Okami

It’s another mix.

I’ve made another EDM mix. And like the mixes before this one, I hesitate to call it a dj set—mostly because I do not consider myself a dj. The dj prefix comes with too many expectations, both real and imagined, as well as too much baggage, again, both real and imagined. My artist name is decidedly sans dj: it’s just mutt. Why? ‘Cause it’s a mix…

My last two mixes did not get online release parties—that is, dedicated posts on this blog, like the first three got. And that’s somewhat funny and slightly typical as my last two mixes are what I consider to be my best ones to date. They’re certainly my favourites, yet they were released under the radar—only the most attentive readers have heard snjódagur, and ruffcut is an even rarer find.

My latest mix, okami, is more experimental, devolving in a sense to some of the sneaky beat matching found in digitigrade—oddly fitting as okami started off as a remix attempt of digitigrade before becoming its own mix—which it then almost didn’t.

There are so many sounds available with EDM—it’s one of the reasons I enjoy it so much—but it’s also entirely possible to get too comfortable with a certain sound, and I didn’t want to be making the same mix over and over again. I’ve tried to give each of my mixes different vibes and sounds and flows. For okami, I very much selected artists I wasn’t really familiar with and tracks I perhaps normally wouldn’t consider for mixing. And maybe I set myself too lofty a goal: I got stuck with the overall sound and flow of the tracks for weeks. It wasn’t until I spent just as many weeks away from the project that I was able to figure out what to do with it—spoiler: I was in Nunavut. But more on that later…

When I got back, and to get unstuck, I reimagined the mix as spread out over four sides of a double record set instead of an hour-long continuously playing digital file. It’s still presented as a single hour of music, but there are about three spots where there would be—and could be—pauses in the music as the needle runs out and the record needs to be flipped. Or not. It’s four sides of a whole, so each side is its own part of the mix, but each part forms a mini mix on its own. There’s no requirement to listen to it all at once, although, for now at least, that is the only way to listen to it. I haven’t put the gaps in yet, and I’ll be leaving soon for Nunavut again. Still—more on that later…

This may not be a surprise, but all my mixes have been about something. They have themes and moods. Snjódagur is about impermanence. Ruffcut is about consumption. Going back even further, Transformer is about disruption. AWD is about control. And Digitigrade is about uncertainty—likely why I tried to remix it months later.

Okami is about identity. My very noticeable writer’s gap of late could be a result of me spending more time trying to tell stories with music and lyrics instead, swapping notes for notes and tone for tone. But I can’t help it when it comes to words: I still like to have fun with them, so I like how there are at least four different ways to interpret the title of this particular mix—one for each side.

Track List

    Side A

  • Talk Amongst Yourselves – Grand National
  • Not The Only One – 16BL
  • Surrender – Eelke Klejin Remix – Way Out West

    Side B

  • Murder Weapon – 16BL
  • Pyramid – Jaytech
  • My Breath – Dezza with Dan Soleil

    Side C

  • Pangaea – Envotion Remix – Michael Cassette
  • As You Fall (Kyau vs. Albert Remix) – Bent
  • Nobody Seems to Care – 16BL

    Side D

  • Poison For Lovers – ARTY
  • Baja – Sasha
  • Abrasion – Pole Folder

What Would Happen

An exercise in wonder.

I’m still on my break, but this is a break from that, a break from my break. Sort of. The entire idea of a break was, and still is, for it to be a learning exercise, an opportunity to reflect on what I would like to be doing and how that might be possible, or not, given my current situation.

So… what have I learned so far?

Reading & Writing

I’ve found I like to write, and miss it when I don’t. I started reading one of my many unread books, but I started rewriting it instead of enjoying it. I had to put it down because I started arguing with the author over word choice. I’ll be giving the book another try at some point—though if its chapters are as awkwardly written as its introduction perhaps that will motivate me to write my own books rather than lament the reading of someone else’s.

The Problem With AWD

Weeks ago I recorded a music mix, and I was quite pleased with it. Perhaps too pleased. I recently listened to it again and was aware of things I hadn’t heard before, mostly that most of the first ten minutes are, uh, problematic. Way too loud and way too busy is how I hear it now. I checked the original source files, and yes, at a few points, I had two tracks playing at the same time with no gain adjustments, so I wasn’t just hearing things: that’s going to be loud, with business quickly building—oh, wait, I suppose I mean busyness. Wow. I’ve never noticed that before. Amazing. Business can’t be busy’s noun because it’s already doing that for business…

I’m fixing AWD. It will be uploaded again with the introduction remixed into something that’s a little bit less like ear sandpaper. Less appears to be more with the music I enjoy. I’ll figure out how to quantify this, but I have a theory what I enjoy listening to is more silence than sound.

Snow Day

I got a chance to finish another music mix during a huge snow storm a couple of weeks ago. I’m quite pleased with this one as well, but to avoid the mistake I made with AWD, I’ve been listening to this mix every few days to check for glaring errors. I’ve heard stylistic choices I could make differently if I decided to, but nothing suggesting the makings of a train wreck.

If I were to pick a direction for the music I would like to mix and, perhaps one day, make, it would be what’s on the album I titled snjódagur—Icelandic for snow day.

At the time I’d recently finished posting my visit to the mountains in Reykjanesskagi, so themes of different places, altered perceptions, tired minds, and falling snow took form. The name fit.

Change vs. Improve

I’ve found limited success with self‐improvement in some cases. I’ve never appreciated the foundational concept, one which presumes there’s something wrong with me and there is a better me in there somewhere—if only I could muster the courage or strength or whatever I was lacking within to be better, whatever better is. Failed attempts at self‐improvement collected as confirmation: there’s something wrong with me.

But the presumption changes if the exercise becomes an experiment. What if I stopped smoking to see what happens when I do? There’s no immediate need for me to decide if my smoking is wrong—all I have to do is observe the results of me not. What happens if I stop drinking for a month? There’s only one way to find out. What if I stop using a vape for a day? For a week? For two weeks? Again, there’s only one way to find out.

I have never found success like I have over the past few months. My experiments in personal change continue as I approach a quarter of a year out from the start of most of them. The current long term goal is to see what happens after a year, but I’ll have to get to half a year first. In the meantime, shame has been superseded by curiosity.

Everything Can Go

While working on another project, I realized there were far more things in my apartment hidden away than I previously thought. I’d say almost of these things hadn’t been touched since I either unpacked them or moved them from one hidden place to another under the guise of tidying up. Some of these things had only ever been touched so they could be previously packed up, moved, and then unpacked in some other place to await the same tactile fate. A few of these things had been through at least seven iterations of being moved to some new place to never be seen or used. The realization felt heavy and wasteful. There was a brittle quality to it as well: how these things I never see had grown in part to define me.

Later that night, Luna misjudged a jump and knocked over one of my many insane decorations made of mostly rocks and glass. It smashed in the most incredible way, an explosion of pebbles and shards at 1AM. Having never been in its path, Luna was unharmed by the falling item. I sat in disbelief at the ferocity of its own destruction.

It was a sentimental object, something I’d created out of yet another sentimental object. As single form it was no more—its glass container was in pieces, and its rocks were spread out over the floor. There was also the original object, a solar powered LED light, a plastic butterfly, one which would change colours at night, or used to. It stopped working years ago. Though still intact, the case containing its electronics had popped apart, and I saw for the first time how it all actually worked. It used a standard AA battery holder and a perfectly ordinary though now slightly obscure NiCad rechargeable battery. I can’t get them at the dollar store, but they can be ordered online. A slight battery hack for the moment means the colourful butterfly is bright at night again, and perhaps brighter than its ever been, but certainly brighter than the not at all I’d grown accustomed to. Its lightness had returned.

What Now

There is a duality to change, something which creates as it destroys, something which can be interpreted and experienced objectively and subjectively. I understand why change can be resisted by some, but I’ve always counted myself among those who embrace change. Yet, during my time off, during my time spent looking through all the same objects I continually bring to new places, I wondered if my embrace of change has been more or less at arm’s length for longer than I’d thought. Like the LED butterfly, I wondered if my own existence had become anchored with heavy and brittle things. I wondered what resilience such an existence would offer if it ever started falling—or if it already had. Sometimes I wondered if it was already in pieces. And if was honest with myself, I wondered why it occasionally felt like I was tightening my grip on familiar shards—a feeling easily accompanied by a smoke at the start of the day, a drink at the end of the night, or any number of manufactured tasks in between, where moving the same things around the same place is disguised as something I already know.

So now I wonder what would happen if I pulled change toward me instead, if I tugged at change while letting go at the same time. Now I wonder what what happen if I actually made room for something different in my existence instead of just pushing stuff around in it. And now I wonder what new lightness would develop if stepped away from heavier things.

…there’s only one way to find out.

AWD

A little faster now.

I’ve made another mix, and this one is legit quick—there are no sneaky speed adjustments like on Digitigrade. Did you know it started at 106 BPM and gained 28 more throughout the mix? The idea was to start from a mellow, disco‐like vibe and move to a more, uh, pie‐eyed pace by the end. I detoured instead and included a couple of nods to one of my favourite mixes of all time, Sasha’s Involver. Then I stuck a mashup mix I’d done at the beginning, and the ending was something that caught my ear at the last minute and had to be included as well. Though it started off and ended up roughly where I planned, Digitigrade still felt like it was all over the place—but I learned a lot by making it. I’m generally pleased with the way it came out, all things considered.

But this time around, I’m genuinely pleased with the result—mostly because it was unplanned. A couple weeks ago I was messing around with the DJ software I’d used for the last mix along with whatever I could find on my computer to practice with. Things evolved from there, and I ended up with just about 45 minutes of me essentially goofing around. My mindset was one of but will it blend? I tidied up after.

It reminded me, oddly, of learning to ride a bicycle. I had been instructed on how to ride one a few times, but to no avail—I remember always almost falling over. I don’t believe there was anything fundamentally incorrect about the way I was being taught—I just wasn’t getting it. It wasn’t until one day, when I had no one showing me, that I figured out how to ride a bicycle without falling over—eventually. I fell over a lot that afternoon as well. I bounced my chest off the handlebars a few times, once so badly I experienced the sensation of not being able to breathe properly. I’d never felt that before, so I actually ended up learning two things by the end of the day.

Similarly, I had been instructed on how to mix music together a few times, but it never really landed until now, when I’ve had the opportunity to quietly figure it out at my own pace.

And if this all sounds like too many words and not enough music, consider this the release party for the album, and I’m just another MC who won’t get off the mic. If I’m pretending to have an audience for these mixes, then I’m pretending to have launch events for them as well. It’s just more practice.

That said, I might take a little break from mixing. While it was really excellent to have something I could eagerly work on for hours at a time, day after day, there are some other creative projects I would like to spend as much time on and with as much singular dedication. Kerouac wrote the first draft of On the Road in three weeks. I don’t know what I’d be capable of writing in three weeks, but there’s only one way to find out—handlebars to the chest be damned.

Here’s mix number three in the meantime.

Track List

  1. Fasten Your Seatbelt — Pendulum ft. The Freestylers
  2. Intruder — Armin van Buuren ft. M.I.K.E
  3. Ghosts’n’Stuff (Original Instrumental) — Deadmau5
  4. Umbrella Beach – Owl City
  5. Love You More – Armin van Buuren ft. Racoon
  6. Wall of Sound (Parc Mix) – Airbase ft. Justine Suissa
  7. Superfabulous (RS Edition) – BT
  8. Purple Haze – Mesh
  9. Children – Robert Miles
  10. Tears After the Rainbow (2020) – Planet Funk

Digitigrade

One more for the road.

Back in August, I made Transformer. It was part mix tape, part dj set, and part something else. It was the something else part which made it the most challenging to classify—that and my abhorrence of labels in general when it comes to matters of expression. If it were possible to take years of thoughts and feelings, as well as all the observations in between, and then distill them into a single blog post, what would it look like? Easy: it would look like Transformer, an hour of music.

I’ve been at it again, musically, but this time it’s something a little more traditional: a 45 minute dj set. It’s a recording of a live performance from my living room on New Year’s Eve. It was my largest audience to date despite an incredibly exclusive guest list. Crowd estimates were upwards of one cat—whom I understand slept through most of it.

To further simulate a performance in real life—as 2020 dragged itself out of frame—I agreed with myself there would be just one recording attempt. I could practice all I wanted, but it was all or nothing after that. My first album was produced from the extreme comfort of a studio over a few days. My second would be produced all at once in less than an hour.

But why? Why would I do that to myself? It’s completely unnecessary. It’s way too much stress. And for what? I’m not even getting a cut of the cover or bar for my effort.

It’s all one take, but took a few takes. So that’s my 2020 compromise. And I left in some of the mistakes, including a massive one! But that’s my 2020 realism.

This is a club affair, so each track does play into the next. It’s supposed to be danced to, so the beat is more constant, and there is a touch of relentlessness to it. Under‐powered speakers need not apply. I engineered the file to be loud and be turned up loud, so there’s no clipping this time—life’s nash‐tastic enough as it is.

Track List

  1. Rabbit Facts (Legoshi Mix) — Grand National
  2. High Above the Clouds — Astronaut Ape
  3. Talk Amongst Yourselves (Involver Mix) — Grand National
  4. Pain Is My Relief — Airwave
  5. Belong (Sasha Remix & Prankster Edit) — Spooky
  6. This World Is Watching Me — Rank 1 & Kush
  7. Shivers (Redlight Dub) — Susana & Alex M.O.R.P.H.
  8. Soar — Eco

Same as with Transformer, listening is by request only for the time being. Again, most of this awkwardness stems from my intense desire for privacy, so if I know who you are then there’s a good chance you already know how to contact me, or perhaps you know someone who knows how to contact me.

There’s no need to listen too hard to this album, but dancing is suggested and strongly recommended. It’s been a tough one.

Happy New Year.