Steve Moore

isolatedmix 89 - Steve Moore


Over the past ten-or-so years Steve Moore has increasingly impressed circles outside of his association with prog-rock band Zombi. In fact, I’m probably one of the very few people that discovered Steve without knowledge of his association with one of America’s most revered bands, which adds further intrigue to his euphoric synthesizer work under his own name. I think I’ve included one of his tracks in 90% of the mixes I’ve put together (on hindsight) but that speaks to how perfectly apt I find his music in setting moods, places and spaces. Along with this superb new isolatedmix to follow below, I had the chance to send a few questions Steve Moore’s way…

My first introduction to Steve’s solo work was his 2012 release ‘Light Echoes’, quickly followed by picking upBrainstorm’- a split 12” with Majeure, (found in Tokyo’s Big Love Record Store by memory). Between both of these albums I caught a glimpse of the sublime ambient-leaning synthesizer work and the more colorful and energetic influences of the 80’s.

“I’ve been writing and recording music on my own since the early 90’s. Back then I had a Fostex 4 track cassette recorder and an Ensoniq VFX-SD. I’d share some of this music with friends but mostly I was just doing it for fun and practice. Zombi gave me the confidence and the connections to release my music”

It’s easy to start making associations to some of the early synthesizer pioneers with Steve’s work you hear today, especially on records like 2010’s Primitive Neural Pathways, which I managed to pick up a copy of just last week. It’s like a modern-day polished Jean-Michel Jarre record, pressed on a neon-Pink slab of vinyl (Pink must be a favorite color as his new one is also available in Pink)

I love those first few Jarre records so much, with Primitive Neural Pathways I definitely wanted to write something in that style. But that’s how I used to think when writing, in terms of who I wanted to reference and what time period, etc. Now I’m more interested in trying to do something new or different. I’m more into experimenting.

Experimentation is definitely apparent in Steve’s new album for Temporary Residence. With Beloved Exile, Moore states his goal was to “make an album of songs that featured instruments other than synthesizers - and instrumentalists other than myself. I wanted to create situations in which I thought Emel’s voice and Mary’s harp would sound interesting”.

Mary Lattimore (Ghostly International) features prominently and after several listens of the album in full, her grace is felt in such a natural and organic way it’s hard to believe a synthesizer and harpist could create something so classic and timeless across an entire record, not just a feature on one individual track.

Even the track titles of Beloved Exile have been sub-let to add further experimentation, input, and ultimately, subjectivity to the album meaning. (Personally, I feel like album opener, ‘Your Sentries Will Be Met With Force’ is one of the greatest opening track titles for an album like this featuring an onslaught of synthesizers and harp).

The story is what you want it to be! John Darnielle (the Mountain Goats) was kind enough to supply the song titles. Song titles never come naturally to me, so I thought “who do I know who has a way with words?” I asked John and he said yes, so I sent him the tunes and he titled them. What these titles mean is up to the listener!

Beloved Exile is no doubt an evolution in sound from some his previous work if you’re a Moore collector, combining perhaps the trifecta of his influences - synthesizers, soundtrack and instrumental elements, but it’s still unmistakably narrated by someone who understands storytelling. Asked about this evolution, Steve seems to be progressing his sound organically: “I do feel pressure to do something new and interesting with each album, but that’s all coming from me. I put that pressure on myself. As far as evolving, I just let that happen. I feel like when artists try to evolve things can end up sounding forced. As I get older my influences and interests are gradually changing and so it seems natural that my music should as well.”

The insight and experience from scoring these cult horror flicks adds to the vivid narration that occurs amongst his synthesizer work too, with the last track on Beloved Exile spanning a mammoth fifteen minutes. As the album closer, My Time Among The Snake Lords is a fine example of the narration Steve can inject into a piece of music. If the track title alone didn’t paint the picture ahead, Steve’s progression and storied approach helps end the album on one of his most euphoric pieces yet - a combination of marching tribal elements, the distant plucks of Mary’s harp and a soaring expansive outro.

Asked about his work on cult-horror films such as The Minds Eye, Cub and Mayhem, I wanted to find out what it takes to make a good horror score:

It takes both a good composer and a good director to create a good film score. Also good producers! It’s a collaborative process. I think a sense of pacing and dynamics is very important. Also space - knowing when not to add music. Sometimes silence is way scarier than music.

Along with the crack team, I can’t help but imagine Steve has a secret sauce hidden somewhere amongst his synthesizer arsenal, and as it turns out, he has a banker for those scary moments and a dependable sound to help keep things on the edge: “My Sequential Circuits Prophet 600 and Pro One definitely have the scariest sounds. I use them on almost every score - they’re great for atmospherics and those Carpenter-style stingers”.

For Steve’s isolatedmix, we’re treated to a slightly new and original style of music across the twelve tracks, straddling the split personality between prog rock and ambient music. Steve admits he has no idea where a mix will end up once he starts, with this one being put together on the fly:

I start with a track that’s been on my mind then sort through my library and add songs as the mix plays. When I start a mix I don’t know where it will go, but I try to include artists from seemingly incompatible genres and different corners of the globe. For this mix I started with “Heavy Light” by Animusic. Zombi just played a couple shows so I’ve been rehearsing for those lately, and this track always comes to mind when I think of Zombi. It’s a big inspiration and you should definitely check out the video on YouTube.

Along with Animusic we’re excited to finally feature Enya within an isolatedmix, and it seems as though we share a mutual appreciation for the Irish-Castle-Queen. One of the finest soundtrack producers, Mark Isham, also makes an appearance; a big inspiration for Steve’s soundtrack on The Hitcher, listed alongside musicians like, Brad Fiedel, Howard Shore, John Carpenter (and Alan Howarth), Tangerine Dream and Popol Vuh as other similarly inspiring composers and influences.

There’s a kindness to Enya’s music that really appeals to me. It’s magical and otherworldly and completely sincere. And from a production standpoint the albums are total ear candy (especially the early albums where she’s using a lot of Juno-60). She’s incredibly talented.

To quote the label when they sent over the final mix, “This may be the proggiest isolatedmix yet”, so sit back and absorb yourself amongst the mind of a man who is as comfortable scaring the hell out of people in cinemas, as he is performing in front of thousands, and then casually creating some of the finest synthesizer music this side of the Millennium. Listen on Soundcloud, or Mixcloud below.

Steve Moore’s Beloved Exile is out now on Temporary Residence.


01. Animusic - “Heavy Light”
02. Return to Forever - “Medieval Overture”
03. Arsen Gedik - “Neptune”
04. Patrick O’Hearn - “At First Light”
05. Christian Chevalier & Alan Feanch - “Electric Mistress”
06. Constance Demby - “Novus Magnificat: Through the Stargate Pt 3 [edit]”
07. Enya - “Deireadh An Tuath”
08. Mark Isham - “Dust and Gasoline”
09. Enslaved - “793 (Slaget Om Lindisfarne)”
10. Johanna D’Armagnac - “Siren of the Sea”
11. Goblin - “Le Cascate Di Virdiana”
12. Il Baletto di Bronzo - “Epilogo”

Steve Moore | Bandcamp | Twitter | Discogs


ASIP - The Last Frequencies (mix for Headphone Commute)

ASIP The Last Frequencies_low.jpg

One last time, tuned to nothingness,
A swan song for the remnants. 
Empty buildings, rain and the dark abyss,
Lit by neon rain and the artificial descendants. 

Our good friend Headphone Commute has just published a new mix of mine, titled The Last Frequencies. It's a pretty obvious concept once you listen, but sometimes these things come to me at the end rather than the beginning. I started this mix after the terrible news of Jóhann Jóhannsson's death and was left wondering what the score for Blade Runner would've or could've been at the time. Perhaps, this thought process subliminally inspired me to create something of my own. Only on hindsight did I realize.  

It took a few months to compile and I went through five different versions before finally settling here. Given how much time I spent on it, I thought I'd try to do it even more justice by adding some comments on the featured tracks below. As always, I see mixes as an amazing point of discovery here on ASIP, so want to do everything to support the artists featured within. 

Make sure you check out the rest of Headphone Commute's guest mixes - the last one by 36, for example, and a recent epic journey by Roel Funcken - just two that shouldn't be missed. 

And thanks to HC for hosting me on his great platform for music discovery - our partner in the ever-expanding conquest to highlight the best ambient music out in the world. 

Read more on Headphone Commute.  

Listen on Soundcloud

Direct download

Tracklist + track notes:

01. Computer Afterlife - (Various samples) [Self released]

This album is the perfect entry point to Vaporwave (shudder?). If you haven't already been digging around the recent phenomenon that's rife on Bandcamp. 'Infinity Frequencies' is like a compilation of retro advertisements and elevator music, all put through the Vaporwave machine. On its own, the album is an interesting listen as opposed to a relaxed experience, but I chose to edit several of the tracks and combine with TV static to give the effect of someone/something searching through frequencies. It also inspired the name of the mix, as the journey goes on to dictate the dystopian world before the last frequency is heard. Available on Bandcamp.

02. Rashida Prime - {modular frame} [Cyber Dream Records]

Continuing the Vaporwave-wave, there's a side to this style that I really love, and Rashida Prime is a good example. To many, this is just heavily textured and processed drone music. But in a similar vein to the likes of Rafael Anton Irisarri, Rashida manages to score a beautiful melody amongst all the noise and static. I also added a little monologue from Blade Runner here to set the scene. Rashida Prime's album, Damaged Interface, is also available on Bludhoney - perhaps one of the most influential Vaporwave labels out there should you want to dig deep. Available on Bandcamp

03. Innerst Inne - Solen Träffar Topparna Först (Further Records)

Innerst Inne are Andreas Tilliander and Johan T Karlsson and this, I believe, is their first outing together - on Further Records, no less. Hailing from Scandinavia, with the album made in Sweden, it'd be silly to think inspiration hasn't been drawn from the cold depths, or the ever-growing techno scene that seems to influence everything that comes out of this part of the world right now. This album contains it all though - murky, deep ambience alongside some beautiful analog synthesizer moments, rooted in archaic dissonance. Fans of Alessandro Cortini, Isorinne, Rashad Becker, rejoice. Available on Bandcamp

04. Merrin Karras - 47 Drawn [Unreleased]

Some exciting music in the near future from Merrin Karras. For now... 

05. Steve Moore - Aphellion [Spectrum Spools]

I think I've included a Steve Moore track in nearly every mix I've put together in the past few years. He's a master of manipulation and does an amazing job at portraying new, futuristic places. This album, Pangaea Ultima does just that, and depicts a vision of a new world "away from the standards of time that we have insisted upon giving it". Available on Bandcamp. 

06. 輕描淡寫 - 我昨晚梦见你了 [Bludhoney Records]

Back into Vaporwave again, but I bet you didn't know it... This is where the genre crosses over with many other ambient styles, with the introduction of a piano blurring the lines. Still, the ominous sound of dystopian rain-soaked city streets is still present. Available on Bandcamp. 

07. Swoop & Cross - St. No [Time Released Sound]

A beautifully packaged vinyl by the aesthetic-forward label Time Released Sound, Swoop & Cross create a delicate and unmissable album in every way. I enjoyed the harmonious shift from the previous melody into the similar piano melody here - like the rainy, neon-lit streets emerging out of the dark into the daylight. Available on Bandcamp.  

08. Aleksi Perälä - UK74R1406060 [DUB]

Aleksi's music is often electro/techno-forward and normally wouldn't fit into this set (unless I took a turn into much heavier stuff), but this track features a stripped-back underlying analog tone that shifted the mood of the mix from a quaint piano melody into something a little more ominous. Aleksi's Colundi Sequence albums are pioneering in their approach, and you'll no-doubt find something mesmerizing amongst the many editions out there right now - even if you can't decipher the track names. He's a modern-day Aphex Twin in many ways. Available on Bandcamp

09. Isorinne - Whereabouts Unknown [Field Records]

This track features a bunch of abstract sounds and samples at the beginning, which is a little out out of the ordinary for the normally icy-smooth ambient stylings of Isorinne. The album this track is lifted off is from 2016, so if you've enjoyed Isorinne's recent brilliance on Northern Electronics, take a dig back into his earlier works for a little variety. Whereabouts Unknown gave the impression of something changing - a bustle and commotion - that led into the warmer tones of RAI.  Available on Bandcamp.

10. Rafael Anton Irisarri - Two and a Half Minutes (Geographic North)

Rafael continues to surpass expectations with his very purposeful "active-listening" ambient aesthetic. This is just one of many great tracks that have recently seen the light through two tape releases - one on Geographic North titled Midnight Colors and another, Sirimiri on Umor Rex. I felt bad keeping the inclusion of this track pretty short, but in a similar belief to RAI himself; less is more. Hope he agrees here! Available on Bandcamp.

11. 36 - Further Room 4 [A Strangely Isolated Place] + Alva Noto - Xerrox Monophaser 2 [Raster Noton]

For those that purchased 36's album, Infinity Room, you likely received a hidden surprise (that many still to this day might not know about). A full EP titled Further Rooms, accessed via a password-protected page hidden in the vinyl etching. Many say it's as good as the main album, evident here with Further Room 4. Again, not one to purposefully blemish an already good track, I originally had Alva Noto's infamous Xerrox Monophaser 2 at a very low level in the background to add some additional depth to the mix, but brought it up a little more as it seemed to fit well with the overall lost-in-space vibe Dennis' track was painting. Further Rooms still lies hidden for those that want to hunt it down... but Alva Noto's classic album is available in all good stores / Alva Noto website

12. Markus Guentner - New World Order  [A Strangely Isolated Place] + Global Communication - 0.54

For those that are taking the time to read this, then let this be your official notice - our next release on ASIP will see the return of Markus Guentner. More on that to come, but to continue this idea of lost and dying frequencies in the mix, Global Communication's now infamous intermission from their legendary ambient album 76.14, came to mind, and fitted perfectly with Markus's track. Like floating out into the dark void... 

13. The National Pool - Brick Cloud-Area 2 [Infraction]

I've already gushed about this album on ASIP, so head on over here to read more. Available on Bandcamp

14. Christoph De Babalon - Brilliance [DHR]

Hype hype hype. This album did receive. And it's a hard listen overall, but this Gas-esque track is one of the better from the album that will strike a chord with us ambient fans. The rest of the album however, is mainly very hard techno-edged-drum'n bass. You have been warned (or encouraged). Good luck hunting it down again, after a recent repress. 

15. Biosphere - Hyperborea [Biophon Records]

No-one depicts being lost in space, as sounds from far off worlds echo in the distance, better than Biosphere. All mixes should consider a 'classic' moment within the track list, and this one does the job for me. At this point in the mix, I had pictured a person floating through the void with his/her communication struggling to grasp the last few sounds from the world they just departed. Or is it the world they're floating towards? Available on Bandcamp

16. The Black Dog - Part One [Self released]

Dig anywhere amongst The Black Dog's extensive catalog and you'll find some beauty hidden amongst the darkest depths of techno. This self-released EP was the last time they got to work with good friend, Shawn Bloodworth - a fittingly beautiful tribute. Available on Bandcamp. 

17. Dino Sabatini - And It All Ends Here (feat. Antonello Salis) [Outis Music] 

I initially had the mix ending up in waves of static - a more literal homage to the title and concept of the mix. But this track by Dino Sabatini paid homage to a dystopian future in a different way - like an 80's film closing credits. Slightly Vangelis in style. An apt title too, from a stunning album. Available on Bandcamp.

Check back here soon for links to download the mix. 


Artwork edited by me; Ryan Griffin, featuring photography by Karen Sayser, Keith Camilleri & Sandeep Swarnkar. 



ASIP - Mysteries of the Deep LXVII (Windows at midnight)


I am very honored to be a part of the great Mysteries of the Deep series, which has hosted some of my favorite ambient DJ's and producers over the years. 

The mix I put together was drawn from a scene in my head which involved a kid escaping his bedroom at midnight. After the initial jump down into the garden, the complex emotions as he explores uncharted territory follow. He's scared, intrigued, has a sense of freedom and joy, but knows he shouldn't be out there, as he explores close-by woods, and deserted streets under the yellow hum of street lamps.

A big thank you to Mysteries of the Deep for hosting and to Candace Price for the beautiful accompanying artwork. I hope you enjoy it. 


01. Ourson - Night Roads [Self]
02. Arovane - Electroacoustic Session 7 [Self]
03. Harkan - Unnamed [Self]
04. 1 Mile North - Broken Corners [Wortcunner]
05. Rafael Anton Irisarri - Abandoned (too soon) [Self]
06. Secret Pyramid - VII [Proposition]
07. High Plains - A White Truck [Kranky]
08. Malibu - Held [PAN]
09. Richard A Ingram - Valehouse 2.2.01 [Medium Format]
10. Arovane & Hior Chronik - Dornenreich [A Strangely Isolated Place]
11. Broken_Canyon - (MISSING) (Sea Of Clouds)
12. 36 - Black Horizon [Self]
13. Steve Moore - Depths Of The Earth [Moon Glyph]
14. Abul Mogard - Unarmored Love [VCO]
15. Paul Wolinski - MidiFlood [Self]
16. Carl Stone - Kuk II Kwan (1981) [Unseen Worlds]
17. bvdub - 01 [Self]
18. Ourson - Night Roads + Carl Stone - Kuk II Kwan


ASIP - Journey Upwards


With our next release by Merrin Karras just weeks away, I've decided to celebrate the unique style of the album with a themed mix.

Merrin Karras' upcoming album, Apex combines Brendan's gilded production techniques with an armory of hardware (including the Moog Minitaur, Vermona Mono Lancet, Juno 106, Nord Rack 2, and the Korg Monotron) serving as both a modern ode to the synthesizer and a reverential nod to the early pioneers, a sound and style any ambient and electronic fan will appreciate. 

Along with influences that Brendan lists as having an impact on his upcoming album (Steve Moore, Oneohtrix Point Never, Abul Mogard) the mix features some of my favorite contemporary synthesizer pioneers such as Alessandro Cortini and Donnacha Costello. As the title may suggest, there's a subtle story at play here; beginning at ground-zero and ending in a galaxy far, far away.

This mix should give you a taster of what to expect when Merrin Karras' album, Apex, hits the shelves June 10th, featuring the title track, Apex along with a first listen of Isolation. Pre-order for vinyl and digital is now available.


01. ASIP - Ground
02. Abul Mogard - Bound Universe (Circular Forms)
03. Steve Moore - Aldebran Exchange (Light Echoes)
04. Merrin Karras - Apex (Forthcoming on ASIP)
05. Alessandro Cortini - Retta (Forse 3)
06. Oneohtrix Point Never - Months (Rifts)
07. Donnacha Costello - Ten Ton (Love From Dust)
08. Merrin Karras - Isolation (Forthcoming on ASIP)
09. Majeure - Solar Maximum 2 (Solar Maximum)
10. Stellardrone - The Belt of Orion (Invent The Universe)
11. Steve Moore - Light Echoes II (Light Echoes)


isolatedmix 56 - Night Sequels: Listen To The Ni-Fi


Throughout my seven years writing and curating on ASIP, every now and then I stumble across an artist that introduces me to a new music style and opens up an entire rabbit hole of discovery. It's why I love doing this; maybe it's a self-preservation thing; a perpetual cycle of discovery and education; but it's artists like Nick Huntington and his aliases that keep me searching.

You may know Nick as one half Freescha - that warm, analogue, bubbly electronica duo (alongside Michael McGroarty) I've talked about for years on here, responsible for superb albums such as Kids Fill The Floor, and Head Warlock Double Stare, which contains one of my favorite electronica tracks (an example of just how much I enjoy Freescha). Talking of favorites, Nick also released music as Christmas Lights, the only album to stem from that name so far, but an absolutely beautiful piece for anyone into warm, downtempo synthesizer focused music.

Nick is also behind, Attacknine, alongside Erik Alwill, a California based label born to release Freescha music, that's ultimately gone on to be an extremely well-respected underground electronica outfit including artists such as Casino Versus Japan.

But it's Nick's more recent, strobe filled, colorful, outer-space themed soundtrack alias Night Sequels that's jumped aboard the isolatedmix rocket. Nick just released teasers and pre-orders for his debut album, The Children Of the Night Make Music, and it's a warm summers evening jam through a spectrum of psychedelic light. It's Freescha on acid, which is sure to be nothing short of astounding if you know and enjoy Freescha. And now, we're lucky enough to get a taste of the hallucinogenic drones, dream-drifting vocals and never-ending filtered warp-holes with Nick's isolatedmix. Featuring music he outright enjoys and previously unreleased Night Sequels tracks and remixes, isolatedmix 56 is another very special addition to the series, with Nick also taking the time to talk us through his selections in glorious detail below.

Never has the artwork been truer to the music in this mix too - take a seat in a dark room, whilst the kaleidoscope of color from the outside world and a small breeze, seeps through the dusty windows. As Nick quotes, "turn out the lights, touch your volume knob, and turn it up". 




01. Jerry Goldsmith - Outland Main Titles
02. Claudio Gizzi - Old Age For Dracula
03. Queen - In The Space Capsule (Love Theme)
04. Steve Moore - 248 Years
05. Philip D'Aram - La Valse Grinçante
06. Gary Numan - Down In The Park (Night Sequels Tweak)
07. Night Sequels - All Cats Are Grey (Previously Unreleased)
08. Night Sequels - Mainstreet Meltdown (Previously Unreleased)
09. Black Moth Super Rainbow - Psychic Love Damage (Night Sequels Remix Mk. II) (Previously Unreleased)
10. Brian Grainger - Swamp Bike (Re-synthesized by Night Sequels) (Previously Unreleased)
11. The Beach Boys - Feel Flows (Night Sequels Treatment)
12. Night Sequels -  Star Car Bizarre (Previously Unreleased)
13. Valentyn Silvestrov - Der Bote
14. Tones On Tail - Rain
15. Schubert - Trio in E-flat (Drenched)

You can pre-order Night Sequels' new album here, containing the usual brilliant Attack Nine colored vinyl + tshirt combos.


Jerry Goldsmith - Outland Main titles
What can I say, he's amazing.  One of my favorite composers, perfectly capturing the vast isolation of space.

Claudio Gizzi - Old Age For Dracula
From Paul Morrissey's Blood For Dracula. Mike and I (Freescha) are big fans.  The whole score is great, as well as his score for Flesh For Frankenstein.  Incidentally, they've just been reissued on vinyl by Dagored. 
Queen - In The Space Capsule (Love Theme)
There is no Freescha without Flash Gordon.  I remember sitting in the theater watching this movie as a little kid, and in particular this scene.  The beautifully eerie synths, billowing clouds of colors, and subtly erotic staging left a big impression on me.  Dream Zone 101.

Steve Moore - 248 Years
I stumbled across this record a few years ago.  Somewhere, this is the music to a New Age of my fantasies.  From the album "Primitive Neural Pathways". Steve Moore Bandcamp.

Philip D'Aram - La Valse Grinçante
From Jean Rollin's film "Fascination".  I was watching this movie on repeat around the time of recording Freescha's "Kids Fill The Floor".  I was in love with the music.  It haunted my nights in the Fall of 2000.

Gary Numan - Down In The Park (Night Sequels Tweak)
The Ruler.

Night Sequels - All Cats Are Grey (Cure cover, Previously Unreleased)
Still my favorite Cure song of all time.

Night Sequels - Mainstreet Meltdown (Previously Unreleased)
A Bob Seger cover.  I remember being a little kid, in the back of some friend's car, their parents driving us home at night, and hearing Bob Seger's "Main Street" come on the radio.  I seem to hear this song on the radio more now than I did then. It was always a treat when it would come on.  I thought the guitar lead was so dreamy, and perfectly captured this feeling of sadness-happiness-yearning.  I've been addicted to this feeling in music since I can remember. 

Black Moth Super Rainbow - Psychic Love Damage (Night Sequels Remix Mk. II) (Previously Unreleased)
In 2013 Tom (aka TOBACCO) from Black Moth Super Rainbow asked if I'd like to remix a track off of their album Cobra Juicy for a remix album*.  I chose Psychic Love Damage, and you can currently hear the remix on Soundcloud.  I liked how the remix turned out, and thought for this mix, it might be interesting to try and do a remix of the remix.  Turns out, it's not interesting.  BUT this alternate remix did come out of that attempt, and I like this one too. *(release date of this album still unknown)

Brian Grainger - Swamp Bike (Re-synthesized by Night Sequels)
A previously unreleased remix.  I have a few incarnations of this, but this one works best for this ASIP mix I think.  The original version of "Swamp Bike" is on Brian Grainger's awesome  "Highschool Guitar", and was also released as a digital single.

The Beach Boys - Feel Flows (Night Sequels Treatment)
As awesome as Brian Wilson is, Dennis and Carl were just as great in their own right. "Feel Flows" was written by the late greats Carl Wilson and Jack Rieley, with Carl singing, and it's a great example of classic Beach Boys piano bass work that I hear pop up in my own playing from time to time..  

My dad played a lot of Beach Boys when I was a kid.  He had all sorts of rarities on reel-to-reel tapes, bootleg vinyl (if my memory serves), and cassettes.  This was long before a lot of this stuff became available in box sets.  There were no CDs yet.  The only way to hear this stuff was to find a friend of a friend of a friend who knew a guy that heard of another guy that knew someone who had some unreleased Beach Boys session recordings.

So I may have heard this song when I was a tyke.  But the first time it made an impression on me and turned me on to a whole era of the Beach Boys that was, for the time (and possibly still is), forgotten, was in the Summer of 1995, when it came on the radio late one night.  It blew my mind, and I immediately had to know who it was, but the DJ never said.  I had a feeling it was the Beach Boys because the voice sounded familiar and the way the bass notes moved around on the piano, I thought the odds were pretty good it was them.  But since I had no idea what it was called, I didn't have a recording of it, and I didn't know the lyrics, it became very difficult to track down.  What made it harder (I would later learn) was that in '95, the albums from this era of The Beach Boys were all out of print on CD and very hard to find, so when I would listen to their CDs at used record shops, this song would never turn up on any of the them.  So I started scouring Salvation Armys and Goodwills, buying any Beach Boys vinyl that I hadn't come across on CD.  I started to doubt that it was even the Beach Boys.  Maybe some other band that sounded similar?  Who could that be?

And then eventually, after months and months of searching through The San Fernando Valley, I found a ratty ass copy of "Surf's Up".  
And Low.
And Behold.
When I flipped it to the B-Side.
There it was in all it's the glory.  The song I'd been looking for.  The feeling of elation when those sweet sweet sounds came out of my speakers I'll never forget.
And thats's my Beach Boys story.
Here it is for you with a little treatment from me, but it's pretty spacey and flange-y even without it.
I hope you dig as much as I do.

Night Sequels -  Star Car Bizarre (Previously Unreleased)
A little jammy I put together that also mixed well coming out of The Beach Boys.

Valentyn Silvestrov - Der Bote
From "Der Bote - Elegies For Piano " by Alexi Lubimov. Things like this make me sad that one day I will never hear it again.

Tones On Tail - Rain
If there is no Freescha without Flash Gordon, I think I speak for Mike and myself when I say there is definitely no Freescha (or Night Sequels) without Tones On Tail.  When Mike and I met in high school, Tones On Tail were an endless source of inspiration for us. They have the perfect sound palette: a balance of weirdness and pop, cool synth sounds and strange guitars. 

Fridays after school, Mike and I would usually drown in the pool during a water polo game, then go to his house and jam in his family's band room for hours, miking  everything through delay pedals, and playing "A Forest" and "Bela Lugosi's Dead" nonstop for hours.  Then we'd crash out, usually listening to Tones On Tail's "Rain".  I remember lying on the floor listening to this, staring up at the shadows on the ceiling and thinking how cool it would be to be able to record music like this. 
There's still nothing that sounds like them.

Schubert - Trio in E-flat (Drenched)
A recording from the 1983 film "The Hunger". This film had a big impact on me.  I love everything about it.  Impeccable style. Neon classical.  And the Bauhaus segment in the beginning was a life changing moment, it was that impactful on my musical and visual sensibilities. A nice place to end this set.