Re: Mix

a Massive radiOasis Rhythm re:Mix

Some style and a whole lot of rhythm: drop in a bunch of samples in the MixCloud version and it’s another music re:Mix worthy of pumping up the volume. Fatboy Slim inspired this wildness with a mashup of featured artists, identified and anonymous. 😉

There are two versions—take your pick!

  1. one at Spotify** (including their app),

  2. the tightly-crafted remix with all the sauce is on MixCloud and streaming commercial-free.

* radiOasis  The World Is Sound • Life Is a Remix

** p.s. You can set a nice crossfade via the Spotify menu by selecting “Preferences > Crossfade” and setting it to about 2 seconds or more. Also opt to “set same level for all tracks.”


radiOasis re:Mix • Dark & the Light

Listen closely! Today’s radiOasis* music playlist goes into re:Mix** territory—with samples of songs and phrases popping up and floating around your headphones {all the way to the very end 😉 }. Includes Leonard Cohen, Joan Osborne, Ray Charles and more. How well do you know these tunes?!

Only one version this time: at MixCloud and streaming commercial-free.

 *   radiOasis  The World Is Sound • Life Is a re:Mix
** re:Mix • music playlists exploring the art of the segue; thematic connections; the overlapping & extended groove; the implied & the overt; expressions of musical flow; rhythm, interplay and juxtaposition of aural colors; the love of sound.

tapedec re:Mix of Sugar Man by Sixto Rodriguez

When I first heard about the impending release of the “Searching for Sugar Man” documentary in 2012, I immediately sought out Sixto Rodriguez‘s music.  screen-shot-2013-02-25-at-3-37-13-pm

The track “Sugar Man” from the album “Cold Fact” stood out except for the very dated synthesizer space whirls (this was 1969 after all) which made it challenging to hold up on repeated listenings. So I took it, re-edited and remixed it to downplay the synth and get a different take on the arc of the song’s story. Here you will hear the sparse intro segue into the fuller main theme and eventually unwind, devolving into a reprise of the storyteller’s spaced-out and harrowing plea.RemixPlay

See references also at:
Making Connections: The Power of Place and Time
Open Source Music Remixes?! Tech and the Continual Music Stream, Part 4

Is it possible to listen without prejudice?

From the archive: written in May, this still presents points of interest…

What is music streaming?
RemixWhy stream? Convenience for the consumer, who now truly consumes without ever possessing the object of affection. No physical/material ownership and greatly reduced if not minimal or even no investment (you know who you are). No guesswork about artist info or back catalog or what’s stylistically related or precedent. No mess, no thought: just the goods. In short, no work; just receptivity. I’m here, I’m ready, entertain me.

This may mean dwindling active involvement and engagement for the listener: that of imagination and self-discovery brought on by interaction with subconscious and intuitive thought. It may also mean vastly broader influences and cross-productivity—for both listeners and musicians. However, will this lead listeners to be inspired to produce rather than remain terminally passive?

Image courtesy of the UK’s Sunday Times

Spotify’s co-founder/CEO Daniel Ek is an undeniable force. His company has over 20 million songs available in the U.S. alone and ten thousand added every day. See the interview with Charlie Rose, starting at 30m17s.

What’s next? What’s the impact on future design and innovation? And how do musicians benefit by streaming in ways that are directly and economically sustainable rather than a loss-leader for other routes to income?

Allegedly, “…an artist on Spotify would need over four million streams per month to earn US$1,160 (equivalent to working full-time at a minimum wage job).” Arguably, “…the problem isn’t Spotify’s failure to pay out significant royalties, but that it’s paid to the record labels, who then pass too little of it on to their artists.” And Spotify has also been sued by musicians for “…user playlists mimicking the track listings of their compilation albums…infringing on copyrights for the albums themselves.”

If only the prevailing music streaming scenarios could be reconciled with the …little bump in the road” approach from comedian Louis CK, who acknowledges “…if people can’t buy it, they’ll take it. CK’s comments to Charlie Rose start at 9m58sscreen-shot-2016-09-10-at-12-43-46-am