Moby, "Hotel Intro" (V2).
Annie, "Heartbeat" (679, U.K.).
Sharon Jones and the Dap-Kings, "How Long Do I Have to Wait for You?" (Dap-Tone).
Little Iva & Her Band, "Continental Strut" (Motown/Hip-O Select; originally released 1961).
The Fiery Furnaces, "Tropical Ice-Land" (XL).
Unknown, "Unknown (Tari Minang)" (Sublime Frequencies; originally recorded c. 1960s–80s).
Dälek, "Opiate the Masses" (Ipecac).
Party Ben, "Independent Room (Fugazi vs. Destiny's Child)" (MP3).
Graphic ft. Beans, "I Am Metal (Dub Mix)" (Offshore).
End, "Punjabi Martini Beat" (Br0klyn Beats).
The Chemical Brothers, "Hold Tight London" (Astralwerks).
United State of Electronica, "Umbrella of Love (Ron Curty Mix)" (Sonic Boom).
Robert Millis, curator, "Pony Train/Radio Nepal III (Vallo Geet)" (Sublime Frequencies; originally recorded 1996).
Keren Ann, "Nolita" (Blue Note).
Milio/Nas & Jay-Z, "WUSSUP?" (mixtape).
Busdriver, "Avantcore" (Mush).
Atmosphere, "Choking on a Wishbone" (Rhymesayers; originally released 1999).
Jason Forrest, "To Each Their Own" (Br0klyn Beats).
First time's the charm, right? Let's hope. Or at least let's call this weekly series' inaugural mix and column a statement of aesthetic purpose, the idea being—at least when I'm writing it—to spotlight new and newly reissued work. Nearly everything here is officially out, apart from Moby (Hotel is out March 22, though its two-minute synth-orchestral overture is the only part of it I like) and U.S.E. (March 15, including the bonus EP featuring this remix). Some of it predates 2005 altogether: The End and Jason Forrest tracks are from a 12-inch issued in December, and "Heartbeat" was Pitchfork's single of 2004, just like it would've been mine had I heard it two months earlier. (Annie's album, Anniemal, is out domestically in late May on Vice.)
The overriding idea when I make a CD is to generate flow and surprise in equal measure. I'm a segue nut, and there are a few I adore here—Annie's heartbroken Euro-shimmer shifting into Sharon Jones' heartbroken old-school funk still hits me as acutely as it did when I first tried it seven weeks ago, and the Chemical Brothers' mysterioso tribal beats open up into U.S.E.'s Daft Punk–iest moment to date (it certainly beats the real DP album) like the sun coming out over a field. Most of the time, though, I'm just glad when my selections don't herky-jerk around too much, which happily here they don't.
I was tempted to lump Dälek's swollen, noise-laden hip-hop beats with the other rappers, but it fit better between a cut from Sublime Frequencies' Folk and Pop Sounds of Sumatra Vol. 2 ("Pony Train" comes from Harmika Yab-Yum: Folk Sounds From Nepal) and a dynamite blend of "Independent Women" and "Waiting Room." Milio's God's Black mixtape is also a mash-up, pairing verses from feuding rappers Nas and Jay-Z over new tracks; it's as uneven as hell—highlighting is yet another purpose of this space, weeding out good stuff from iffier sources.
Finally, I won't do this every week. It'll be more like once a month, with SW music stalwarts (and occasional ringers) picking it up the rest of the time. Suggestions for future mixes are more than welcome; send them to the address below.
Michaelangelo Matos is the music editor of Seattle Weekly.