boards of canada – transmissions ferox
hans zimmer & banjamin wallfisch – 2049
terry riley – in C
kaitlyn aurelia smith – anthropoda
panda bear – tropic of cancer
alice coltrane – huntington ashram monastery

jjuujjuu – ancient’s future
king gizzard & the lizard wizard – work this time
makaya – the jaunt
the budos band – origin of man
hope sandoval & the warm inventions – let me get there
spiritualized – cop shoot cop (edit)
twin peaks – tossing tears
holy wave – do you feel it
black moth super rainbow – dreamsicle bomb
khruangbin – white gloves
the dead weather – blue blood blues
flaming’ grooves – yesterday’s numbers
deap vally – smile more
the creation factory – you got it
fever the ghost – source
camera – ildefons
ariel pink’s haunted graffiti – round and round
gøggs – gøggs

the budos band – ride or die
froth – contact
tortoise – gigantes
the babe rainbow – johny says stay cool
camera – tjamahal
thurston moore – cease fire
frankie & the witch fingers – get down
la femme – mycose
queens of they stone age – the evil has landed
starcrawler – ants
the stooges – i wanna be your dog (reflex edit)
999 – homicide


I threw this 3-hour mix together for our 3-hour drive from LAX to Joshua Tree for the 2017 Desert Daze Music festival. Almost all of these bands are performing at the event. A few random songs got thrown in simply becuz I’ve been listening to them lately and they seemed to fit. Many of these bands I’ve never even heard of, so I figured I’d get acquainted with them as we drive through the California desert. If you’re not feeling this mix, it’s because I bought most of this music 2 days ago and I haven’t realized it sucks yet.

Greenpoint Taco magnates The Calexicans aka The Vendley Brothers vouch for Desert Daze as the nearest thing to the sadly defunct All Tomorrow’s Parties festival - the upstate NY joint where we used to get our yearly collective fix of indie rock and stoner metal. This west coast gathering seems a bit less metal and a lot more psychedelic, but I am intrigued nonetheless. And it’s in Joshua Tree, so how can we lose?

I don’t know enough about these bands at this time to do a proper write-up, but I will copy and paste this explanation of the third song on this mix, Terry Riley‘s 1964 experimental work “In C“, which is 45 minutes long and a bit of a mindfuck. He is performing this weekend and I’m hoping there will be some version of this song in the mix. The Wiki says:

“In C” is a musical piece composed by Terry Riley in 1964 for an indefinite number of performers. He suggests “a group of about 35 is desired if possible but smaller or larger groups will work”. A series of short melodic fragments, In C is a response to the abstract academic serialist techniques devised by Schoenberg that dominated Western university composers for many decades and is often cited as the first minimalist composition (though La Monte Young’s drone compositions preceded it by several years, In C had a greater impact on public consciousness).

In C consists of 53 short, numbered musical phrases, lasting from half a beat to 32 beats; each phrase may be repeated an arbitrary number of times. Each musician has control over which phrase they play: players are encouraged to play the phrases starting at different times, even if they are playing the same phrase. In this way, although the melodic content of each part is predetermined, In C has elements of aleatoric music to it. The performance directions state that the musical ensemble should try to stay within two to three phrases of each other. The phrases must be played in order, although some may be skipped. As detailed in some editions of the score, it is customary for one musician (“traditionally… a beautiful girl,” Riley notes in the score) to play the note C in repeated eighth notes, typically on a piano or pitched-percussion instrument (e.g. marimba). This functions as a metronome and is referred to as “The Pulse”. Steve Reich introduced the idea of a rhythmic pulse to Riley, who accepted it, thus radically altering the original composition by Riley which had no rhythm.

In C has no set duration; performances can last as little as fifteen minutes or as long as several hours, although Riley indicates “performances normally average between 45 minutes and an hour and a half.” The number of performers may also vary between any two performances. The original recording of the piece was created by 11 musicians (although, through overdubbing, several dozen instruments were utilized), while a performance in 2006 at the Walt Disney Concert Hall featured 124 musicians.

The piece begins on a C major chord (patterns one through seven) with a strong emphasis on the mediant E and the entrance of the note F which begins a series of slow progressions to other chords suggesting a few subtle and ambiguous changes of key, the last pattern being an alteration between B♭ and G. Though the polyphonic interplay of the various patterns against each other and themselves at different rhythmic displacements is of primary interest, the piece may be considered heterophonic.

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