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EPISODE · Jul 28, 2011 · 57 MIN

graceful silence

from low light mixes · host Low Light Mixes

"Music is the space between notes." - Claude Debussy I found a couple of tunes recently that exemplify that Debussy quote.  So I looked for more tracks that had definite valleys between the peaks of synth washes or long pauses between piano chords and then I let the mix take off from there. The result is similar to the "breathing" mixes I've done before with the lulling ebb & flow that I like so much. This mix differs in it's use of piano & guitar tracks. There is a section in the middle where there really isn't a whole lot of "silence", more of an up & down of synth washes. But like happens so often with mixes, they just go places I didn't expect & then I've got to bring them back. "Music and silence combine strongly because music is done with silence and silence is full of music." - Marcel Marceau T R A C K L I S T : 00:00 Antonymes - 311210 (from Like Rumours of Hushed Thunder) 01:38 Wixel - Vaarwel (from Somewhere Between The Sun and The Moon) 03:50 Danny Saul - Kinison part 2 (from Kinison - Goldthwait) 05:30 Good Weather For An Airstrike - Broken (from Winter) 11:00 Wixel - 10 minutes (from The End) 13:42 World Standard & Moose Hill - Graceful Silence (from Futari - Graceful Silence) 17:50 Stuart Dempster - Standing waves 1976 (from In The Great Abbey of Clement VI) 21:40 Kyle Bobby Dunn - Tuohy's Theme (from Ways of Meaning) 26:00 Celer - untitled #10 (from Compositions for Cassette) 36:39 Listening Mirror - Glass Slopes (from Spires, Spirals and Stones) 37:15 Jasper Leyland - they carry (from Sediments) 41:24 Dakota Suite - One Day Without Harming You (Machinefabriek remix) (from The Night Just Keeps Coming In) 42:33 Marsen Jules - Chanson du soir (from Herbstlaub) 47:00 Brian Eno - Neroli (from Neroli) 51:25 The Dead Texan - Beatrice part 2 (from The Dead Texan) 55:08 Antonymes - 291210 (from Like Rumours of Hushed Thunder) 57:16 end

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This is a mix that uses silence as much as music to convey a peaceful feeling. I looked for tracks that had definite valleys between the peaks of synth washes or long pauses between piano chords and then I let the mix take off from there.

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