Wednesday, January 5, 2011


I tried to tell Matt that this mix is almost like an installation piece because it creates a mood that, like, you and your friends can chill to and wax shit or whatever, that the songs are such that they, like, conjure good conversation, but still grab you here and there with a guitar solo or a crossfader whirl-out or, like, just a quick moment of rockin' sweetness, that when I made it, which was before the holidays, a fortnight at least, then an amendment to the ending a little over a week ago, (some still rock the first draft, incidentally), but when I made it I was really feeling that pre-holiday angst, and it comes out in the song selections in a cool way, I think, it's, like, a peak at the compiler, or the artist or whatever, that the songs, and not just the songs, but the movement, the, like, journey of the mood and shit, like the way that I'm, like, basically hypnotizing you to make you feel a certain way, that the length - dude - the length is perfect, it's just an hour and I really take you there and all over and back again in only an hour, and I tried explaining all this to Matt while we were jamming the mix on the way out to deliver it in its, like, hardcopy self, but he was, like, turnin' it down and shit, and, because we were jammin' it on my new little nano I-Man, he was complaining that he couldn't work it, suddenly becoming some kind of neanderthal man with technology and eventually I just ripped it out of his fumbling sausage fingers and said: dude, this fucking mix is like an installation piece. Put it on, hang out with your friends and let the songs carry you.

Here's some artwork I cut out of a Discover magazine my dad gave me and then happened to be able to find on the internet:

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