Huge Tip! Hand-numbered edition. Remix Ready Mix reimagines the soundtrack to artist Lucy Raven’s immersive film installation Ready Mix (2021), commissioned to inaugurate the new Dia Chelsea exhibition space in New York. Created in collaboration with the composer Deantoni Parks, Remix Ready Mix merges field recordings from a concrete and gravel plant in central Idaho with nonsynchronous sound arrangements

This record is a series of cuts: component extractions from the admixture of sounds that compose the score of Ready Mix (2021). The film combines location sound recorded on-site at a concrete and gravel plant in central Idaho with composed audio. The record breaks apart that composite. It is a negative synthesis. Re-soloed, re-siloed, and remixed sounds, machine-made in Idaho, Indiana, and New York. 
—Lucy Raven

Anchored by the natural sound of the film itself, the Ready Mix soundtrack harnesses a vast spectrum of auditory stimuli. The frequencies of the various machines used to mix and transport concrete depicted on-screen provide a subliminal sonic foundation. While leaving space for discovery, we blurred the lines between music composition and foley to help establish the topography of this auditory landscape. In an aerial shot, we replaced the sound of wind with a gentle, sustained sine wave. Heavy concert bass drums scale down to handheld percussion as the sediments are ground down and transported along assembly lines. The proximity of on-screen bodies to the camera dictates the decibel level: the tighter the shot, the louder the sound. I was also interested in liberating sound from linearity. I recorded sand moving around in my hand in real time, filtered it through a granular synthesizer, and then converted the audio into a format that allows me to manipulate the sound in the temporal order I prefer. Each moment in the original recording is set to a transient that can be recalled in a new order or arrangement. The elements of the soundtrack evolved along with the process of making the film. In redux form, new versions—which were still related, almost like a phantom limb—have been brought to fruition. The original soundtrack pieces are the matter, and the redux pieces act as antimatter.
—Deantoni Parks