A BRIEF WORD FROM THE MANAGEMENT..
For the sake of clarity, here's a brief breakdown of the AbRad Session process:
As we hear tunes, we file them away for upcoming sessions [if they're deemed worthy, of course].
While some tunes are brand-spanking new, others we've heard countless times before, but they've recently managed to catch our ear once again.
To avoid undue complication, there's loads of different boxes, covering a host of different genres... "House", "Funk", "Nosebleed", "Chill", "Weird shit" etc etc.
Everything usually has its place [though there's a fair amount of cross-over].
One such box is simply called: "Well, that's really rather good."
From a huge range of musical genres, from almost any era, this little box gets all the "good stuff", and just the "good stuff".
You can't miss it - it's fluorescent day-glo pink, and sits pride of place in the studio, lodged between the marble bust of Tony Humphries and the gold-plated Roland TR-808.
As we're quite discerning, it takes a fair while to fill this particular box with enough tracks to build a mix - at least couple of years, often longer.
Once "full", we hand it over to our plucky elves, and they scuttle off with it down into the vaults beneath AbRad Towers, set with the tricky task of turning a ragamuffin selection of disparate tunes into a viable, transcendent musical "journey".
They must use all the tunes in the box.
They must not use any other tunes! [this makes things tricky, but from Session One these have been the AbRad rules.]
Clearly, these are not "live" mixes.
[NB: AbstractRadio has yet to post a "live" mix online... if you would like to hear us live ... well, that's an entirely different matter altogether - get in touch?]
In a "live" environment, DJs should invariably be playing from a large selection of tunes, allowing them to constantly adapt to the needs and mood of the crowd [well, that's part of what we hope to do], whereas for these AbRad sessions our dedicated elves are not granted such flexibility, and must laboriously piece together a composite whole that is intended to be greater than its pre-defined and consequently somewhat restrictive parts.
So, in actuality, these sessions are the diametric opposite of "live" mixes - they are highly contrived studio mixes, where there is a very stringent and often annoyingly incongruous playlist.
We've been led to believe that this is actually no easy feat to accomplish - the elves whinge that tracks "don't fit", and often need remixing, which takes time, effort and inspiration, and sometimes, when a mix is "nearly done", they then feel an overwhelming compulsion to start again from scratch, as [they insist] one track "still isn't quite working".
Sadly, they have only a limited understanding of the concept of "deadlines".
And yes, it can be most frustrating.
But, you know, it's worth it...
Love and hummingbirds,
x
The AbRad team
ps - many thanks to the fabulous @lathamjane for Blue Sky
File under: soul, disco, funk, jazz, hip-hop, dub, blues, latin, lounge, breakbeat, house, rap, trip-hop, chill, ambient techno, gospel, wtf
For the sake of clarity, here's a brief breakdown of the AbRad Session process:
As we hear tunes, we file them away for upcoming sessions [if they're deemed worthy, of course].
While some tunes are brand-spanking new, others we've heard countless times before, but they've recently managed to catch our ear once again.
To avoid undue complication, there's loads of different boxes, covering a host of different genres... "House", "Funk", "Nosebleed", "Chill", "Weird shit" etc etc.
Everything usually has its place [though there's a fair amount of cross-over].
One such box is simply called: "Well, that's really rather good."
From a huge range of musical genres, from almost any era, this little box gets all the "good stuff", and just the "good stuff".
You can't miss it - it's fluorescent day-glo pink, and sits pride of place in the studio, lodged between the marble bust of Tony Humphries and the gold-plated Roland TR-808.
As we're quite discerning, it takes a fair while to fill this particular box with enough tracks to build a mix - at least couple of years, often longer.
Once "full", we hand it over to our plucky elves, and they scuttle off with it down into the vaults beneath AbRad Towers, set with the tricky task of turning a ragamuffin selection of disparate tunes into a viable, transcendent musical "journey".
They must use all the tunes in the box.
They must not use any other tunes! [this makes things tricky, but from Session One these have been the AbRad rules.]
Clearly, these are not "live" mixes.
[NB: AbstractRadio has yet to post a "live" mix online... if you would like to hear us live ... well, that's an entirely different matter altogether - get in touch?]
In a "live" environment, DJs should invariably be playing from a large selection of tunes, allowing them to constantly adapt to the needs and mood of the crowd [well, that's part of what we hope to do], whereas for these AbRad sessions our dedicated elves are not granted such flexibility, and must laboriously piece together a composite whole that is intended to be greater than its pre-defined and consequently somewhat restrictive parts.
So, in actuality, these sessions are the diametric opposite of "live" mixes - they are highly contrived studio mixes, where there is a very stringent and often annoyingly incongruous playlist.
We've been led to believe that this is actually no easy feat to accomplish - the elves whinge that tracks "don't fit", and often need remixing, which takes time, effort and inspiration, and sometimes, when a mix is "nearly done", they then feel an overwhelming compulsion to start again from scratch, as [they insist] one track "still isn't quite working".
Sadly, they have only a limited understanding of the concept of "deadlines".
And yes, it can be most frustrating.
But, you know, it's worth it...
Love and hummingbirds,
x
The AbRad team
ps - many thanks to the fabulous @lathamjane for Blue Sky
File under: soul, disco, funk, jazz, hip-hop, dub, blues, latin, lounge, breakbeat, house, rap, trip-hop, chill, ambient techno, gospel, wtf
Tracklist
1 | nel cimitero di tucson by gianfranco & gian piero reverberi |
2 | 'cause I love you by lenny williams |
3 | red light spells danger by billy ocean |
4 | never be another you by lee fields |
5 | I thought I knew you well by tony joe white |
6 | guarda che luna by fred buscaglione |
7 | I want to know by adriano celentano |
8 | hammerhead by simon haseley |
9 | feel like jumping by marcia griffiths |
10 | float on by derrick harriot |
11 | thinking of you by lord echo |
12 | talking bout my baby by fatboy slim |
13 | 7654321 by gary toms empire |
14 | atlantic oscillations by quantic |
15 | pocket piano by kink |
16 | elgin towers by smoove & turrell |
17 | diamonds on the soles of her shoes by paul simon |
18 | ooh cabros by david boogie |
19 | what a difference a day makes by dinah washington |
20 | when the ship goes down by cypress hill |
21 | the same love that made me laugh by bill withers |
22 | rise by richard earnshaw |
23 | hope she'll be happier by bill withers |
24 | svef-n-genglar by agaetis byrjun |
25 | I shall be released by nina simone |
26 | today won't come again by donal leace |
27 | home again by michale kiwanuka |
28 | blue sky by fluke |
29 | runaway by kanye west |
30 | the only difference by beatchild & the slakadeliqs |
31 | why can't we live together by timmy thomas |
32 | isn't it a pity by george harrison |
33 | once by anna leone |
34 | blue horizon by sidney bechet & his new orleans feetwarmers |
35 | brother by jorge ben |
36 | danny boy by mahalia jackson |
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