Artist	Song
Anton Webern - Emerson string Quartet	Six Bagatelles for String Quartet, op. 9 - I
Anton Webern - Emerson string Quartet	II
Anton Webern - Emerson string Quartet	III
Anton Webern - Emerson string Quartet	IV
Anton Webern - Emerson string Quartet	V
Anton Webern - Emerson string Quartet	VI
Johnny Clegg & Sipho Mchunu (Duo Juluka)	Umanqoba
Michael J. Schumacher (samples from works by Pierre Boulez)	The Other Boulez
Olivier Messiaen - Paul Crossley	Oiseaux exotiques pour piano solo et petit orchestre
D.Van Vliet - Captain Beefheart & The Magic Band	My Human Gets Me Blues
John Coltrane & Rashied Ali	Interstellar Space - Jupiter
Bikram Ghosh	Carnatic Tabla in Adi Tala
Fela Kuti & The Africa 70	Zombie
Christian Wolff	10 Excercises - Excercise 10
Morton Feldman - The Choir of Saint Ignatius of Antioch, New York City with Harold Chaney, conductor	Christian Wolff in Cambridge
Valerian Maly	Apple (Windfall/Fallobst)
Bj÷rk Gudmundsd=ttir - Bj÷rk & Tagaq with The Icelandic Choir	Mouth's Cradle
No Noise Reduction	0'0,060" For A Rock And Roll Band
Iannis Xenakis - Danish National Radio Choir	Serment
	(1:43 of silence)
Einstnrzende Neubauten	Silence Is Sexy
John Zorn	Hammerhead

Comment:

My first mix CD in about half a year, this compilation is intended as a 'meditation mix' that explores relationships between areas of different sound densities, including near-silence. Stylistically, the tracks are all over the place (four continents represented, but limited to the 20th century). Beginning with the Webern is an emotional, if introverted, way to introduce the mix. Johnny Clegg following lightens the intensity of attention necessary, while still providing interesting details to focus on if desired. However, the rhythmic drive is promptly taken away for a minute and a half of nearly silent decaying chords. Messiaen seems a compromise between the already presented material, but is twice as long as the opening three tracks combined. The rhythmic drive and sound color painting of the Messiaen continues into the Captain Beefheart, but in an almost perverse way that forces consideration. (It is worth mentioning that this is the first time we've heard a human voice since Johnny Clegg almost sixteen minutes ago, which also gives it impact.) The improvisatory sound is continued with late Coltrane at his most free - and, as it always is with John, the sensuality of this music is undeniable. Carnatic (South Indian) drumming follows. Already half way through, the twelve minute Fela Kuti track is very approachable, almost a call to dance, continuing and amplifying the rhythmic drive of the previous tablas. However, the next instrumental track seems like a product of 'the classical tradition of some lost civilization,' as John Cage puts it - an instrumental combination not too far removed from the Kuti is employed, but to quite different effect. And though the Feldman which follows is for choir a capella, we hear only subdued tones - no articulations or words. An interlude of fourteen seconds, again nearly silent, makes us presumably witness to the sound of some object falling (an apple from a tree). More voices follow, but this time electronically edited and with a strongly rhythmic foundation. This leads into eighteen seconds of silence, interrupted by a very brief, almost indistinguishable electronic sound. Following this is a microtonal a capella work by Xenakis, then over a minute and a half of un-interupted silence. What follows is contemplative and filled with pauses; a piece about tinnitus, abruptly cut off at the end by the seven second noise of a John Zorn track.Update: Now available to download! Yay!

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