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#3 / Robert Wyatt

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#8 / RANDALL POSTER

#8 / RANDALL POSTER

What does a meeting between Randall Poster and Wes Anderson look like? Both have their own distinctive sense of style, so perhaps they sit on art deco furniture, sipping the finest Ceylon tea from fine China cups, while discussing the soundtrack for a new film. Randall Poster begins his Week–End mixtape by listing several of the Hollywood films he has provided with a musical backdrop – including all of those by his Texan buddy. He also compiled songs for the film adaptation of the novel Jesus’ Son by the recently deceased Denis Johnson, and by honouring Johnson in his introductory words, Randall Poster confirms an old certainty: a mixtape turns out good if you really put your heart and soul into it. We then follow Randall Poster to several significant musical moments in his life, starting with his first single, the song “Laughing” by The Guess Who, via Van Morrison’s “Saint Dominic’s Preview”, to other jewels from the treasure chest of the sixties and seventies – a box of pleasures that always seems to twang so sweetly when you open it, oozing with the authentic aroma of blues, soul, and rock ’n’ roll. Of course this wonderful tape couldn’t do without the likes of the Stones, Bobby Womack, and Rod Stewart, but it ends up rather surprisingly at Michael Hutchence and Future featuring Lil Wayne. But hey, what is life, or a biopic and its soundtrack, without unforeseen twists? While listening to his voice, and all of this beautiful music, you soon imagine Randall Poster sitting right in front of you – and he looks like a character straight out of Wes Anderson’s idiosyncratic universe.


#7 / ROBERT FORSTER

#7 / ROBERT FORSTER

Robert Forster, founder of the Go-Betweens, songwriter and friend of the Week-End Fest, traces his early musical apprenticeship in his customary stylish fashion: from the medium-wave frequencies of an Australian radio station that transported the voices of Dean Martin and Ricky Nelson into his parent’s house in Brisbane, via the Californian sound of The Byrds and The Mamas & The Papas songwriter John Phillips, early feelings of enlightenment by the songs of Bob Dylan and Roxy Music, a life-changing post punk track by Magazine, to a recording studio in Edinburgh in 1980, where Forster witnessed his Postcard label mates Orange Juice recording one of the biggest singles in British pop history: “Blue Boy”.


#6 / MARIE DAVIDSON

#6 / MARIE DAVIDSON

Marie Davidson seems to be a bit like Forrest Gump, the character in Winston Groom’s book, who turns up at all the key moments in the story. She always happens to be at the right place at the right time—yet she is never overly zealous, but rather endowed with an unparalleled lightness. She has released records with her band DKMD on Giallo Disco Records, with Les Momies de Palerme on Constellation Records, with Essaie Pas on DFA Records and most recently solo on Citi Trax, Veronica Vasicka’s second label after Minimal Wave Records. It would be difficult to dream up a better label discography.
The tracks on this podcast, which Marie Davidson recorded exclusively for Week-End, are all love songs, and many of them on the sadder side of the genre. This is not purely coincidental—the Franco-Canadian from Montreal has a fond relationship with melancholy. It is not so much that she likes to succumb to it, but that it is, ultimately, a necessary evil in the artistic process. A song such as “Dedicated my Life,” from her current album “Adieux Au Dancefloor,” certainly wouldn’t have been possible without firsthand knowledge of the deep empty chasms that being an artist as well as life itself hold in store. Or expressed another way through the titles of two of Marie’s current songs: “Inferno” and “Good vibes” aren’t necessarily mutually exclusive.
These are the songs that inspire Marie Davidson.


#5 / LAWRENCE

#5 / LAWRENCE

Lawrence is one of the indie scene's most enigmatic figures. In the 1980s, as singer and songwriter in the band Felt, he released astonishingly good indie-pop records, to which the aesthetic of bands such as Belle & Sebastian owe an undying debt. When expectations grew too much, Lawrence chose escapism: his next band Denim is a bitter rock 'n' roll satire, while current project Go-Kart Mozart mixes weird and wonderful ideas with Roger Whittaker cover versions. Which all goes to show that Lawrence has an incredible grasp of the strangest strains of British pop music. Many of the songs in this podcast, which Lawrence recorded exclusively for Week-End, will only be known to aficionados, yet they lay bare the foundations on which indie and Britpop was built. An unusual history lesson by an indie icon who rarely talks, but who turns out to be a very eloquent speaker.


#4 / AARON M. OLSON

#4 / AARON M. OLSON

Hi, I'm Aaron M. Olson and I'm very pleased to be participating in this series of mixtapes for this amazing festival! About myself: I am the principal songwriter of the band L.A. Takedown, a composer of music for film, video, and experimental performance, a touring and session musician (toured/recorded with Chris Cohen, Cryptacize, Papercuts, Nedelle Torrisi, SK Kakraba Lobi, Tara Jane O'Neil, Bouquet, and others), the bass player in and founding member of Los Angeles' most Grateful Dead cover band, Dick Pics. My mixtape is a little DJ set I threw together of stuff I've been into lately; No theme or common thread... And a little a bit of talking from yours truly. I hope you enjoy the tunes!


Aaron M. Olson, December 2016


#3 / ROBERT WYATT

#3 / ROBERT WYATT

Many artists don’t like talking about their art. After all, art should speak for itself and always means different things to different people. Sometimes they have to take a bit of a roundabout route to open up: for example, by talking about the artists that mean a lot to them. The podcast Robert Wyatt has made especially for Week-End festival is a wonderful example. By talking about—and playing—his ’most personal recorded souvenirs’ he gives more of an intimate insight into his world than can be gained from many interviews about his own work. We find out from whom he has his ’singing not-singing’ style, what can be learnt from Berthold Brecht the singer and which 1964 R’n’B song played an important role in him becoming a professional musician.


#2 / NICHOLAS KRGOVICH

#2 / NICHOLAS KRGOVICH

Come one, come all and listen to me, Nicholas Krgovich, as I play a scattershot collection of songs and talk at length about whatever springs to mind.  There's nothing quite like speaking into a microphone, alone in a room, addressing no one in particular.  Did I expect to sound like Ryan Seacrest when I hit playback? Who are these unsolicited thoughts for? Me? You? The bird in the tree?

All I know is I enjoyed making this thing and dropping hits by perennial favourites like The Red Crayola, Tweet and Frank Sinatra.  One day I will make a more curated and illuminating playlist but for now it's just a free associative liberal arts college open mic nite and it's raining outside. Get in!


Nicholas Krgovich, October 2016


#1 / CHRIS A. CUMMINGS

#1 / CHRIS A. CUMMINGS

For all the fans, lovers, rockers, skaters, rollers - I made you this mix spanning the years that included Disco, Post-Disco, Modern Soul, Boogie, and the greatest Slow Jams. A lot of my recent favorites are included, and the many faces of R&B during this period are represented, from the scratchy, muffled production of the ultra-rare Diddys featuring Paige Douglas title track, to the glassy tones of Jam & Lewis. Take an intoxicating tour with me, as the late seventies give way to the gateway year 1980, through to the synthed-out, smoothed-out sounds of the mid-eighties.


Chris A. Cummings, September 2016