Two pitched-down dub 45s that meander through a field of mid-century blues and ballads, paired with big sheets of reverb, vinyl crackle, moments of silence, and five variations on the idea of a blue moon.

Patches of conversation broke through: “And that’s how he made it out of marketing.” Laughter. “Last time he was ever given an expense account.” Overlapping voices. More laughter.

My first effort is a busted loop built from a bit of sludgy Coltrane with a shot of Connie Francis, plus a wall of static and feedback.

The first half of my set at T-Lot’s Night Market in New Orleans. It’s a pretty straightforward affair with lots of snare drums to keep you clapping along.

A sprawling midnight mix for deep summer nights starring Vangelis, Al Green, Black Sabbath, The Cranes, and more. Also features lots of reverb.

In 2009, I was driving along the very bottom of Texas in the summertime and everything was bright white and hot. These were days of fresh grief, and I drove with no destination in mind. I was heavily addicted to talk radio at the time but I couldn’t listen to it by the sea.

I run at night because nobody can see me cry. Here’s some breathing room and meandering fuzz. And the Rolling Stones. Plus several moments of static and thunderstorms. And a ton of reverb. I fucking love reverb in my headphones.

Late night music for looking out of a motel window at blinking neon signs. Or for driving down an empty road while streetlights loop across the windshield.

Fifteen songs for motoring through the back roads of the desert and crashing in cheap motels where you can hear the bugs zapping in the neon as you fall asleep and the radio says like the streets are paved with gold and if someone asks you, you can call my name…

I had the opportunity to play some of my favorite songs very loud and show some photographs from America. I had a ball. Thanks to the encouraging people who danced around and whistled and waved. Here’s a recording of the evening’s set.