The bellowing strength of collective volume, the colliding harmonies, the concentrated enunciation of practiced singers, the awkward sustain and ardent timbres, the melodrama. Choirs give me the chills. They produce a windy texture that only human voices in unison can.

The playlist starts with selections from projects by contemporary artists, followed by choral interpretations of pop songs and then a few choral performances used in pop songs, and finally recordings of school choirs performing nostalgic covers.

Mash-Ups by Brian Joseph Davis

The folk tool of the mash up has been an excellent means for dissolving percieved cultural barriers between pop songs and genres. Yet these tools—-quantizing and beat matching, little or no editing—-are rarely used for the conflation of disparate histories. For example, the discrepancy between bare-chested 1970s rock and free jazz, or minimalist drone. Having lucked into a bit torrent of very clean master drum tracks from Led Zeppelin’s Physical Graffiti, I thought the best thing to do was to invite collaborations that never happened, or might have happened if Bonham lived and began hanging out at Tonic.

First presented in 2004 at Mess Hall in Chicago, Marc Fischer (of Temporary Services) assembled and subsequently revised this playlist. The following selections include extrodinary examples of screamed vocalization in (mostly western) music over the last 40 years.

Collected and presented by SF Bay Area art historian Julian Myers, this playlist includes excerpts from audio/video recordings where the audience at a rock concert actively intervenes in a band's performance, forcing them to end that performance for one reason or another.

Each of these recordings exists through the coincidence of four elements: A concert performance in the context of a rock venue; a portion of their audience that interrupts or otherwise stops that performance; the crucial presence of a recording device; the subsequent transmission and exchange of that recorded product through either official release or fan "bootleg" circles.

"Songs For A Dead Hare" is a collection of art-folk balads by Canadian artists Daniel Wong and Mary Anne McTrowe that presents 10 low-fi narrative investigations of art history. Songs include a letter from Sol Lewitt to Eva Hesse, a jab at Nicholas Bourriaud's relational aesthetics, and a call-and-response between east and west coast. Other songs consider Hannah Höch, Yves Kline's "very own hue," Robert Smithson's Spiral Jetty, the life of Barnett Newman, the futurist manifesto, and the history of conceptual art. Also see the Phonorealistes website for a cover of Daniel Johnston's "Story of an Artist". Mixing humor and history with a bedroom-punk 4-track aesthetic, the Phonorealistes are a strange mix of slacker, iconoclast and academic.