LET'S ELECTRIFY!!

Edgewood Electronic Music Festival 2010


So, as I have become accustomed to, something came up at the last minute and Matt asked me to participate. Apparently this was the first year of something called the Edgewood Electronic Music Festival, which is basically a weekend during which all of the bars and restaurants along the Edgewood corridor would be promoting and having DJs and bands and specials and what not. You know, your typical neighborhood raise-awareness weekend fest/block-party type of thing. Being really not in the loop I am not sure I understand the concept or inner-workings of it. Noni’s was not one of the major hubs or involved in the planning as far as I know. And I didn’t really get the impression that there was anything expressly “electronic”-centric about any of the proceedings, but whatever.

The Old Fourth Ward is another one of those Atlanta stories that happen once a year or every few years. A run-down ghetto neighborhood is slowly being built up and rehabilitated, little businesses moving in, art spaces, indie-types, good restaurants. It’s a well-worn story, half gentrification, half neighborhood togetherness and pride. It’s a good thing. The point being, I like Edgewood Ave. and I like the Old Fourth Ward and I am glad to be some small part of a burgeoning area/scene in my city.

Matt expressed an interest in me DJing this Sunday then reneged, seeing as GUSH was so close. He was also a little reticent because I don’t spin vinyl (back to that whole thing), which struck me as odd, since it was supposed to be an “electronic” fest. Seems like vinyl would be sort of anti-intuitive. But then a moment later he had this epiphany about one of the big acts that was spinning on Saturday. A woman, whose name I forget, but who is apparently a big deal and has been around forever. He’s like wait a minute, she spins CDs and other shit, not just vinyl. OK fine maybe we’ll put you on, Brian.

It was up in the air until, like all things with Matt, that last minute. I was informed that I would be going on from 3-6 on Sunday as the first slot in a 3 DJ day/night. Also being featured after me were two of the other regular Friday night DJs (including the kid that had a big problem with me in the first place, using my computer. I mentioned that in a rant on a previous GUSH post right? If not I’ll get back to it at some point. He’s just a vinyl DJ who had some not so nice things to say about your truly at first for no reason other than that I DJ on a computer. I think we have sort of buried the hatchet now but at the time it was a real bummer to me, I hate when haterz wanna hate and talk shit and all you’re doing is trying to do the best job you can and help everyone have a good time.) It was not really promoted and, moreover, Noni's doesn't even open on Sundays until I think 5, so the cards were pretty much stacked against anyone being there. Which I accepted as just the way it was gonna be.

In other Matt last-minute news, I got a voice-mail like a couple days before the deal and he asked me to do a flier for it (pictured above in an unfortunately wrongly cut-off scan, I’m working on a better one to replace it…). So I jumped up, always excited for a project/assignment, even if it’s sort of futile for its function. To his credit, Matt did not realize that I don’t make my fliers on the computer (I do it old school, typing, copy machines, etc…) and said afterwards that had he known that he wouldn’t have troubled me with it. In the end it was fine. I went in with one idea and, as usual, came out with something way cooler. I was pretty proud of the design I came up with. It was not Matt's expressed desire but I decided to try to spin the flier. I thought that it would be nice to make it sound like there was a larger plan/idea behind the Sunday roster. I imagined it as a sort of intentional showcase of the Friday night regular DJs. Like, hey check it out, here's what we have goin' on on Fridays that y'all are missing out on. Nice idea, and, if I do say so, well spun and executed by me, but totally useless and wasted as an advertising tool, considering that no one saw the flier and no one was in the restaurant. The road to Hell...*

(of special note, the scan I have of the flier on here right now is one that Matt made, unsupervised by me, and has thus, accidentally, had about a half inch of the right-hand side cut off. I mean, its all supposed to look cut off, but not the right side where the important info is. I'm working on getting a better scan of this, not that anyone besides me gives a shit)

So we showed up a little before 3 on Sunday, set up and hung out. It was slow and dead and Matt and I were both sick. I had my first ever hot toddy and Jenn was reintroduced to her love of/blown away by (Noni’s) bloodymarys.

It was a tough set. Initially I was excited for it because I thought it would be a laid back time slot that allowed me to fuck around and play stuff I wouldn’t normally play when I am trying to carry a Friday night. Alas, it did not turn out lie that at all. The bartenders on were characteristically gruff and snide (lots of making fun of what I was playing at the outset, or so I thought, I tend to get a little over-sensitive about this stuff), Matt was there all day, and the room was empty. So I was feeling pretty self-conscious about what I was playing. I ended up in this weird limbo middle ground of not really being able to experiment and stretch out like I wanted and also being reticent to play exactly the same kind of set I’d play at night, on a Friday. Music, like drinking, travels very differently in the daylight. I think I came through OK but it was not all that I imagined it to be. Kind of not one thing or another, a tepid-feeling middle ground between it all that was unsatisfying to me.

Eventually some folks came in and hung out and it was OK. I got a couple accolades on my song selections and, in the last hour, Matt came up and suggested I stick with the dance stuff I had been playing as he had some friends there that would appreciate it. So I did.

Around 5:45 Chad, my relief DJ, came in and there were a few terse, awkward moments of us exchanging formal "hello I am this person/nice to meet you’s". He informed me that he was just gonna set up and smoke a cigarette and then start whenever, and I told him I was at the point that I was just fucking around and he could start whenever. I was trying to be magnanimous.

It got to this point in my fucking around that I was playing “Shutterbug” by Big Boi which I always feel like, in my mind, makes a good segue into “How Soon Is Now” by The Smiths, and I didn’t see him so I went for it. As soon as "How Soon" came on he walked in and said “are you planning on playing all 7 minutes?” and I felt like a dick. Though he then informed me he was cool with it and was only asking because he hadn’t actually gone out and smoked yet. So I played it through and then he fired up.

Jenn and I proceeded to pack up and eat a really killer dinner at a table. Noni’s has awesome food. And uh, that was that. It was nothing big, just a little fill-in gig.

The set went, I believe…





Totally Wired-The Fall
Grinding Halt-The Cure
Still Ill-The Smiths
Girl U Want-Devo
Three Girl Rhumba-Wire
There Goes My Gun-Pixies
Sing Me Spanish Techno-New Pornographers
Move On-Hot Hot Heat
Niacin-Nothing Painted Blue
Radio,Radio-Elvis Costello & The Attractions
Youth In Transit-Clickers
Soft Pyramids-Q And Not U
Oh-Fugazi
Bad Education-Tilly & The Wall
Helicopter-M. Ward
Atlanta Skyline-The Weight
New York, New York-Ryan Adams
Timebomb-Old 97’s
Rum To Whiskey-Murder City Devils
For Boston-The Hold Steady
Timorous Me-Ted Leo & The Pharmacists
The Boys Are Back In Town-This Lizzy
You’re Losing Out-Two Gallants
A More Perfect Union-Titus Andronicus
Clampdown-The Clash
Save It For Later-The English Beat
East Sun, Son-Gobble Gobble
Indoorsy-Baths
Heartbeats (Rex The Dog Remix)-The Knife
Not In Love (Featuring Robert Smith)-Crystal Castles
Blue Monday/Heads Will Roll (Mashup, by yours truly)-New Order/Yeah Yeah Yeahs
Flux-Bloc Party
Raindrops-Basement Jaxx
Music Sounds Better With You-Spacedust
Dance Yrself Clean/All Talk (Mashup, by yours truly again)-LCD Soundsystem/Kid Cudi
Bad Spell-Judi Chicago
Kelly-Van She
Lost Main Title-Michael Giaccino
Gimme Sympathy-Metric
Set Yourself On Fire-Stars
Worked Up So Sexual-The Faint
House Of Jealous Lovers-The Rapture
Contort Yourself-James White & The Blacks
We Got Cold, Coughed And Forgot Things-Liars
Give It Up-LCD Soundsystem
Groove Is In The Heart-Deee Lite
Bust A Move-Young MC
Flashlight-Funkadelic
Shutterbugg-Big Boi
How Soon Is Now-The Smiths





























it is 2:49 am
this is the seance





























xx

--005(I Lost My Wind)

(Pics for all of the mix versions in iTunes with their corresponding burned CDs except for that weird second version of Karl Blau. Still no clue where that came from or how I ended up documenting it. If I come up with something I'll be sure to update you.)









I Lost My Wind (from the "Moon, Moon/I Lost My Wind" 7" and "Song Islands" CD)
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So, really hitting the wheelhouse of first wave mixing now. As always I have only scant recollection of the building of this mix. Although one thing that does keep it vivid for me was the fact that, in its first incarnation this mix was actually named “Karl Blau” and featured only that Microphones song. I recall bringing it in and explaining that it was indeed the name of the mix and the song, not a CD by Karl Blau. I think that this was literally first rearranged because of my own, at the time, aesthetic discomfort with the naming. It just didn’t fit with the flow of the previous titles. It looked awkward on the CD. So that, among other things (we will see in the Alt. Versions section) led to the addition of another Microphones song “I Lost My Wind” and the re-titling of this one.

It starts with one of my all-time favorite ES songs “I Didn’t Understand”. I am always running a joke into the ground whenever this song comes on about “hey who decided to start the mix off with this Boyz II Men track? Classic Brian bad joke-y-ness. Still, real similarities to serious 90’s R’n’B hitmakers aside, this is a testament to just how beautiful something can be with just layered voices.

Which called to my mind all kinds of classic Doo-wop and whatnot (something we will see explored in much greater depth when we get to the review of the reimagined “Karl Blau” in a couple hundred mixes), and so there we have the original genesis of this mix.

“Karl Blau” (as discussed mildly in various parts of the recently posted “It Was Hot…” LP post over on THE WRAITH) is a classic example of one of Phil’s tiny, beautiful choral outposts dropped in amidst a sea of weirdness and percussion. It is this song and others like it, in their times and places, in their weird minefields, that made me understand Phil and come to love him when it was still hard to understand and love him (for me, that is). This is still one of my most favorite songs by The Microphones and I think many of us feel that way.

“Stars Fell on Alabama” is a pretty serious “mirror facing mirror” moment. This song was the origin of one of the best Mountain Goats KINGS rules. And, of course, I can’t recall if it’s the one that’s attached to the appearance of MG songs or if it’s the one that’s attached to a specific card (Z or C step in here and help me out). The rule being that when the card comes up or, alternately maybe, whenever a MG song comes on the first person to notice is enticed to shout “And if you think I’ll take a bullet for you…” to which the next most on-the-ball person responds “YOU’RE DREAMING!!” and the last, un/lucky person not to get to join in must then drink one. This song has always warmed me for many reasons, not least of which is the famous (to Zoe, at least) mention of “kudzu” the strange leafy vine plant, now indigenous to Georgia, which grows all over, all over everything in the most beautiful, mysterious and frightening way. This song was brought up numerous times on Z and C’s trip to Atlanta for my wedding. Z being particularly on-the-lookout for kudzu forests/monsters. Additionally I have just always loved/not understood Alabama’s state motto, which adorns their license plates.

Ah, Jawbreaker. So good to see you again. We must recall again, at the time, this was a daring choice. I was still trying to “win over” the KINGS to Jawbreaker. They were rougher and punker than most of what I knew everyone listened to but, I mean, come on, it’s fucking Jawbreaker. This is one of those things in life where we can all, as a people, meet up and agree. Where we can all put aside our differences and unite in the glow of something just so universally “right”. Having already used my first candidate for “Jawbreaker song most likely to reach out to the uninitiated with its alcohol fueled despair” on --003 I decided to go with candidate two here, “Chesterfield King”. Another perfect Blake Schwarzenbach portrait of time and place.

Then we have the lovely “Little Ghost” a very un-White Stripes moment for The White Stripes. A lovely little bluegrass ditty about a fittingly Appalachian-style folk ghost. I recall many nights in Bmax linking arms with various other employees in a “dosey-doe” fashion and dancing around and around in a serious hoe-down state of mind/drunkenness.

Followed, of course, (getting a little twang run going here) by the next Ryan Adams song a person should hear if they are only familiar with “To Be Young…”, “New York, New York”. I am sure that I’ve talked extensively already in these pages about Mr. Luke Kalloch and his proximity to R. Adams for me. With him being one of the morning anchors at Bmax I could always count on walking in for the night shift to the dulcet tones of Mr. Adams. I think we can all agree that “Gold” may very well be the best of Ryan’s millions of CDs. It’s just so start-to-finish solid and feel-good-y, kicked off right here at the start with this song. It’s got everything great about this period of Ryan’s output, it shuffles, it strums, it’s upbeat, lots of instruments, city-based story-telling and so on.

And continuing with the twang, “Timebomb”, hands down the best Old 97’s song, ever. I defy anyone to not like this song. I think that I first heard this album back at the H. Sq. Newbury. It got played a lot, to some people’s chagrin and others’ delight. The O97’s are a pretty killer group (and Rhett’s solo stuff is pretty great too) and this is, I would argue their best album by far. Much like the way Ryan’s “Gold” kicks off, here we have the first track and it kicks things off with all the hallmarks you can expect, endlessly rolling train-chug snare, a killer guitar line, Rhett’s raspy voice that still manages to hit the high, high registers. You feel me.

Keeping the upbeat tone going we have, next, “The Chimney Sweep” by The Decemberists. Another one of everyone’s all time favorite tracks by them. I think this was actually the song that Fred had on one of the mythical Fred mixes I am always referring to as inspiration in these stories. What can you say that hasn’t been said about this song? Early on TD had it in place perfectly. Able to lay on, thick, the old-world aphorisms and timbre, the serious Mary Poppins overtones, the sea-shanty vibe, the vocabulary, the Dickensian double entendre’, and somehow wrap it up into a package that even the most jaded among us cannot deny. Colin Meloy is probably single-handedly responsible for turning a whole generation of indie rockers onto “Bleak House”, Nicholas Nickelby” and “Our Mutual Friend” (though Desmond might also get similar accolades…) This (along with the O97s track) is one the absolute best songs on this mix to sing along to, all out.

So how can this not be followed by “Chim chim-cher-ee” itself? Don’t dip too much into musicals for the mixes (or in my personal life) but really, who can deny the classics? This is almost a mirror facing mirror. I wouldn’t refuse to drink if someone called it. Plus any time you’ve got kids singing back-up vocals it’s pretty much solid gold. Haven’t watched this since I was tiny. This song starts a little arc of cool-down-ness coming off of the the 1-2-3-4-5 punch of the last section.

I kind of forget how Steely Dan got accepted into the mix cannon. I’m assuming at some point they came up in a discussion and everyone admitted to being ok with them (I am usually the first into the breach in these scenarios). And thus, some personal favorite SD tracks began to be peppered in. SD is a good example of a band I heard when I was younger and hated, hated, hated for it’s seemingly tepid, smoothed-out, middle-of-the-road-ness (also see James Taylor, Cat Stevens, etc...) but which, as an adult, I came to understand and really like. At some point I had a cassette copy of “The Best of” SD and I remember it being on my going-to-work rotation at the H Sq. Newbury. Side one is particularly nice, from which this song hailed (well, not originally, it’s actually from the “Katy Lied” LP, but you know what I mean). A short little blues ditty with one of the nicest swung-out drum parts in history. My personal favorite part of the song being a little out-of-nowhere drum fill at about 2:18. I’m always a sucker for this type of drum fill, a tiny little roll floating in between hi-hat hits. Ah Steely, can’t wait till we meet again.

The cool-down portion of the mix continues with our namesake “I Lost My Wind”. I am sure I have already extensively and eloquently detailed my history with this song over on THE WRAITH when I did the post for the “Moon, Moon”/“I Lost My Wind” 7”. So I’m actually going to suffice to say go over to the other page and read that post for more on my feelings about this beautiful tiny song.

Now, coming out of the cool-out and getting into the next movement of the mix we have “Super Bon Bon” from our old friends Soul Coughing. I think this was actually a minor radio single at one point. Not as big as “Circles” but I think it must have had some modest exposure. The leadoff track from the second album and it’s all solidly in place. The killer bass-line, the spry drumming, the weird inexplicable samples and Mike Doughty’s nonsense lyrics. Here presented in a seriously grooving slab of head-noddery.
Yes the words sound dumb but the groove is that good that you still sing along and feel it.

Not sure if I’ve brought this up before but it is an historical oddity that Coree, who, in my life, was the number one proponent of SC and the person that made me reconsider them as something that might actually be good (and thank you for that, I had no idea how important Mike Doughty would become to me in the following years), somehow missed out on this album. She had the first one, loved it to death and the third likewise but somehow never put her hands on “Irresistible Bliss”.

A final note on this track, which I may have said before (sorry if these posts are redundant or I tell permutations of the same stories over and over again, I have been so lax and not on-the-ball with turning these out that I often forget what ground I’ve covered, but I’m just hoping that everyone else has too, so it’s all good), Jenn made a comment at some point in the car while we were listening to some mix and some SC song came on. She said something to the effect of “I can always tell when it’s a Soul Coughing song because they all have that same sound when they start…” that quote is fairly inaccurate but close, in spirit, to her sentiment. This song is a stellar example of what she’s talking about.

Still enamored with a wider audience possibility for Atom and his charms, here we have another of his finest moments “Me and My Black Metal Friends”. I am thinking that many people are not even really familiar with the term “Black Metal” which makes this song not only a good beginner’s guide but also that much funnier to behold in, what I might assume, would be a literal sense for many. Atom is the king of bad-ass sounding keyboard bass-lines and this is a good example. He is also the king of strange interpolation that works well, and here we have a little “Come on, Eileen” stomp at the end. Best part of the song, the part where he informs us (perhaps in deference to the idiosyncrasy I was just pointing out) that Black Metal “is not exactly like Living Color”.
Yick, yick, yick.

“Alabama Nova” was an early favorite Mountain Goats song of mine. The first time I saw him play (Middle East Upstairs, sometime in the mid-90’s) this was one of a handful of songs I can recall him playing. He was alone, on a stool and very, very, very energized. He did a Smiths song, I forget which. I remember, I think, writing on my arm, details about the set list for later exploration. This was one of my successes. We all love when John sings about the South.

Ah, Simon Joyner, I am always glad to see you being represented in mixes. SJ is one of those mix triumphs for me (there are many, to be fair). It is one of my most favorite things about KINGS and the mixes to discover, randomly, that some random artist or song has become a part of my friends’ lives. This song is a good example of that. The first time I noticed someone at the table singing this besides me was a big moment. I mean, come on, “I need a fiddler to support a roof…”? Seriously man.

“Son of Sam”, the song so nice that the first wave mixes needed it twice, here in the acoustic version from the “Happiness” single. That single came out a bit before Figure 8 and thus this was the way I came to know this song in the beginning. Hearing it lead off that album (see my comments about it on the ANTLERS post) was quite a jolt. That being said, I think I probably said all the most worthwhile things I had to say about it there so, you can refer back to that. But a few further thoughts, even in the easier to hear and understand acoustic version I still am very uncertain what sentiment he is trying ot express here. Alienation? Loneliness?

I think this might be the mix that Coree once remarked “Oh yeah, this is the one that like stacks up the Mountain Goats songs”. And yes, not sure what leads me to do that sometimes with artists. I very much come from the school of mixing where it is sort of no-no to put more than one song by an artist on a mix. For some reason with the KINGS mixes I tend to totally disregard that rule, and how. I’m gonna get back to you on this (and if anyone else knows please tell me) but this might be the all-time high score for number of MG songs on a single mix, 4. Highlight of this track, I think for all of us, using the word “Mexicali”. Still don’t know what that is. Also in this category: Pennsyltucky.

“T-Shirt Weather” seems to be an odd choice for a mix to me, at this stage. Not sure why. I guess it’s not. It’s a huge pop hit and that was always a safety zone for me as far as what I should or should not put on mixes, at this point in mix history. The Lucksmiths, so far, have not made too, too many appearances on mixes (just three to be exact). And that is mainly due to them having a big catalog that I have not had the time to really peruse too deeply yet in life. Also that the little I have looked seems to indicate to me that, for some unknown reason, most of their songs are not really like this at all. They tend to be a lot slower and laid back. A good example of a band writing a song that’s too awesome for their own good. A sort of “one hit wonder”-ism. I am sure they are a solid act and I’m gonna say this is just me being ignorant. One final thought here, one of the reasons this song seems so odd to me at this stage of mixing is that much later it has become so, so tied into another sub-set of mixing for me (The PILL era mixes, Less Lee knows what I’m talking about here).

One big pop hit deserves another and here we have our friend Rhett from O97s on his first solo album busting out what might be the best track on an album of great tracks, the insanely buoyant “Hover”. What can I say, this is just so good and the chorus is mammoth. Jenn and I went to see him play recently and we were really, really, really, hoping he would play this. I don’t think he did.

Well, one nice twangy track demands another and so it’s back to RA and “Gold” with the next song you need to hear after those first two “Firecracker” (I invoke the harmonica rule). Like all of “Gold” this is a rollicking good time that sounds like it was extracted right out of The Rolling Stones’ “Exile on Main Street” sessions, or possibly from its DNA. Like much of RA’s music there is a lot going on in this song, I suggest after you’ve listened to it and loved it as many time as we have, put on your headphones again and you’ll hear lots of things you never noticed before.

I think it is a thing for me to use SC to come out of one section/tone/movement of a mix and start off another one. I know I do it several times on the Holy 1-8, and, I mean, for goodness sake, I do it twice on this mix alone. This second time we have the shimmering “Casiotone Nation”. Another infectious bass-line, another set of lyrics that make no sense to anyone. This became one of those KINGS classic songs (as did “Chimney Sweep” come to think of it) where we always wanted to hear it and sing along loudly and thus many, many versions were searched for and looking across KINGS history one will notice this song appearing over and over and over (other examples off the top of my head, aside from “Chimney Sweep” include but are certainly not limited to: “You’re in Maya”, The Mountain Goats, “Doin’ Time” Sublime, though maybe I’m the only one that really wants to hear that over and over, “Kiss the Bottle” Jawbreaker, “Screenwriter’s Blues” SC, etc…). I can remember one particularly raucous evening that involved all of us standing up in a sort of football huddle singing the count off part of this at the tip top of our lungs. Actually, that probably happened quite a few times.

“Jaipur”, refer to my last comments about MG. This, so far is somehow the only song on “The Coroner’s Gambit” that I am really into and familiar with. Strange. I need to sit with that record a lot more at some point. We all really love when John sings about food and/or desserts. Best part of this song, besides the part when he talks about Atlanta: “…sweet jewel encrusted chariot…”

I think that this Get Up Kids record had just, just come out around this time. It was one of those records where, the last one they did was a departure from their sound, slower, twangier, more all over the map, and then there was kind of a span of time when you thought they were breaking up, as bands tend to always do after they do an album like that. And then this came out and it was real solid and a lot more like their great period material. I remember playing this album many mornings at Bmax. “Holy Roman” was an early super favorite for me. The part about “just look me in the eyes and say ‘the world’s not gonna end…’” still hits me very, very deeply. I guess I am just the kind of personality that could particularly benefit from a little bit more of that in my own life.

Ah, “The Bird That You Can’t See”. I think that the Apples have a particular distinction, especially this early on in the goings, of being very beloved and very begrudgingly beloved. I mean, “Go” is hands down a KINGS classic rally song. This song, from the same album, however, I recall being a tough sell. To me it’s a nice bit of late-period Beatle-esque-ness. That guitar tone and that organ, that chugging cadence and those sort of really, really rasped vocals. To be air I think that maybe Coree just had a problem with me making such a big deal about my favorite line in the song “So you want to know the meaning of my song, I’ll tell you now, it’s all about ‘how you feel’” I dunno, it’s just so hokey, I love it. I feel like at the time Martin loved that line when I pointed it out.

Quasi makes their second appearance here. Love, love, love this album. This came out when I was living in Seattle and this used to get played over and over at my house. It’s that good. Though, like The Lucksmiths, somehow the other stuff I heard from them never turned me on like this did. Should probably try harder. It’s an anomaly but it seems that sometimes a band will only have one album out of their whole career that you really feel like they got it all right (and man do they get it right, sometimes a band makes an album that’s too awesome and they can’t really ever get back to that) (Helicopter, Helicopter also falls in this category, along with, I’m sure, thousands of others that I’m just not thinking of right now). The key for me and them on the mixes was they wrote huge pop hits, like this one and I thought another sell-point was that, to me, they always had a certain Ben Folds feel. And we all know about the KINGS and BF.

And finally…

SEMI-CHARMED LIFE

The beginning, or at least the early salvos of our/my long-running love affair with the 90’s and all of it’s greatest and worst hits. In later mixes (we will see extensively) 90’s jams became a go-to item (I’ll never forget that first Christmas after Bmax closed, being in Atlanta at my mom’s house and working on new mixes and wracking my brain for all the 90’s hits I could think of. One night a commercial for the “Buzz Ballads” CD set came on the TV and it was such a revelation).

This song appears here I can say, solely thanks to Martin. Marty really, as I’ve said and will, undoubtedly say any more times, made a lot of stuff feel awesome and ok for the rest of us. One of those things for me was Third Eye Blind (which is why they, or maybe RHCP, we never remember, has the “Whoaaaaaaa, MARTY” rule attached to it). I remember him and my other fellow employees really bonding over this in that “guilty pleasure camaraderie” way. In particular I think I remember this time in the back room where he was requesting that we listen to the whole album, not just this song, or just the hits.

What can you say about this song. This is on the short list of “If I had written this song or one this good I would be satisfied and feel like I never had to accomplish anything else for the of my life” in my head. I need to really sit down and figure out what’s on that list at some point. Everyone loves this song whether they want to or not, even if they hate it they love it. This is one of my favorite moments lately while Djing GUSH. The part of the night where this song sets off the 90’s guilty pleasure portion of the night.

I liked this song in the first place when it came out, though I might not have been willing to admit it. To me it always sounded so much like “Start Choppin’” by Dinosaur Jr. (something we will touch on again in a moment in the alternate versions of this mix section) and that seemed like a strange touchstone for a major label huge radio hit band.

Favorite part of the lyrics for me, I mean, aside from all of them, “…face down on the mattress, ONE…” delivered by him with that cute lisp he has, delivered by Marty and Coree by the dishwasher in the back of Bmax with an emphasis on the “ONE”.

In later years, in Allston, this song, oddly, took on, and still carries, a pretty serious emotional heft for me. I mean, aside from being a fucking monster radio jam it also happens to be a pretty well-told and nuanced story of two people and how their lives are sort of crashing/have crashed apart. For me it really captures the essence of that dreamlike feeling you sometimes have with another person. That feeling that everything is unreal and blurry and really nice in its way but also tragic and sad in the utterly noticeably fleeting nature of it. I am not expressing this eloquently here. I have, I think, tackled this exact idea much more successfully in two poems, years ago in “The Maggots and the Mirrors” in a section about a particular friend of mine and a particular time (which I was, oddly, also just referring to over on THE WRAITH while writing about the “Mount Eerie” LP,) and more recently in “Go Fuck Yourself” about a group of friends.

Sometimes the dreamlike beauty of a thing is how strange and momentary it is. That’s what makes it so amazing and also so, so fucking sad. It’s a bittersweet scenario, feeling the wonderfulness of a moment and also the immediate nostalgia of its concurrent disappearance/evaporation. I guess a lot of “Go Fuck Yourself” is about that, or built in that scaffold actually.




------------------------------------------------------------------------







ALT VERSIONS

--005a (Karl Blau)/ --005b (Karl Blau)/--005c




Ok so, like so many mixes (especially these early ones) this one went through a couple permutations before arriving at the one we know and love. As mentioned at the beginning of this post the first version of --005 that I brought into Bmax was in fact titled “Karl Blau” and did not have “I Lost My Wind” on it at all.

We start off with the same ES track however, we then go into “Ghost Writer” by RJD2. This was a song I was excited to introduce into the mixes because it actually samples ES. What can I say, I am a loser in that way that I was then as I am now, still, excited and impressed when people sample indie rock tracks. This song actually samples “I Didn’t Understand” so it seemed perfect to go here. I was a pretty huge fan of this song when this record came out. One of my favorite memories of it comes from a seriously cold night that I went to the south end to have dinner at Ed (formerly of Bmax) and his gf’s house and then try to work on the hip-hip project we had been talking about around that time. Ed is a pretty killer DJ/beatmaker and I was, at that time, a lot more confident in my freestyle skills. A bit before this, maybe a year, when Ed was still at the Bmax I think, he and I and Mike V had done a little impromptu thing at the, I think, now defunct, Chopping Block space in Mission Hill. It used to be right after the Brigham Circle stop but I think it’s long gone now. Ed was Djing there and Mike V wanted to do this little tribute rap to him, commemorating his recent return from Maine, and somehow I ended up being invited to join in on a verse. It was a pretty great time, Mike V spit and its was rad and then I did my shit and I thought it went pretty well. Sigh. Anyway, that wasn’t the point of the story. The point was, coming from that experience Ed had invited me to work on tracks with him. It never really got farther than this one night at their place. Probably my own fault. I always have too much on my plate. We ate and then I went into his studio and put on the headphones and tried to put my words to his beats with very little success. I left and was waiting in the awful Boston cold for the bus back into town. I remember standing on the corner with my headphones on listening to this song and sort of dancing around to it, to keep warm, and because it kind of just makes me want to dance. The end.

Can’t recall why I took it off. The mix then goes to “Karl Blau” and then “Chesterfield King”, skipping the MG song. Then “Little Ghost” goes straight into “The Chimney Sweep” which is a perfectly good segue. I’m guessing that the Ryan Adams song ended up here when I ended up with a lot of room on this mix after removing some later tracks.

I had recently come across, on Soulseek, a set of files of Mike Doughty from SC doing some little spoken word pieces, which, in retrospect, aren’t all that great, but at the time I was excited to share. “Goodnight” is one of those which I used as a segue into “Super Bon Bon” here coming a bit earlier in the mix. The mix continues in the same order from that song until the place where “Color In Your Cheeks” was, here we have “Jenny”. Not sure why I switched this out. Then in an odder twist the mix closer “Semi-Charmed Life” appears here in the middle of the disc followed by “Helicopter” by Bloc Party. Bizarre. I remember that the first Bloc Party record was just out at that point and I was pleasantly into it. It was the kind of record you would put on and be like, ok, yeah, all these songs are pretty easy to like. Then you get to the end and start it over again. Guess I was just trying to incorporate some of-the-moment stuff. Though it’s easy for me to understand why this got left off.

“T-Shirt Weather” follows and then that whole nice run of Rhett, Ryan, SC, and MG is absent and in its place is the third, fourth and fifth installments of the “Trapped in the Closet” series, which, at the time, were hot off the presses and exciting to me and as mentioned previously, I had envisioned installments being parsed out as they came out, concurrent with mixes being made. We all know how well that went over. So they were the first to be dropped from this mix.

These were followed, inexplicably by “City of Motors”, SC. A song that would crop up a bit later on --007. The end of the mix is similar, “Jaipur” is there, the Apples song and the Quasi song. Then, for reasons I am unsure “Hush” by Jellyfish closes the mix. I am sure I thought this song was a part of this mix plot because in my head I lumped it with “I Didn’t Understand” as far as being a quiet, vocal-driven song. The strange part for me is that this is the last song rather than the first or second. I guess it’s possible the CD that I got this playlist info from was wrong but I’m fairly certain it was the actual real original copy. Mysterious.

Ok, time elapse. Having my curiosity piqued by this, and the thing about the Mary Poppins song, I decided to get out all the burned copies I have of the mixes and investigate. As of this time I have not found any burned evidence of the Mary Poppins mix-up. It did happen, but it’s possible the CD got thrown out. It is also possible that this permutation of the mix happened after the jump to iPod, in which case the information is lost forever as, sadly, that first iPod I owned has quit this world (more on that when we get to the end of the holy 1-8 and said iPod gets its own post).

Curiouser than that, however, is the fact that I have not found a copy of the Karl Blau version of this mix that actually corresponds to the one I have cataloged in my iTunes playlists. Which is to say, I have no idea where that version of this mix came from. It obviously came from somewhere, possibly a CD of this that I have misplaced. I will keep my eyes peeled and update if I can come up with anything on this.

What I did find though is a version of the Karl Blau mix that is unique and was, here to for, not cataloged.

This version is identical to the previously explained "Karl Blau", however, “Hush” the Jellyfish song is not at the end. It ends, as intended, with Quasi. But, in place of that Jellyfish song is a different one, “Joining a Fan Club”. And this one appears as track four, between “Karl Blau” and “Chesterfield King”. This version of the mix does seem to make more sense to me. This song does have that Ben Folds vibe to it that drew me to think of adding Jellyfish songs to mixes in the first place. This version of the mix has now been logged in as the “a” version. The previous Karl Blau has now been moved to “b”.

There is a third version of this mix (“c”), in between the first and last. A transitional affair that finds the mix in almost recognizable order. It’s basically the final version of the mix, minus the Mary Poppins song and the Steely Dan song. I recall now that there is, somewhere out there, a version of another mix, I think it might have been --003, where I had originally added the Mary Poppins song, by mistake. It clearly goes with “The Chimney Sweep”, but at some point, in my haste, I added it to the wrong Decemberists song on the wrong mix, which, upon playing it at Bmax, I remember it being enjoyed but confusing in its addition. I had to explain my mistake. That version of whatever mix I notice, upon review now, is not cataloged. Need to remember to try and find that. Sorry just thinking out loud.

The only other difference between version two and three is near the end. The penultimate song happens to be the afore-mentioned Dinosaur Jr. classic “Start Choppin’”. Which is then, of course, followed by Third Eye Blind. These songs jut go together. It’s all about that high falsetto “Good-byyyyyye” in both songs. I remember this version playing at Bmax and feeling pretty satisfied. I think that I ended up taking it off on the way to the final version because I didn’t think enough or any people besides me at Bmax were familiar with/into Dinosaur at that moment in time and I didn’t feel like I was going to be able to pitch them successfully at the time. And so it was dropped.

So yeah, that's a little tour of mix --005 (I Lost My Wind) and it’s various permutations. Like all the early stuff, this is a solid, tried and true, time-tested KINGS favorite.































it is 3:44 am
this is the fucking seance.









































xx

Jay-Z's Birthday.

I've really dropped the ball of late on KINGS related holidays, red-letter days, etc... Trying to pick that back up again today. As Zoe already mentioned on FB, Sean Carter was born December 4th, weighing in at 10 pounds 8 ounces.

I think all of us who are able to do so should take a moment to be glad that there is a Jay-Z out there in the world, brushing the dirt off our collective shoulders. Myself, I'm bout to go golfin man, I might even have me a cappuccino, fuck it. Everyone who is able to should finish your breakfast and kick back with one of the mixes that "December 4th" is featured on.

Those being:

--069(It Wouldn't) (Original version from "The Black Album")
--122a++(Where Is My Tarp?) (Dangermouse remix from "The Grey Album")











Happy KINGS holiday, everyone.
Happy birthday HOVA.




























it is 7:02 pm
this is the seance.





xx

KINGS MIX DISCOGRAPHY

PRE-KINGS
-----------------------------------------------------------------------------------

A brief synopsis of the mix series' which immediately preceded and led up to the KINGS mixes. All having been conceived and executed while working at Bmax, pre-KINGS, Spring 2003-Winter 2004/5*

*Not included in this list, any mixes which were made on cassette, as actual "mix-tapes". There were quite a few during this period and right before, all of which are still kicking around my life. This list, however, starts with, literally, the first mixes and mixing I ever did on a computer and burned onto a CD.




-Today Is The First Day Of The Rest Of Your Life (Volume 1-21)

-"Maggotism" (2 disc set)

-"RIGHT BACK HERE IN MY ARMS" (The Best Of Smog, 3 disc set)

-"SOURCE OF SPIDER" (single volume mix made for John Spiders, during the writing of the SPIDERS album)

-SPIDERS: "...this is post-anorexic soul." CD (ok, not technically a "mix" CD but certainly something important and prevalent that was being worked on/cobbled together at this moment, so...)

-"What are you, some kind of superhero?"/"What makes you think I'm not?" (The definitive Donnie Darko mix, 1 disc)

-START OVER! (Volume 1-8)

-"Yes it's true, The Mars Volta vs. Red Hot Chili Peppers" (mix CD that I felt compelled to make for some unknown reason, pairing songs by each artist with one another)

-HEART (Volume 1-4)

-The Best Of Outkast Mix Series (Volume 1-4)

-Bright Eyes Mix-Off 2005 (vs. Coree and Taylor) (2 disc set)

-Modest Mouse Mix-Off 2005 (vs. Coree) (2 disc set)

-"Can You Still Feel The Butterflies" (Jimmy Eat World Mix-Off, 2 disc set, vs. Luke)

as well as (mutually) aborted Mix-Offs for Radiohead and The White Stripes

















KINGS
--------------------------------------------------------------------------------



Notes:

--a, b, c, versions etc… designate the various stages a mix has gone through. The version listed with the real number and title are the final/current stage of a mix. An “a” etc… is an older version, “a” being the oldest, “b” the second oldest and so on. The exception to this rule is in section K5. This was the place where my iPod of the time crashed and got wiped and we lost all of the mixes up to that point. I luckily had the ghosts of them on my computer up to a point. There were, however, quite a few that were lost forever. I tried to rebuild these as best I could, remembering songs that were on them and whatnot but they are clearly never going to be what they were, since we don’t know what that is. The point being, in this section the “real” version of the mix is actually the one with the latest letter indicator. The “non-letter” version is left blank, to indicate/memorialize the passing of the original, real actual versions of these mixes.

--The “K” designations (K5, K7, et al) are guesses or recordings of when (in the hierarchy of general periods and places) a mix was altered to the state therein. (And more to that end, some mixes are followed by parenthetical guesses at when in time they seem to have been made, any insight from the other KINGS on these guesses is welcome and appreciated, these are marked with the # symbol)

--The ++ designation indicates that this is one of the rare occasions where a song is used a second time, knowingly. We all know this is against the rules, so the occurrences of these are, appropriately, rare.

--However the +++ designation indicates a time where I have realized a song has been used a second time, accidentally. In the past I used to remove the song and replace it with another. But I have decided, in the spirit of historical accuracy, that these instances will now be left to stand as they are. Alas all the previous incidents of this happening are lost to pages of digital history.

--An * indicates that the Phil song which the mix is named after does not, in fact, appear on the mix (This designation was mostly the result of/a tribute to the Jimi Sharp Cassette, which, at the time, we were sure we would never hear or own.)

---Mixes with a triple parentheses around the title ((( ))) get their namesake song from the “Microphones Songs Yet To Exist Project”, i.e. songs made up by us, recorded by me.

--On more recent mixes I have made an effort to record the exact date they were completed on, In these cases the date follows, parenthetically, sometimes with an indication of what time of day it was finished. Furthermore, in cases where more than one mix was completed on the same day a parenthetical number will follow the date indicating which was first, second etc… (1), (2) and so on.

--Double, triple, etc… albums are designated with a number/number. These are followed by a “stub” later in the mix list, a placeholder for the number, just for the sake of keeping track of where numbers are, since most double albums do not utilize two numbers next to other, but instead pull a second, unused number from later in the list (i.e. --209/222, in this case a phantom place header will be placed at 222 with a not referring you back to 209 to find where it is). Some double/etc. albums have namesake songs for each part of the album, most do not, in these cases a random series of periods is used to place hold , i.e. 163/233/234(Florida Land*/........./..........). In this case the second two parts of this triple album are not named and have no namesake songs, thus the periods.

--“Mirror Facing Mirror” mixes (mixes designed to be as exact as possible replicas of old mixes with different versions of the same songs) are designated by the namesake song of the mix being spelled out backwards/forwards (i.e. snretnaL/Lanterns).

--“Reimagined” mixes, mixes that take a previously used namesake song and attempt to more deeply explore the idea behind it, thematically, are designated by the title of the mix being in ALL CAPS.

--If a live version of a song is used its source time and place are now listed.

--Likewise, whenever a “something’” track, or “instrumental” or “Window” song is used it’s track number on the album and the album it comes from are designated, i.e. --099(Instrumental [Track 6, The Glow Pt. 2]), which was previously known as --099 (Instrumental).

--As far as APPENDICES go, the most recent ones are cataloged at the time period they occurred in. The older ones are a little lost and scattered. Either a separate appendices section or a series of integrated listings will be following at some point in the future.










K01. BMAX (first wave)
----------------------------------------------

(circa Winter 2004-Sping 2005)




--001 (Lanterns)
--001a
--002 (Antlers)
--003 (Universe)
--003a
--003b
--003c
--004 (The Moon)
--004a
--004b
--004c
--005 (I Lost My Wind)
--005a (Karl Blau)
--005b (Karl Blau)
--005c
--006 (Ocean)
--006a
--006b
--007 (The Glow Pt. 2)
--007a
--007b
--008a (I Can’t Believe You Actually Died)
--Figure 8 PLUS……(I Can’t Believe You Actually Died)

*There is also at least one more lost version of one of these mixes, I believe --003 Universe, on which I had accidentally placed a song ("Chim Chim Cher-ee") which was meant to go on --005 I Lost My Wind. At this time I cannot find evidence of its passing.





K02. BMAX (second wave)
--------------------------------------------------

(circa summer and fall 2005)



--008 (I Felt You [Edit])
--008b (I Felt You)
--009 (Spy Cameras)
--010 (Oh Anna)
--010a
--011 (The Glow)
--011a
--012 (Preamp)
--012a (I Am A Preamp)
--013 (Headless Horseman)
--013a
--014 (There’s No Invincible Disguise That Lasts All Day)
--014a
--015 (Great Ghosts)
--015a
--016 (Weird Storm)
--017 (Heart Lake Road)
--017a
--018 (The Blow Pt. 2)
--019 (The Mansion)
--020 (We Squirm)
--020a
--021 (Ice)
--022 (Phil Elvrum’s Will)
--022a

(Burrito Max closes, late October, 2005)





K03. POST BMAX: ALLSTON, MA (pre GALA EVENT/"Whatever And Ever Amen Fest 2005 And Beyond...")
------------------------------------------------------------------------------------------------------------

(circa late October and into Fall/Winter/Spring 2005/6)



--023 (something [Track 9, It Was Hot, We Stayed In The Water])
--023a (Something)
--024(I Listen Close [Lullaby, Lullaby Eighty North Records Version])
--024a (I Listen Close)
--025 (Map)
--026 (The Gleam Pt. 2)
--026a
--026b
--027 (I Am Bored)
--027a
--028 (Slighted, By Mirah)
--028a (Mountain)
--029 (Bass Drum Dream)
--030 (Moon Moon Moon)
--030a
--031 (Solar System)
--031a
--032 (I’m A Pearl Diver)
--033 (Deeply Buried) (K5)
--033a
--034 (Get The Hell Out Of The Way Of The Volcano
--034a
--034b
--035 (Sweetheart Sleep Tight)
--035a
--035b
--036 (My Roots Are Strong And Deep)
--037 (I Want Wind To Blow)
--037a
--038 (The Moon [The Glow Pt. 2])
--038a
--038b (The Moon, 2)
--039 (My Warm Blood [Edit])
--039a
--039b (My Warm Blood)
--040 (Wake Me Up) ...(#summer/late summer 2006)
--040a
--041 (Window 1, 11, 15)
--041a (Window)
--042 (Sand)
--042a
--043 (Ocean 1,2,3 [Live On KRUA In Anchorage, Alaska 3/2/99])
--043a
--043b (Ocean 1, 2, 3)
--044 (Anacortes Has A Secret Love)
--045 (Florida Beach)
--045a
--045b
--046 (Tonight There’ll Be Clouds)
--046a
--047 (Tape Deck Ghost)
--047a
--048 (Monsters)
--048a
--049 (Heavy Eyes)
--049a
--050 (I Felt My Size)





K04. POST BMAX: ALLSTON, MA ("Whatever And Ever Amen Fest 2005 And Beyond..." begins)
-------------------------------------------------------------------------------------------------------

(sometime around mid-July, 2006)




--051 (You’ll Be In The Air) (K6)
--051a
--051b
--052 (Don’t Wake Me Up)
--052a
--053 (All Is Full Of Love) (K4)
--053a
--053b
--054 (Wires And Cords) …(#around 8/22/06)
--055 (I Want To Be Cold)
--055a
--056 (Feedback [Life Love Loop])
--056a
--057 (I Whale)
--058 (Who? [Live At Bard College In The Dark])
--058a
--058b (Black Lagoon)
--058c (Black Lagoon [Live At Bard College In The Dark])
--059 (Drums)
--060 (Eyes For Volume)
--061 (Like A Piranha)
--061a
--062 (I Have Been Told That My Skin Is Exceptionally Smooth [Live In Japan, February 19th, 21st & 22nd])
--062a
--062b (I Have Been Told That My Skin Is Exceptionally Smooth)
--063 (Surrender [Live At Bard College In The Dark]) (K11)
--063a (If You Can Manage To Give Totally Up)
--063b
--063c (Surrender)
--063d (Surrender [Live At Bard College In The Dark])
--064 (Wooly Mammoth's Mighty Absence [Live In Dundee])
--064a (Quickly Forgotten)
--064b (Wooly Mammoth’s Mighty Absence)
--065 (Goodbye Hope [Live In Dundee])
--065a
--065b (Goodbye Hope)
--066 (Say "Goodbye" And "No" [Live At Bard College In The Dark])
--066a (Goodbye My Air)
--066b (Say “Goodbye” And “No”)
--067 (I Say "No" [Live At Bard College In The Dark])
--067a (Arise, Arise)
--067b
--067c (I Say “No”)
--068+++ (Here With Summer)
--068a
--069 (It Wouldn’t)
--070 (I’ll Not Contain You)
--070a
--071 (Witch Doctor)
--071a
--072+++ (I’m Getting Cold)
--072a
--073 (I Got Stabbed [Live In Walla Walla, 2003])
--073a
--073b (I Got Stabbed)
--074 (See Me [Live At Bard College In The Dark])
--074a (More Of A Mountain This Time)
--074b (See Me)
--075 (A Bird In A Tree At 2 In The Morning)
--075a
--076 (The Boom [Live At The Y, 2004])
--076a
--076b (The Boom)
--077+++ (Dark Hills [Live At The Y, 2004])
--077a (Dark Hills)
--078 (Sleepy Hollow)
--079 (Marriage [Live At The Y, 2004])
--079a (Marriage)
--080 (The Last Night Of The Year)
--080a
--081 (Mount Eerie Dances With Wolves/Let's Get Out Of The World or Fuck The World [Live At The Tokyo Rose, VA, 23/09/04])
--081a( Let's Get Out Of The World Part 1+2)
--081b (Mount Eerie Dances With Wolves)
--081c (Mount Eerie Dances With Wolves/Let's Get Out Of The World or Fuck The World)
--082 (The Pull)
--083 (The Gleam)
--083a
--084 (Tests [Young Girl Version])
--084a (Tests)
--085 (No Inside, No Out [Live At Copenhagen Huset, Denmark, 6/3/05])
--085a
--085b (No Inside, No Out)
--086 (In The Bat's Mouth [Live At Copenhagen Huset, Denmark, 6/3/05])
--086a (In The Bat's Mouth)
--087 (Voice In Headphones [Live At The Tokyo Rose, VA, 23/9/4])
--087a
--087b(Voice In Headphones)
--088 (The Dead Of Night [Live At Copenhagen Huset, Denmark, 6/3/05])
--088a
--088b (The Dead Of Night)
--089 (How? [Live At Copenhagen Huset, Denmark, 6/3/05])
--089a (How?)
--090 (Where? [Live At Copenhagen Huset, Denmark, 6/3/05])
--090a
--090b (Where?)
--091 (The Intimacy Of The World With The World [Live At Copenhagen Huset, Denmark, 6/3/05])
--091a (The Intimacy Of The World With The World)
--092 (O Little Heart [Live At The Tokyo Rose, VA, 23/9/4])
--092a
--092b (O Little Heart)
--093 (I Know No One)
--094 (I Hold Nothing [Live At Copenhagen Huset, Denmark, 6/3/05])
--094a
--094b (I Hold Nothing)
--095 (Instrumental [Track 17, The Glow Pt. 2])
--095a (Instrumental II)
--096 (The Breeze)
--096a
--097 (Summer Electricity)
--098 (Samurai Sword)
--098a
--099 (Instrumental [Track 6, The Glow Pt. 2])
--099a
--099b (Instrumental)
--100 (Mount Eerie)
--100a
--101 (The Sun)
--102 (Two Blonde Braids [Live At Bard College In The Dark])
--102a
--102b (Two Blonde Braids)
--103 (Universe [V])
--103a (Universe, 2)
--104 (Nighttime The Sleep)
--105 (Whipping Wind [Live At The Y, 2004])
--105a
--105b (Whipping Wind)
--106 (Cold Mountain [Live At The Tokyo Rose, VA, 23/9/04]) ...(#around the XMAS time trip 2006)
--106a (Cold Mountain)
--107 (Thanksgiving [Live At The Y, 2004])
--107a (Thanksgiving)
--108 (A Log In The Waves [Live At The Iron Horse, Northampton, MA, 28/5/2003])
--108a (A Log In The Waves)
--109 (No Flashlight, II [Live At Copenhagen Huset, Denmark, 6/3/05])
--109a (No Flashlight, II)
--110 (My Burning [Live On KAOS, 2003])
--110a (My Burning)
--111 (As Good As It Got [Live On KAOS, 2003])
--111a
--111b (As Good As It Got)
--112 ([2 Lakes] [Live At Copenhagen Huset, Denmark, 6/3/05)
--112a
--112b ([2Lakes])
--113/174/261++ (The Moan [Live At Seattle Center, 25/6/2005]/The Moan/....) (K8)
--113a (The Moan)
--113b/174a (The Moan/The Moan)
--113c/174b (The Moan [Live At Seattle Center, 25/6/2005]/The Moan)
--114 (Human Human [Live At Copenhagen Huset, Denmark, 6/3/05])
--114a
--114b (Human, Human)
--115 (A Show Of Hands [Live At AS220, Providence, RI, 25/5/03])
--115a
--115b (A Show Of Hands)
--116 (With My Hands Out)
--117 (I Am A Rock [Live On KAOS, 2003])
--117a
--117b
--118 (Soundwaves)
--118a
--118b
--119 (Little Songs)
--119a
--120 (Microphone, Pt. 1)
--120a

(Also see APPENDICES)
---A 01: BRIGHT EYES "SING, SING, SING" LIVE VIDEO (CDR)
---A 02: HEADWATERS OF MOUNT EERIE BOOK SCANS (CDR)
---A 03: MAPS OF LA (CDR)
---A 04: MW VIDEO (CDR)
---A 05: A PLAYLIST OF MICROPHONES TITLE SONGS
---A 06.66: AN INTRODUCTION TO STEPHEN BRODSKY (playlist + one very drunk evening)
---A 07: AUTOPSY (my entry into the Elliott Smith Mix-Off with Coree)
---A 08: SPACE IS THE PLACE (for kings...)
---A 19: SUGAR MOUNTAIN





K05. POST BMAX: ALLSTON, MA ("THE GRAVEYARD" and THE GALA EVENT and beyond...)
--------------------------------------------------------------------------------------------------------

(circa Winter 2006/7, leading up to THE GALA EVENT, February 16th [?] 2007, the commemorating point at which we had at last listened to every mix made, up to that point, at least once, and then through September 1st, 2007.)

(THE GALA EVENT occurred on February 16th, 2007, at THE CASTLE (8 Fenino Terrace ["F, E, N as in Nancy, I, N as in Nancy, O as in Oh. My God..." Allston, MA 02134]. We had finally listened to every mix at least once and celebrated with a ritual re-listening to the original "last" mix, the mix that was originally --008, but was later taken out of the standard numbering system and awarded a floating designation (Figure 8 PLUS) allowing it to forever, no matter how many mixes are created in our lifetime, be the "last" mix.)

("The Graveyard" [121-1444] is the series of mixes that were lost when my then-current iPod was wiped clean and then reconstituted/reconstructed over time.)




--121
--121a (Do Not Be Afraid)
--121b (Wolf Mountain Howls: "Into The World")
--122
--122a++ (Where Is My Tarp?)
--123
--123a (Where It's Hotter Pts. 1, 2 & 3)
--124
--124a (Uh Oh! It's Morning Time Again)
--125
--125a (The Storm)
--125b/177/178/205 ++ "BOX SET" (The Storm/Silent Night/......./.......)
--125c/177a/178a/205a ++ "BOX SET" (The Storm/Silent Night [Live In Japan, February 19th, 21st & 22nd, 2003])......./.......)
--125d/177b/178b/205b ++ "BOX SET" (The Storm/Silent Night [Live In Japan, February 19th, 21st & 22nd, 2003])......./.......) (K8)
--125e/177c/178c/205c/240++ "BOX SET" (The Storm/Silent Night [Live In Japan, February 19th, 21st & 22nd, 2003])......./.......) (K8)
--126
--126a ([Version])
--127
--127a (Cover Me Up)
--128
--128a (Quiet Groove)
--129
--129a/183 (School's Out/.................)
--129b/183a (School's Out/................. [Live At Bard College In The Dark])
--130
--130a (Square Face)
--131
--131a
--131b (Get Off The Internet) (K11)
--132
--132a (Don’t Smoke)
--133
--133a/188 (Who?)
--133b/188a (Who? [Eleven Old Songs Of Mount Eerie]...............)
--134
--134a (Heart-Shape Face)
--135
--135a (What?)
--135b (What I Actually Am)
--136
--136a (No Flashlight) (K6)
--137
--137a (2 Mountains)
--138
--138a(November 22nd 2003, 4:45PM)
--139
--139a (Mount Eerie Dances With Wolves)
--140
--140a (Let's Get Out Of The World)
--140b (Let's Get Out Of The Romance)
--141
--141a (The Glow Pt. 3)
--142
--142a
--142b (My Favorite Things)
--142c (My Favorite Things [Live In Japan, February 19th, 21st & 22nd, 2003]) (K4)
--143
--143a (Waterfalls)
--144
--144a/175
--144b/175a (Don't Worry Baby/.........) (K6) (#probably early 2007, march-april)

(Also see APPENDICES)
---A 20.1: F... (CLASSIC)





K06. POST BMAX: PORTER SQUARE, MA (post GALA EVENT/pre GALA ANNIVERSERY) ("THE SEANCE" begins...)
------------------------------------------------------------------------------------------------------------

("THE SEANCE" is first performed by the KINGS, the recital of "I've Seen Tomorrow" which then becomes a pre-game ritual at every meeting of the KINGS. The Seance is, hence, also used to refer to the series of mixes which inspired it, those which derive their namesakes from Jim Sharp Cassette songs. The concept being that "while we may never know what these songs sound like, they may have sounded something like this..." The idea that we could raise the spirit of these lost songs, as well as our own lost mixes, lost friends, Bmax itself. The term "Seance" has become so ubiquitous to our thing as a result of it being really, in spirit, [no pun intended] so close to the heart of the entire thing that is KINGS, a memorial, a tribute, a ritual, something religious. That series [the Jimi Sharp mixes] begins here and finally concludes after I moved back to Atlanta.)

(starting around September of 2007 and leading up to THE GALA ANNIVERSARY, the one year anniversary of THE GALA EVENT. This took place again at THE CASTLE, February 14, 2008. And then leading on across the rest of the Winter/Spring/Summer, 2008.)




---Figure 8 MINUS.... (I've Seen Tomorrow*)
--145 (Shredded Pants, Stinky Breath, Palm Trees, White Foam Water*)
--145a
--145b
--145c (Shredded Pants, Stinky Breath, Palm Trees, White Foam Water Teeth*) (10-16-09)
--146 (Josh Young*)
--147 (Nightly*)
--148/182+++ (Retarded Twin*/...........)
--148a/182a
--148b/182b (these were left off from the original F... mix)
--149 (Beautiful Face*)
--149a
--150/187 (Painting Of A Cat*/........)
--151/185+++ (Moog Town 2*/.........)
--152 (Dem Hard Blues*)
--152a
--153 (Mouth & Eye Disease*)
--154/180 (Teenage Moustache*/..........)
--155/191 (So Wrong*/........)
--156/192 ++ (Perfect Situation*/.........)
--156a/192a
--157(The Creeps*) ...(#around january 2008)
--158/189 (Club Theme*/......)
--159/193 (Iceberg*/.......) ...(#around december 2007)
--160/194 (Katy Song*/..........)
--161/179 (October*/..........)
--184/186++ (KARL BLAU/.............)
--184a/186a (KARL BLAU/.............)
--190/202++ (OCEAN/......) ...(#around may 2008)
--190a/202a (OCEAN/......)

(Also see APPENDICES)
---A 21.1: C. (Coree's entry in the "Christmas Gift" Mix-Off)
---A 21.2: Z. (Zoe's entry in the "Christmas Gift" Mix-Off)
---A 21.3: BRI-BRI...there will be water if god wills it (Brian's entry in the "Christmas Gift" Mix-Off)
---A 22: AND IT KEEPS COMING, AND IT KEEPS COMING (when someone great is gone...)...





K07. POST BMAX: PORTER SQUARE, MA (post GALA ANNIVERSERY)
----------------------------------------------------------------------------------------------------------

(the middle of 2008 continues... The reason this Spring and Summer were so barren as far as mixes go [as evidenced by the K08 section] was that we had all become much more involved in going dancing, THE PILL and any other dance night in Boston we could find. My attention, likewise, shifted to a long and complicated series of mixes, which were later deemed to be part of the KINGS appendices, which focused on this time period and its attendant music and activity.)




--206 (((teetering on our soft, small feet OR get lost OR i got lost in the woods)))

(Also see APPENDICES)
---A 23: GO FUCK YOURSELF
---A 25: YOU KNOW WHO YOU LOOK LIKE... (the best of Ryan Adams)
---A 27: MOMENTS BEFORE BECOMING A WEREWOLF... (an attempt to make Xiu Xiu digestible, penetrable, or understandable) (my spun-out-of-control entry in the imaginary Xiu Xiu Mix-Off which I don't think ever really happened?)
---A 28b: pre pre pre game (Original Starting Point)
---A 28c. 1: pre pre game (CLASSIC)
---A 28d. 1: pre game 1 (getting home thru leaving home, shower, dressing, the heart of the mix, PAPER, HEART THROB and first half walking)





K08. POST BMAX: DALLAS, GA ...(circa Sept. 1st, 2008)
-------------------------------------------------------------------------------------------------------

(When I got back to Georgia I was still very much involved in the complex inner workings of those appendices as well as new ones which were to follow. An entire structure and labeling system was devised and fleshed out and folded into KINGS history.)




(see APPENDICES)

---A 20: F...
---A 24: Et Cetera... THE SMITHS top ten...GO, vers 2.0
---A 26: (LET THE RIGHT ONE SLIP IN... Morrissey top ten, GO)
---A 28.1
---A 28.2: (second thoughts...)
---A 28a: pre pre pre pre game (CORPSES!! i see you! i see you! [BAD MOON RISING])
---A 28c. 2: pre pre game (WHERE'S DONNIE?) (ALT.)
---A 28c. 3: pre pre game (ENDLESS SUMMER) (ALT.)
---A 28c. 4: pre pre game (where's donnie, cont'd) (ALT.)
---A 28d. 2: pre game (AND IT KEEPS COMING, AND IT KEEPS COMING, AND IT KEEPS COMING...)
---A 28d. 3: pre game (F...)
---A 28e. pre game 2: (NH teen feeling and more walking agression) (2)
---A 28f: the pill, pill-esque and the 2ND HEART OF THE TWO HEARTED ANIMAL)
---A 28g: START! era
---A 28h: THE BEYONDER
---A 32: WATCHING SOMEONE SLEEP (the sunlight burns out his eyes, but the vampire isn't surprised, he was waiting there all night to be the first to notice the dawn...)
---A 33: CUBA or HOIST THAT RAG
---A 34: ONCE UPON A TIME...





K09. POST BMAX: ATLANTA, GA ...(circa July 1st, 2009) ("THE SEANCE" concludes.)
-----------------------------------------------------------------------------------------------------

(Finally, after we moved into our apartment in the city I was able to put my mind back on KINGS and the KINGS mixing. I was anxious to dive back in and make new mixes but I felt like it was important to first go back and clean up all the loose ends and half-ideas I had left, back in Boston. Thus we finally see the end of "THE SEANCE", the Jimi Sharp series, that is, as well as a few other mixes/namesakes which I had already, back then, assigned numbers. This is then followed by the new mixes.)




--162+++ (In The Way*) (12-2-09) (1)
--163/233/234 (Florida Land*/........./..........)
--164++ (Blizzard*) (11-29-09) (2)
--165/235 (Come See About Me*/..........) (12-14-09) (2)
--166 (Manhole Pie*) (11-04-09, very late)
--167++ (My Sweetie*) (11-29-09) (1)
--168 (Ghost Town*) (9-16-09) (2)
--169 (Love Day*) (12-2-09) (2)
--170++ (Hot Chocolate*) (11-12-09)
--171 (Sun Window*) (11-29-09) (3)
--172/236 (Radio Beach*/...........) (11-03-09)
--173/230 (Pain Runnin*/...........) (12-1-09) (3)
--174......see 113
--175......see 144
--176 (Women Of The World [Live In Dundee]) (12-03-09) (1)
--177......see 125
--178......see 125
--179......see 161
--180......see 154
--181......see 145
--182......see 148
--183......see 129
--185......see 151
--186......see 184
--187......see 150
--188......see 133
--189......see 158
--190......see 202
--191......see 155
--192......see 156
--193......see 159
--194......see 160
--195++ (Coach Fuckhead*) (11-13-09)
--196/231++ (Sunglassez*/........) (11-29-09 "and also really years ago 3 maybe") (4)
--197 (Riverboat Man*) (9-16-09) (1)
--198 (Pre Amp*) (3) (9-27-09)
--199/223/224/225/226/227 SUITCASE (Feedback Love*/............/............/............/................../............/............) (12-1-09) (1)
--200 (Mount Eerie Pt.6 [Known World/Unknown World]) (12-01-09) (4)
--201 (Mount Eerie Pt.7 [Blue Light On The Floor/Mount Eerie Revealed]) (2) (very late night of 9-27-09)
--202......see 190
--203/204++ (MOUNTAIN/......) (11-24-09) (2)
--204......see 203
--205......see 125
--207++ (sreltnA/Antlers [or "Come With Me, I Love You"] [Live At Pete's Candy Store, 9-9-02] (10-27-09, night alone)
--207b
--207c
--207d
--207f
--207g
--208/232++ (LANTERNS or "Let Go Of Everything"/.............) (11-25-09)
--209/222 (((it is your skin that i wear/...............))) (11-29-09)
--210++ (dieD yllautcA uoY eveileB t'naC I/I Can't Believe You Actually Died [Singers LP]) (1) (10-9-09, afternoon) (07-01-10)
--210a (9-27-09, afternoon)
--210b (10-9-09, afternoon)
--210c
--210d EXPERIMENT (10-31-09)
--210e
--210f
--211 (Teeth*) (11-25-09) (2)
--212 (esrevinU/Universe [Live At South Union Arts-Chicago, IL 6-1-07]) (10-27-09 night alone) (2)
--212a
--213 (nooM ehT/The Moon [or "Constant Reminder Of Your Size, Worth, Place, Girth, Span, Point, Avoidance, Fearsome View, Lack."] [Live At South Union Arts-Chicago, IL 6-1-07]) (11-04-09) (3)
--213b
--214 (snretnaL/Lanterns [or, Let Go Of Everything_] [Live At Pete's Candy Store 9-9-02]) (10-20-09, afternoon)
--214a
--214b (snretnaL/Lanterns[Live At Pete's Candy Store 9-9-02]) (10-20-09, afternoon)
--215 (2.tP wolG ehT/The Glow Pt.2) (10-31-09, very late, fall back)
--216+++n(dniW yM tsoL I/I Lost My Wind) (10-31-09, very late, fall back)
--217++ (naecO/Ocean) (11-04-09)
--218 (I Felt My Size [Acoustic]) (11-24-09) (1)
--219++ (Untitled, Unlisted*) (11-25-09) (1)
--220/221/228/229++ (OH ANNA/............................./....../...................) (12-1-09) (2)
--221......see 220
--222......see 209
--223......see 199
--224......see 199
--225......see 199
--226......see 199
--227......see 199
--228......see 220
--229......see 220
--230......see 173
--231......see 196
--232......see 208
--233......see 163
--234......see 163
--235......see 165
--236......see 172
--237 (Ocean 1,2,3) (12-18-09)
--238 (Universe [The Singing From Mt. Eerie]) (12-21-09)
--239 (Stone's Ode) (12-22-09)
--240......see 125
--Figure 8 TITANIC...++ (At The Ends Of Our Lives or Through The Mountain*) (finally sorted out 11-17-09)





K10. POST BMAX: ATLANTA, GA (2010, pre boston trip)
-------------------------------------------------------------------------------------------------------

--241 (Wind Speaks) (01-04-10)
--242 (Burried In Space [LKA Between Two Mysteries] [Brussels After Midnight]) (01-07-10)
--243 (If We Knew...) (01-13-10)
--244 (Through The Trees) (01-19-10)
--245 (Summons) (01-25-10)
--246 (Ancient Questions) (early feb 2010)
--247 ([something] [Wind's Poem]) (mid to late feb 2010)
--248 ([3rd Floor Instrumental]) (mid to late feb 2010)
--249 (Wind's Dark Poem)
--250/252 (The Mouth Of The Sky)
--251 (My Heart Is Not At Peace) (mid march 2010)
--252......see 250
--253(Lost Wisdom pt. 2)





K11. POST BMAX: ATLANTA, GA (2010, post boston trip, post wedding)
-------------------------------------------------------------------------------------------------------------

--254++ (Between Your Ear And The Other Ear) (mid june, 2010)
--255 ([The Sun Conclusion]) (mid june, 2010 [2])
--256/257++ ([wind lyrics]/................) (late june, 6/26)
--258 (Summons [acoustic]) (6/26/10)
--259 (Lost Wisdom pt.1) (6/27/10)
--260 (I Listen Close) (7/1/10)
--260a
--261 (The Hidden Stone) (7-22-10)
--262 (Hunting) (7/23/10)
--263 (Wasted Wealth) (08/03/10)





K12. POST BMAX: ATLANTA, GA (2011)
-------------------------------------------------------------------------------------------



























































































it is 4:49am
this is the seance.





















xx

GUSH (1)

Friday, October 22nd, 2010.
------------------------------------------


For as big as this night was I can recall remarkably few details about it or the lead up to it. Anticipation was high for the maiden voyage of my retarded love child and extensive work had been done on fliers and fliering. Our first real fliers, pictured above. I tend to be a high-concept individual, but also a fan of the very stripped-down. I imagined GUSH being both. As much or as little as anyone wants it to be.

By this time, four nights in, I felt like an old hand at this. I felt confident in what I wanted to do and how. This was my first experience DJing from the actual designated DJ area on the other side of the bar, rather than behind the bar on the service island. So I felt a lot less in the way. It was like having a little office. People could come over and chat and sit down and say Hi and make requests. I liked it. By this time I pretty much felt like I'd got a knack for pacing my evening, carving it out into general four hour blocks of ideas and then whatever after that. All individual compartmentalized cells, able to be expanded or contracted or changed on the fly to accommodate whoever is in the room and how it feels. I was particularly excited to showcase "Shiela Take A Bow" and "Let's Make Out", as they had been my choices for flier slogans. Pretty sure no one noticed. Oh well. No time for cameras, we'll use our eyes instead.

This night got officially big. The room filled up and the dancefloor filled up and it got pretty hype. I was excited. It was the kind of night where all of your ideas and maybes had to be thrown aside because the place was jumpin' jumpin' and the hit had to keep coming. Matt was especially funny this night. He was there the whole time, which is unusual, and he was doing a lot of running around and every now 20 minutes or so he would run up to the DJ booth and make a request or a vague request. It was cute.

This was also the first night I DJed using DJ software. Up until this point, much to the shit-talk of some of the haterz out there, I was just making do with mixing on iTunes. In case you're wondering, DJs that use vinyl think that anyone that DJs with computers or CDs is "cheating" or somehow ripping people off, or are just somehow lame in general. And of course, in general, some people are just haterz, and they are gonna hate no matter what you do. So I got curious about a more adaptable live mixing format. I did a little research and experimentation and ended up with the program I use. It's one of those ones that's set up to look just like two turntables and a mixer. It operates in exactly the same way. You access your music and drop a song on each turntable and off you go, crossfade, pitch, beat match, etc... It's pretty fun. And that's the thing. In the end it wasn't about haterz or anything. It was about having more logic control and more thought put into it. It was just more fun.

The whole vinyl purist DJ hater thing reminds me of one of my most favorite experiences ever. Once upon a time, on a visit to LA, I, by chance, had the opportunity to have dinner with Peter Hook, bass player for, ahem NEW ORDER. And I tell this story for it's entertainment value and relevance, not to make a lame attempt at a name drop. Right? Ok so, all that being said, fucking PETER HOOK. I was nervous, to say the least and I didn't talk much and his accent wa so heavy that I barely understood what he was saying and I forget where we ate dinner, somewhere in Echo Park I think.

So, following dinner we were invited to some club where he was doing a DJ set that night. Again I forget the club, who was there or where exactly it was (somewhere not all that far from Astroburger I feel like). The club was large and dark and full of all manner of people. Eventually Hooky took the stage and set about his work, which was awesome. I was on this balcony up above him and I could see his terminal and what he was up to. He was DJing, I think exclusively, from CDs on a couple players and a mixer. Pulling them from a huge booklet of CDs. It sounded good. However, at some point in the middle of the set this guy, this, forgive me for generalizing here, Eastern European D-bag type, came sauntering up to me at the railing with a plastic cup of God-knows-what in his hand (it is worth noting that for various reasons I was not drunk the whole night, and was bitterly regretting it during this story). He looks over the railing for a few seconds at Peter and then turns to me and kinda gives me this "hey look at this shit" hit on the shoulder and says (in his general Eastern European douchebag accent) something to the effect of "Do you see this, man? HE'S USING FUCKING CDS!!??" And it was loud in there, mind you, so he's screaming this in my ear. "Fucking CDS!!!?? It's bullshit man!" At this point he leaned over the railing, looking down at Peter and gave him the finger, with his free hand and said "FUUUUUUUCK YOOOOU, right?" he looked over at me for back up. I was kind of shocked and offended to be honest and sober and had no idea how to deal with this shithead. So I did what anyone would have done, I smiled and nodded, safe in the knowledge that only he were in on this conversation. He wandered off to whatever expensive automobile and expensive club sluts were in his near future and I resumed my place at the railing feeling angry.

And the point of the story is this. No matter what you do, how you do it, or WHO YOU ARE, someone out there is going to hate on you. Someone out there i going to misunderstand or not have a clue or not know who you are or what you're doing and they're going to talk shit and rip you down and hate. I mean, for God's sake, this is Peter fucking Hook. This man was in the room at the literal birth of DJ culture. At the actual moment that it happened. This man is part of the reason it happened, one of the fathers of this retarded love child. I mean, I'm not sure if you've ever heard "Blue Monday" but it's only one of the biggest selling UK singles of all time and pretty much defines, to this day, dance culture, hipster culture and whole since-spawned genres of music. There is a famous story about how the royalties Nirvana's "Nevermind" album basically saved Sub Pop Records from going bankrupt and single-handedly sustained the label for years and years afterwards. "Blue Monday" was Factory Records' "Nevermind". New Order is pretty much personally, accidentally responsible for the huge and amazing legacy of Factory Records. And this is the man who wrote all of their bass lines. Fuck you, stranger in the club. Fuck you, DJ haterz. At the end of the day all that matters in the club or in any music-playing scenario is are you getting a good ride? Are you enjoying what you're hearing, does it make sense, does it make you want to dance, does it make you want to get up, does it make you want to hang out, stay late, keep talking, keep drinking. Does it make you stop in the middle of telling a story and say, oh shit, hold on, so that you can sing along to a part in a song. Does it make you put your hands up and yell "YESSS!" or "WOOOOOO" when it starts playing. (I am told, by friends in the crowd, that there were many, many moments like this throughout the evening, many times when stories had to be stopped to sing, and many, if not most, songs that solicited a serious WOOO from someone in the bar.) In the end, to the people listening to the music in the bar, in the car, on the radio, on the mixtape, it all sounds the same, no matter what the source format is. It's going to sound the same if I'm playing these songs from records as computers as CDs. And really, mot people in the place probably aren't aware of where the sound is coming from anyway.

The moral of the story is, just do you, do your best and if you know something is working and is awesome then go with it, follow it where it wants to go, believe in yourself and your ideas and your inspiration. Get crucial, get justified, get awesome, get awesomer. Don't worry about what anyone has to say about it. Fuck yeah.


SO, that being said
if memory serves, it went like this...







The Charming Man-The Smiths
Boys Don’t Cry-The Cure
The Guns Of Brixton-The Clash
Wave Of Mutilation-Pixies
No Action-Elvis Costello & The Attractions
Me And Mia-Ted Leo & The Pharmacists
Merchandise-Fugazi
God Bless The S.O.S.-The Explosion
Hybrid Moments-The Misfits
Judy Is A Punk-The Ramones
Police Truck-Dead Kennedys
Sound System-Operation Ivy
Damaged Goods-Gang Of Four
Line In The Sand-Q And Not U
Contort Yourself-James White & The Blacks
We Got Cold Coughed And Forgot Things-Liars
Give It Up-LCD Soundsystem
Why Bother-Weezer
Shoulder To The Wheel-Saves The Day
Dancing With Myself-Billy Idol
Working For The Weekend-Loverboy
The Warrior-Skandal
My Sharona-The Knack
Take On Me-A-ha
Morning Glory-Oasis
A Heat Rash In The Shape Of The Show Me State…-Los Campesinos
Weight Of The World-Tarkio
Giving Up On Love-Slow Club
Heartbeat Song-The Futureheads
Happy As Can Be-Cut Off Your Hands
Let The Right One Slip In-Morrissey
10,000 Nights Of Thunder-Alphabeat
In The Sun-She & Him
I Saw Her Standing There-The Beatles
Don’t Start Crying Now-Them
Sheila Take A Bow-The Smiths
If You Leave-Orchestral Maneuvers In The Dark
Head Over Heels-Tears For Fears
Bizarre Love Triangle-New Order
The Sign-Ace Of Base
Hey Ya!-Outkast
Toxic-Britney Spears
Pop-NSYNC
Spiderwebs-No Doubt
Feeling This-Blink 182
Semi-Charmed Life-Third Eye Blind
This Is How We Do It-Montell Jordan
Motownphilly-Boyz II Men
Poison-Bell Biv Devoe
O.P.P.-Naughty By Nature
Jump-Kris Kross
Heartbeats-The Knife
Polaroids And Red Wine-Jaguar Love
Let’s Make Out-Does It Offend You, Yeah?
Blood On Our Hands-Death From Above 1979
Connection-Elastica
Bring Em Out-T.I.
Dance Yrself Clean/All Talk (Mash Edit)-LCD Soundsystem/Kid Cudi
Shutterbugg-Big Boi
Yeah-Usher
P.Y.T.-Michael Jackson
Good Life-Kanye West
Since U Been Gone-Kelly Clarkson
Groove Is In The Heart-Deee Lite
Bye Bye Bye-NSYNC
Helicopter-Bloc Party
Telephone-Lady Gaga
Kiss, Kiss-Chris Brown
Time To Pretend-MGMT
Shut Up And Let Me Go-Ting Tings
New In Town-Little Boots
Song 2-Blur
Ask-The Smiths
Tenderoni-Kele
Deceptacon-Le Tigre
Sippin’ 40z-Gravy Train
Lump-The Presidents Of The United States Of America
Raindrops-Basement Jaxx
Bad Spell-Judi Chicago
Mercury-Bloc Party
Rock The Casbah-The Clash




































it is 5:29 am
this is the seance.















































xx





















.