FM in Ibiza & Formentera

Next up on our OpenLab Selectors series is New York DJ & Producer https://soundcloud.com/old-terra with one hour of IDM flavoured atmospheric breaks.

“The drums are the melody. The first chunk of this mix is filled with a lot of bits and pieces of things I’m currently working on. Lots of spooky and intricate breaks with a few sort of sweet-sounding moments mixed in. The other 2 thirds of the mix is comprised of tracks by the artists I’m trying to emulate while developing my own style. More breaks, more moody stuff, more atmospheric stuff.“ - https://soundcloud.com/old-terra

Tracklist:
rosalia - juro que (old terra edit)
old terra - untitled
selena - amor prohibido (old terra edit)
old terra - untitled
old terra - untitled
old terra - subdimension
old terra - untitled
old terra - dim ages
j majik - third eye
tygapaw - facety
escaflowne - piano power
acemo - r u ready for the...
mnemonic deejay - control mission (marauder mix)
laurel halo & hodge - tru
goldie - i'll be there for you
stones taro - digital vintage
hind leg - misuse the tech
bodyman - awareness

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OpenLab Selectors [with Old Terra]

_Wear_Headphones_

I wore binaural microphones while traveling throughout New Orleans. I started in Congo Square on February 28th and kept recording through Mardi Gras March 4th. I've also added other media produced by Maya Deren, Mahalia Jackson, Kenneth Rexroth, Fats Waller, and Smokey Johnson. I've recorded and included countless buskers, many marching bands, Blackbellied Whistling Ducks, the Rebirth Brass Band, and I was lucky enough to secondline with the Red Beans and Rice Crew lead by the Treme Brass Band.

_Wear_Headphones_

Dispatches From NOLA

Recorded and mixed by Alex Inglizian at Experimental Sound Studio.
Additional recording at Pieholden by Joshua Dumas.
Mastering by Peter Andreadis at All City Mastering
Cover Design by Joshua Dumas

Annie Higgins: vocals, piano, juno
Jason Toth: drums, percussion
Joshua Dumas: electronics
Angela James: vocals

www.weathermanband.com 
www.facebook.com/weathermanband

Buy link: https://la-soc.bandcamp.com

Weatherman / Stormy Dayz

Merry berry Christmas from WITHIN
lullay, lullay, little children

Cherry Tree Carol

I focused this mix around rhythm and space. Oftentimes when people talk about rhythm, they’re talking about the attacks or sound that fill up otherwise empty space. Alternatively, when people talk about space, they usually focus on the silence in a space that would otherwise be noisy. I’d like to make the case that rhythm and space are the same, and rhythm can be built around silence, while space can be built around density. From the opening sounds of Susie Ibarra’s drums, it’s up to the listener to parse together how she sets the space. Drummers in particular are a conceptual model for how attacks can be individually tuned and quickly maneuvered to manipulate space. Later in the mix, we hear elusive guitarist and songwriter Jandek in trio format. Jandek utilizes great rhythms in his singing, his lines often fall where you least expect them. That surprise element is what draws us in as listeners, when we feel for a landing place that isn’t there, or expect a space that’s suddenly filled. The way his guitar pulls with the trio adds another layer to the manipulation of expectation, you can feel him cause friction in a somewhat sparse space, leading to a sound that is bare yet tense. The foil to this would be Mamadou-Diabate's music, which I challenge listeners to think of in terms of space. With something that’s seemingly so dense and cyclical, is there space? I hear it as something that breathes formally rather than rhythmically, things come in and out, back and forth, and that’s where the spatial aspect comes into play. I chose to end this mix with Sun Ra, someone who pushed his existence in a spatial sense by distancing himself from the planet he performed on. There’s a beautiful moment in the end of this recording with some repeated notes rising over a vocal call and an abstracted horn solo. When all these elements combine, the rhythm seems to hold openness in tandem with intense narrative expression.

Erez Dessel / ESS CAA Mixtape Series 002

Chicago-based guitarists Bill MacKay and Ryley Walker first met in January 2014 at a friend’s birthday party where they discovered a mutual admiration for Albert King, Laura Nyro, Nick Drake, Bert Jansch, Ali Akbar Khan and Jimi Hendrix. They soon began meeting at Bill’s southwest Chicago home to write and improvise together on their lived-in dreadnought 6-string guitars, with Ryley's 12-string and Bill's requinto making frequent appearances as the year wore on. The duo quickly developed their own musical vocabulary and the resulting sounds drew on traditional folk music from Appalachia to Northern India, as well as jazz and blues. Over the course of the year, an impressive repertoire of new songs and ideas coalesced.

In January 2015, Bill and Ryley took up a month-long, Friday night residency at The Whistler, a live music venue/gallery/record label in Chicago’s Logan Square neighborhood. The overall spirit of the residency was that of a creative workshop producing music that ran in directions as wide as the duo’s interests. Each week, songs took on new shapes, while others were written and added to the always-evolving set list. Alex Inglizian of Experimental Sound Studios recorded the final two shows of the residency and Erik Hall (In Tall Buildings, Wild Belle) mixed the seven tracks that comprise Land of Plenty.

Land of Plenty is completely instrumental and falls somewhere between Ryley Walker’s acclaimed new album, Primrose Green (Dead Oceans), and Bill MacKay’s highly melodic work in Darts & Arrows. Songs run the gamut from fingerstyle ballads to psychedelic waltzes and raga-inspired blues. Guitar tone was a key element when selecting the tracks that made the cut. Like their live set up, Bill’s guitar can be heard on the left of the stereo picture and Ryley’s on the right. Although recorded in a bar in front of a capacity crowd, it’s not until the album’s final seconds that the fourth wall is dropped and the listener can hear the crowd’s raucous applause.

Bill MacKay & Ryley Walker — Land of Plenty

Written + performed by Lyra Hill. Alto flute by Rob Frye. Produced by Tyson Thurston + Lyra Hill. Recorded and mixed by Tyson Thurston.

Death
always hanging around offering
grief, sickness settling lower
to womb, like pulled taffy
coiled and remolding

Death
how could you be anything but
cruel, to cause such pain? You
pour out suffering
it feels personal

I struggle not to follow the dead

Why can't you satisfy the need to be rid of you?
No matter how often you say you're going to
your absence, it is you

I never really know if I'm alone

I groaned, "I know myself so well that I'm
bored by my anxieties"
Ceaselessly meeting
I fear uselessness

I struggle not to follow the dead

Trying to sense when standing still is the appropriate action
I let the anchor fall from my lower back and bend forward, leaning away from my tether
the tension stretches all my ribs
my body shakes from the beating of my heart

I'm letting go, I'm letting go
I'm letting go of control.

Erez Dessel / ESS CAA Mixtape Series 002

Experimental Sound Studio

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