dj snobo / Gosh from Yaputhma

I made a mix for Secreet Thirteen , serious and influential online musical journal. Artists such as Biosphere, Machinefabriek, ASC, Richard Chartier, Steinbrüchel, Sun Araw, Tropic Of Cancer, Scanner, Aidan Baker and many others provided mixes before, so it's quite an honour. http://secretthirteen.org/secret-thirteen-mix-074-gosh-snobo/ If you care to know some background behind the mix, read on. Otherwise just head on to the mix, sit back and enjoy...

Латвийский журнал VETO попросил меня написать шесть мини-рецензий для их рубрики “Музыкальная Коллекция”. Журнал, издаваемый на латышском языке, вышел в свет , переведённый и слегка подредактированный материал там есть, а здесь я привожу оригинальный полный русский текст. Чтобы как-то сузить громадный диапазон прослушиваемой и любимой мной музыки, я решил ограничить свой выбор физическими CD, купленными мной в 2012 году. Из них я отобрал следующие. Shackleton - Music For The Quiet Hour + the drawbar organ EPs (Woe To The Septic Heart!, 2012) На двойном альбоме длиной 137 минут Сэм Шэклтон окончательно завершает путешествие по подземельям загробной басовой музыки, пять лет назад мутировавшей из раннего минималистического дабстепа в нечто, условно связанное с последним только темпом и глубиной баса. В 2012 году и эти условности отброшены, как кокон, и диковинная бабочка улетает в области академической композиции в духе Steve Reich/Philip Glass с влиянием африканских и азиатских ...

So, this is my official end-of-the-year roundup mix. More or less a "best of" selection, although of course a lot of stuff didn't make it, especially from the isolationist/ambient or folk/singer-songwriter realms - it just didn't fit the mood of the mix and, more importantly, I actually prefer that kind of stuff unmixed. Also, I can confess and admit that this year I stopped following certain scenes or radically decreased attention paid to new artists, releases and labels. Yes, an oversaturation/information overdose thing, exactly. In fact, I've been listening to less music than before - instead I started reading again after long break... call me old fashioned ;) Anyway... Still, when compiling this mixtape, I reminisced back and I can just say - what a great year it was! Wasn't it? :)

I've been silent for quite a long time. My last Rasols mix has been made 10 month ago, as this year I actually took a break from co-hosting the radio show. The reasons for the silence I explained here . And finally, the material has accumulated - as I like to say, the tracks themselves just started to cry out, begging to be mixed and presented to the audience. As this year I very sparsely followed "the scene", I felt free from obligations to use the freshest and hypest material possible; on the contrary, I wanted to include some compositions that either stand aside of any scenes, or just some songs from authors very dear to me, no matter how out of place they might sound. And - surprise surprise - they actually didn't :) At the same time, I still like the "sound of today" - liquid beats, deconstructed instrumental hip-hop, aquacrunk, call it watchalike. So here it is - an odd but integral mixture of new and old material, songs and tracks, melodies a...

After a long silence, finally: a new mix. A recording of an austere, minimalist ambient set I played at Organic Sounds event (the successor of the great series of chillout Wednesdays in 2010, Om Tree ). I've taken the liberty to slightly adjust its tail end though, adding one extra track and replacing the coda. Otherwise no edits, straight as it was - an uneasy journey from despair to acceptance. In the intro, what you hear is  Kim Ki Duk  singing "Arirang", a  traditional Korean song  from his  own film of the same name . If you have seen the movie, you may understand why I started the set with it. If you don't, I cautiously advise you to do so - cautiously, because 1) it's not an easy watch 2) it's not for everyone 3) knowing and loving Kim Ki Duk's previous films - at least  "Spring, Summer, Fall, Winter... and Spring"  is virtually a pre-requisite. I experienced a shock and a very strong catharsis when I saw it - amplified by the state...

Year 2012 brought radical change of my listening habits. I listen to less new music than ever (instead I read more than ever, at least in a decade or even two). I rarely download anything - too often checking online is enough to understand that I don't actually need to extend my huge collection even more. Granted, I still buy CDs (and even a couple of vinyls) - mostly ambientish, although sometimes I pay my debts to contemporary beatmakers I respect and who opened new doors for me. I still love fresh beat-related music - post-dubstep, instrumental hip-hop, juke - but I can no longer work through its endless crates as a selector: the scene is so wide and there is so much music made which is ok, but too... momentary, transient, which fades away too fast. In other words, " scenius " music - that belongs to the scene and is better consumed in the mix, as part of the whole. These days, this is how I prefer enjoying this kind of music - by appreciating the work of other selec...

An approximate collection of 1/100 of tracks that made by days and nights, blew my mind, tore my roof off, and ruled my world in 2011. Definitely incomplete and to be adjusted throughout 2012, as moods come and go, in waves, endlessly pulling you into the future (c).