Mixed by Iwan Williams.

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1.	What was your familiarity with the music of Tanzania before you began researching this mix?

Very little! I was familiar with Mim Suleiman (who features in the mix). She played a killer set at Meredith 2018. But beyond that I knew next to nothing about Tanzanian music.

2.	What did you learn in the research process? How would you describe Tanzanian music, as you understand it?

I quickly came to appreciate the diversity of different styles in Tanzania’s music history. There’s the middle east infused tarrab tradition on Zanzibar; traditional “gogo” music on the mainland; the innumerable “muziki wa dansi”(music for dancing) bands from the ‘60s, ‘70s and ‘80s; the hip-hop and “bongo flava” pop scenes that flourished since the ‘90s; and most recently, Tanzania’s chaotic homegrown electronic genre, singeli. What unites these different musicians is their next-level energy and intensity.

3.	Were there any particularly useful resources for your research? Any people, labels, publications or other sources you’d like to shout out?

I listened to two great podcasts on Afropop Worldwide: “Live from Bongoland: The History of Tanzania's Music Economy” and “East African Taarab” which I highly recommend. Also, there’s a great doco on the hip-hop scene, “Hali Halisi”, that’s available on YouTube.

4.	How did you approach constructing the mix itself? What guided your track selection?

I wanted to capture some of the variety of Tanzania’s music, but naturally I could only cover so much ground. The mix starts with three hip hop tunes, cycles through some guitar-based stuff then gradually ramps up in intensity, ending on some very dancefloor friendly tunes from Msafiri Zawoze and Mim Suleiman.

5.	What are your favourite tracks in the mix? Do any artists in particular stand out to you?

Hard to pick, but Msafiri Zawoze is definitely one to have on your radar. I’ve included a track from his 2017 album on soundway and remix of one of his tracks in collaboration with London-based band Penya.

6.	Were there any tracks or artists that didn’t make the mix that you’d like to mention?

I didn’t include any singeli music in the mix because, frankly, it’s completely fucking bonkers and didn’t gel with the rest of the music I wanted to play. It involves a lot of drum loops and samples played at a blisteringly high bpm (180+) – vaguely reminiscent of Chicago footwork – often with an MC when played live.

A lot of this stuff is pretty abrasive and dissonant, but if you’re into weird, frantic electronic music then it’s worth checking out (Ugandan label Nyege Nyege tapes is your first port of call). 

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Tracklist:

Zig Zag Crew – Watu Bwana
Professor Jay – Bongo Dar es Salaam 
X Plastaz – Aha!
Sunburst – Simba Anguruma
Archimedes Badkar & Afro 70 Band – Kila Mtu
Tanzania Soundsystem – Upotofu [edit of Juwata Jazz Band – Usia Kwa Watoto]
Kilimanjaro Band – Kinyaunyau
Mim Suleiman – Oya Oya Oya 
Penya & Msafiri Zawoze - Heyyeh (Cervo Remix)
Tanzania Soundsystem - Msichana
Msafiri Zawoze – Pole Pole
Mim Suleiman – Haki

#001 – Tanzania (with Infinite Williams - 1PUG)

Mixed by Christian Tant

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1. What was your familiarity with the music of Puerto Rico before you began researching this mix?

As a 6 year-old, I was a huge fan of Ricky Martin. Other than that though, I had had very little exposure to the music of Puerto Rico before beginning work on this mix.

2. What did you learn in the research process? How would you describe Puerto Rican music, as you understand it?

Describing Puerto Rican music is difficult as it's evolved over the years from diverse range of cultural roots. It's a lot of genres, the indigenous Bomba to more recent hybrids like Latin Jazz and Salsa. It could be said that Puerto Rican music has a certain percussive 'feel' to it that permeates through genres.

It also refers to the music culture of the Puerto Rican diaspora in New York City. Whilst salsa was popularised in New York, it cannot be separated from the music culture of Puerto Rico itself.

I learnt a lot during the research process. The History of Puerto Rican music is fascinating and I definitely felt some responsibility to make a good go of the mix as a result.

3. Were there any particularly useful resources for your research? Any people, labels, publications or other sources you’d like to shout out?

 The documentary Salsa: Latin Music of New York and Puerto Rico - YouTube was where I started. The afro pop world wide radio show on Puerto Rican Salsa was also a goody.

The bulk of my research though was centred around listening to releases from the label Fania Records. The Fania label was founded in 1964 to produce and promote the music of Latinos in New York. It grew into an institution, dominating the industry in the years to come. A good portion of the tracks used in the mix came from Fania Records as most Salsa/Latin Jazz etc. records did at the time.

4. How did you approach constructing the mix itself? What guided your track selection?

 I wanted the mix to shine a light on the influence of New York on Puerto Ricans and Puerto Rican music (or vice verca). There are number of different ways to have constructed the mix based off that description but I decided to explore the roots of salsa music and how that blended with jazz and soul music that was popular in New York at the time.

5. What are your favourite tracks in the mix? Do any artists in particular stand out to you?

It's definitely tough to pick, but Berimbau by Willie Colon and Celia Cruz has been a favourite since early on. Celia's voice is magisterial. And it's catchy as hell.

Each artist had been incredibly influential on the Latin music scene in in their own way. 

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Tracklist:

Eddie Palmieri - Puerto Rico
Celia Cruz & Willie Colon - Berimbau
Hector Lavoe & Willie Colon - La Banda
Ismael Miranda & Willie Colon - No me Digan Que Es Muy Tarde
Celia Cruz & Willie Colon - Usted Abuso
Hector Lavoe - El Cantante
El Gran Combo de Puerto Rico - Brujeria
Ismael Miranda - Las Caras Lindas
Ruben Blades & Willie Colon - Pedro Navaja 
Willie Rosario - Last Tango In Paris
Ricardo Marerro & The Group - Vengo 
Eddie Palmieri & Cal Tjader - Picadillo 
Eddie Palmieri - Harlem River Drive
Tito Puente - Para Los Rumberos
Fania All Stars - Su Gente

#002 – Puerto Rico (with Christian - 1PUG)

Mixed by Leith Links (@ll_inks)

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1.	What was your familiarity with the music of Taiwan before you began researching this mix?

I wasn’t familiar at all, I had only a vague idea about Tzusing’s association with Taiwan and nothing else. 

2.	What did you learn in the research process? How would you describe Taiwanese music, as you understand it?

I initially expected the music scene to be structurally similarly to Melbourne’s and others I’ve experienced; Taiwan’s music scene seems to be far more decentralised in comparison (at least from what can be gleaned online). As for the music, I found that there was a certain atmospheric vibe that was pervasive throughout, regardless of the genre. It’s hard to put into words so hopefully the mix helps with that.

3.	Were there any particularly useful resources for your research? Any people, labels, publications or other sources you’d like to shout out?

NTS, and by extension Meuko! Meuko!’s show, really served as a starting point for me as it put me onto a lot of contemporary Taiwanese bands and producers. My ability to trawl Discogs wasn’t nearly as useful as I had initially thought, due to the more decentralised music scene and the difficulty of finding older records.

4.	How did you approach constructing the mix itself? What guided your track selection?

I wanted the mix to be good by my own metrics, with blends and continuity between tracks helping me fit it all together. I feel like this helped it be cohesive and not just a collection of songs.

5.	What are your favourite tracks in the mix? Do any artists in particular stand out to you?

Definitely the Dipper Chen and A-Yue Chang tracks are probably my favourite in the mix, just some lovely atmosphere in both of them. Mong Tong were the standout artists for me as I have never heard anything like them, kinda walking the line between psychedelic rock and sample-based beats.

6.	Were there any tracks or artists that didn’t make the mix that you’d like to mention?

Yeah, there’s heaps. Wish I could have included something by Lim Giong, or some of the drone of Scattered Purgatory. Also, there were a few local labels like Jin and Smoke Machine that didn’t make the cut but are definitely worth checking out, they seem like big players in the local techno scene.

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Tracklist:

Chen Shyh-Shing – 雨
Meuko! Meuko! – About Time
Non-Confined Space – A Pure Person 單純的人
Janice Kwan – Not Good at Flying
Sunset Rollercoaster – Angel Disco Love
A-Yue Chang – Hidden
Mong Tong 夢東 – A Nambra
Wenchi Liu – For Whome the Chime Tolls
Tzusing – 日出東方 唯我不敗
Dipper Chen – You Never Leave
Farragol – 孤 獨
都普勒浪潮 Waves of Doppler – Panther 獵豹
Koliseum – Voice Mail
KbN – PooL
Meuko! Meuko! – 鬼島 Ghost Island

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Photo Credit: Adam Fan (范公子）(instagram.com/adm__fn)

#003 – Taiwan (with Leith Links)

Mixed by @alex-sayer

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Tracklist:

Soraksan – Temple to the God of War
Park Jiha – Easy (feat. poem & reading by Dima El Sayed)
Itta – Only (Deeply Alone with Everyone Dub)
Salamanda – Bird Cage
Tschaan – Satellites Around a Table
DJ Botermelk – Fantasushi
Yetsuby – Dolphin’s Song (From the Depths of Lazers Dub)
Tengger – Breathe In, Breathe Out
Samin Son – Pyjama Party Bonobo
KEDA – Eobu Nolae
WHXX – Struggle
Unjin & Sunji – Switch
Otakhee – Snobby Dub (Feat Kim Oki)
Closet Yi – Four Loops (Extended Mix)
6=2+4 – Heart Sutra (Original Mix)
Closet Yi – Bird Emporium
Maki From Underground – Bunny
Korea Town Acid – Into The Future (후)
Shubostar – Maoi (Curses Remix)
Inamura Carft – Macho System
Unjin – Dragonfly
Pal Hwang Dan – Dead Man 죽은사람 
Pal Hwang Dan – Credits 출처

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1. What was your familiarity with the music of S Korea before you began researching this mix?

Well, I knew of K-Pop. My initial plan was to try to insert a ‘Girls Generation’ track into the mix that my friends and I used to get around in 2010, but then I ended up going in the atmospheric direction that you’re hearing now.

There is of course Peggy Gou and Yaeji — although Yaeji was born in New York, but she sings in Korean. I knew of Park Jye Jin’s ‘I DON’T CARE’ — that track made the rounds for a while!

Beyond all of that, I was diving in pretty blind. That’s why this project has been so bloody pleasant; I’ve discovered so much.

2. What did you learn in the research process? How would you describe Korean music, as you understand it?

The producers that I’ve featured are just one pocket of the underground scene, mostly based in Seoul. I came across a lot of glitchy techno and hip hop, so I would say that that makes up a large portion of the S Korean appetite. It’s pretty hard to see outside of your own taste bubble though. Even when you’re on a platform that is supposed to amplify all corners of a music scene, it’s usually curated by someone.

That’s why I found ‘Every Noise at Once’ super useful – it’s algorithmically generated from online listening data so it shows you a spread of all kinds of artists.

‘The Future Sounds of Korea’ podcast showcases Korean-born producers and ex-pats — that was also a goldmine.

4.      How did you approach constructing the mix itself? What guided your track selection?

I wanted the mix to build quite drastically in energy but I tried to create an atmospheric vibe with eerie vocals, and some fun chug as well. I also prioritised tracks that fuse traditional Korean instruments with contemporary sounds. The record label Tonal Unity is focused on doing just that — I really recommend them.

5.      What are your favourite tracks in the mix? Do any artists in particular stand out to you?

The first song comes from an album called ‘When Tigers Smoked Pipes’. The phrase stems from Korean folklore — it’s like the Korean equivalent of ‘once upon a time’ and is supposed to frame an old story. I love that idea.

The credits at the end by Pal Hwang Dan are also a bit of fun. Although they are the names of other people that were on another one of his albums, not the artists featured in this mix of course.

6.      Were there any tracks or artists that didn’t make the mix that you’d like to mention?

Record labels Extra Noir, Honey Badger, Huniali and Oslated are all releasing killer stuff.

American DJ/Producer and Korean ex-pat Akimbo collaborates with local musicians trained at playing traditional instruments, such as the daegeum (a kind of flute). All of his productions are excellent.

Everyone should listen to 한대수(Han Dae-Soo) - 물좀 주소 (Give me a Water) and Miia Laine’s mix on NTS around South Korean Protest Music, called Phambinho.


Can we go to Cakeshop now?

#004 – South Korea (with Alex Sayer)

Mixed by @tessanioka

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Tracklist:

Tibor Szemző - The Sex Appeal of Death 
Volkova Sisters - Taksony (Original mix) 
Alpár - Lean Against the Wind 
The Lushlife Project - Soul Reservation Morning 
Gnork - Ezoteric Massage (Exxxtended Pleasure Mix) 
Norwell - Tangerine Trees (Original Mix) 
Imre Kiss - Oimachi (Original Mix) 
Universal_Seed - Whatmemory   
The Donna Smith Experience - Stay (Let’s Float in Space) 
Korai Öröm - Unflyable’s Mix 
David Harleydson - 303 Capriccio (Original Mix) 
Zakima - Church of Madness (Gnork’s Ezoteric Breakdance Remix) 
DJ Ciderman - Dance Floor Beat  
Gnork - Tears and Bleeps  
Knitzky- Zky (02A) 
Unknown Artist - Fine (Dr. Breaks remix) 
Norwell - Celestial Bodies (Imre Kiss “Crisis ’91 Mix”) 
Route 8  - Acid Talk 
CT Kidobó - Exboyfriend (Douala remix) 

_____

1. What was your familiarity with the music of Hungary before you began researching the mix?

Before starting the mix I think I could have named maybe two producers that I knew with certainty were from Hungary, and maybe a couple of classical composers. Apart from that I was pretty clueless.

2. Were there any particularly useful resources for your research? Any people, labels, publications or other sources you’d like to shout out?

The resources that I ended up using the most were Bandcamp and Discogs, so no real surprises there. A friend of mine did introduce me to the app 'Radiooooo' though which I found to be a good quick reference point for which genres of music were popular in a particular country in different decades. There definitely a couple of gems that it throws up too!


3. You spent some time living in Budapest a few years ago. Did that inform the creative process of putting this mix together at all?

I wouldn’t say that it informed the process too much, on a conscious level anyway. I have to admit that when I was in Budapest my interest in electronic was still only in its infancy, so my appreciation of the scene there at the time definitely wasn’t as heightened as I think it should have been. I did become aware though that there were a bunch of different scenes bubbling under the surface if you knew where to look. I ended up at some pretty crazy parties in some pretty unexpected places.

4. This mix reflects your tastes as a selector very nicely: slick, moody, rhythmically complex. Were there any sounds or styles that you came across in your research that didn’t make the final cut?

Yeah for sure! There was a whole lot of post-punk and darkwave stuff that I started unearthing after a bit of digging that I would have loved to include, but the mix evolved in a different direction in the end. I also highly recommend checking out the band Korai Öröm, they were probably one of my favourite finds in the process.

#005 – Hungary (with Frank.E - 1PUG)

Mixed by @greetingstoyouu
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Tracklist:

Celeste Legaspi – Bolero Medley
Pilita Corrales – Maghiusa Kita
Sharon Cuneta – To Love again 
APO Hiking Society – When I met you 
Sharon Cuneta – P.S. I Love You
APO Hiking Society – Di Na Natuto
The New Minstrels – Smile
Leah Navarro – Let Me Fly 
The Boyfriends – Sumayaw Sumunod 
HAGIBIS – Katawan 
Rico J. Puno – Macho Gwapito 
Hotdog – Bongga Ka Day
Chona Cruz – I’m Feeling Sexy Tonight 
Patingin – Tingin Lamang

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1.	What was your familiarity with the music of the Philippines before you began researching this mix? Did you make it to the Philippines on your tour of Asia?

Sadly, I didn’t make it to the Philippines in my previous Asia tour, but I did get the chance to go digging with close friend Glenn Ellingsen (Hot Wax Soundsystem) in Hong Kong who is known for his collection of Filipino soul and funk. Glenn was kind enough to introduce me to the incredible French DJ and crate digger Moore Brahms living in Hong Kong, who runs Gila Records – a label specialising in reissuing and releasing rare grooves from southeast Asia. This is where I first fell in love with Asian soul music, and I’ve been collecting these rare gems ever since! 

2.	What did you learn in the research process? How would you describe Filipino music, as you understand it?

I discovered a huge love for 60s/70s soul music in the Philippines – some of these artists were treated like royalty. The music is heavily inspired by western soul and funk, but I love the distinctive, passionate expression in their voices, especially in the Filipino language. Every word sounds like it’s coming straight from the soul of these singers (as all good soul music should) but there’s an extra buttery feeling when hearing these lyrics. The overdriven guitar tones and the paradise flare to every track seem to be key themes of Filipino music to me. 

3.	The mix you recorded for us charts a course through some sweet pop and soul ballads and ends up in a characteristically GREETINGS disco mood (a “lovers’ deluxe”, as you described it to us). What guided your track selection?

I’ve always wanted to cultivate a mix like one of my all-time favourites: Hunee’s “In Our Time (Mix for Air / Be With Records)” Mix. It’s a perfectly crafted adventure of love songs and it’s an emotional journey. While researching these wonderful Filipino ballads, I started finding some of the funkiest and wonkiest disco beats I’ve ever heard and knew I had to incorporate them into this journey somehow… Flow has always been more important to me than showing off bangers or forcing the party tunes in the wrong moment, so this took some lengthy planning to figure out the perfect progression. 

4.	There are a mix of English-language and Filipino-language tracks in here. Did you get a feel for how different cultural influences have shaped the music of the Philippines?

Yeah, I found the mix of languages in these songs so fascinating and did do some more reading into why. There was a movement of Disco Fever over the Philippines in the late 70s which resulted in many covers of classic western hits in the Filipino language. This inspired a new movement of OPM (Original Pilipino Music) known as “the Manila Sound” that blended English and Filipino languages. A lot of bands and songwriters of the time modelled themselves after famous American funk bands and mixed English and Filipino lyrics so they could create internationally accessible music.

5.	Were there any particularly useful resources for your research? Any people, labels, publications or other sources you’d like to shout out?

As I mentioned, Brahms from Gila Records really opened my eyes with his “Pencak Killa” compilation series full of these wonderful rare East Asian grooves. I also found a wonderful little blog – pinoygrooves.com – that has an extensive catalogue of rare grooves from the Philippines accompanied by some wonderful stories and info on the history of the region’s music.

#006 – The Philippines (with GREETINGS)

Mixed by @iwan-williams
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Tracklist:

Patrick Victor – Tyotyo
John Wirtz – Malheur L'arac
Grace Barbe – Welele! 
Jenny Létourdie – Leokri
Fek Arive – Egeye Nou
Keven Valentin – Reflexyon
Keven Valentin – Mesaz 
Sékwé – Vini Vini Électrique 
Jenny Létourdie – Otto ek kamila 
Grace Barbe – Afro Sega 
Patrick Victor & Bwa Gayac – Dan Bouryar 
Golty Farabeau – Mantalite
Patrick Victor & Bwa Gayac – We Came from Africa 
Jenny Létourdie – Soufle Divan

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1.	What was your familiarity with the music of Seychelles before you began researching this mix?

I had no knowledge of Seychellois music before I randomly selected Seychelles and began reading and digging. But I've been interested in the islands since listening to a profile on them on the 80 Days podcast, which I recommend people check out: https://80dayspodcast.com/2017/05/01/seychelles/

2.	Seychelles has an interesting and at times brutal history, with waves of colonial settlement, slavery, and immigration bringing people to the archipelago. Did you get a sense through your research for how this mix of cultural influences informs the music of the islands?

The archipelago was unoccupied when French colonisers arrived in 1756 and it later came under British control before gaining independence in the 1970s. The European colonisers brought many enslaved East Africans to the islands. As you might expect, the people and culture of the islands reflect this mixed heritage; Seychelles is a creole culture through-and-through.

You can hear this in genres such as Sega which blends African rhythms with influences from French folk and contredanse. You can also hear the mixed heritage in the languages: the tracks in this mix are sung in a mixture of Seychellois Creole, French and English.

3.	The music you have selected is melodically captivating, but with a clear rhythmic pulse throughout. What guided your track selection?

A lot the modern Seychellois pop music I came across when digging online was charming but a little corny. The tracks I’ve selected are ones that jumped out to me as having a bit of a deeper emotional range. There’s some incredible song-writing and powerful voices in these songs. While this isn’t a mix for the club, I was definitely drawn to tracks which had electronic elements or a driving rhythm behind them, so there’s a fair bit of movement in the music.
 
A highlight for me is the closing track, a surprisingly disco-tinged number from Jenny Létourdie, which features a Balearic guitar solo and some absolutely heartbreaking vocals.

4.	Listening to the mix, there are songs with the distinctive call and response between drummer and singer that is prevalent throughout Africa and African diaspora cultures. Was there a specific style unique to Seychelles? 

Well spotted. The key genre/tradition is Moutya, a drum and dance style that evolved out of the practices of the enslaved population and has older roots in east African traditions. I’ve included a couple of Moutya numbers in the mix.

There’s more to be said about this tradition than I can do justice to here (and, needless to say, I’m no expert). But from what I gather, it’s an important part of Seychelles’ heritage, despite efforts to stamp it out by the previous colonial powers that be.

5.	Were there any particularly useful resources for your research? Any people, labels, publications or other sources worth mentioning?

I doubt I would have been able to make this mix had I not stumbled across http://filoumoris.com/ It’s the online archive of Belgian sound engineer Philippe “Filou” de Magnée, who has pulled together thousands of records by artists from the Indian Ocean that are unavailable elsewhere online. So, big shout out to Filou and his site.

People should also check out Grace Barbé, a contemporary artist who features in the mix and is now based in Western Australia. She’s taking the sounds of Seychelles in some really interesting directions.

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(Photograph from the Mary Gillham Archive Project.)

#007 – Seychelles (with Infinite Williams - 1PUG)

Mixed by Brent Manly ( @spicyboy420420 )

Read our interview with Brent Manly here! 

https://oneplanetunderagroove.wordpress.com/2021/10/07/armenia/

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Tracklist:

Djivan Gasparyan - Tonight
Hayk Karoyi - Ergehonel
Aram Bajakian & Alan Semerdjian - Armenian Obsidian
SANS - Tuuli (Wind)
Khatchadour Khatchadourian - Նանի Բալա՛ Նանի (Sleep Dear One, Sleep) [Improvised Version]
Hayk Koroyi - Your Song (Live)
KamavoSian -  մաս 1
Paryur Sevak - ՈՐԴՈՒՍ (Excerpt)
Armenian Song & Dance Orchestra - Horovel
Aram Bajakian & Alan Semerdjian - History of Armenia
escapism - լքված
Emil Abramyan - Flightplan (Francis Harris Reform)
Benyamin Amlashi - Spacetime
D.Zúk - Arevmutq
Arto Tuncboyaciyan - Take My Pain Away
Serj Tankian - Artsakh
Hachig Kazarian and his Ensemble - Govand
Aram Bajakian & Alan Semerdjian - Grandchildren of Genocide

#008 – Armenia (with Brent Manly)

Mixed by @praise98

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Tracklist: 

Christine Lauterburg - Tanz Tanz!
Wavetest - Hanstraum (Love Mix)
Fuga Ronto - Falling Star
Jack Pattern - With Laki Penan
Yello - Desire (12” Mix)
Greg D - Bored on Ecstacy
Digitaline - Stuck Off The Realness
DJ BoBo - Somebody Dance With Me (Club Mix)
Jack Pattern - Abstract Resistance
Touch El Arab - At 9
Grauzone - Eisbaer
Yello - Electrified II (Carl Craig Headphone Hookup)
Yves Larock - Rise Up

#009 – Switzerland (with DJ 98)

Mixed by Sayro (@sayro_ma). 

Read our interview with Sayro here!

https://oneplanetunderagroove.wordpress.com/2022/01/13/georgia/

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Tracklist:

Clip from Salt for Svanetia – (1930) dir. Mikhail Kalatozov 
Clip from The Legend of the Suram Fortress – (1985) dir. Sergei Parajanov 
EKNR / DAVA / Anushka Chkheidzei / Nasi Chavchavadze – Manicured Keys
HVL – Temppa [https://soundcloud.com/hvl]
Clip from The Legend of the Suram Fortress – (1985) dir. Sergei Parajanov 
nesiness – სიზმარი [https://soundcloud.com/nesiness31]
Bassil – NANA3
Bassil – 96
HVL – epil [https://soundcloud.com/hvl]
t i n a – The tender things are those we fold away [https://soundcloud.com/tiko-gogoberidze]
Zesknel – Pitch pipe [@zsknl]
Nikakoi (feat. Tusia) – City Lights (Tutta2)
Relics of Lysergia – Many Were Here
RTNH – Untitled [@rtnh_live]
Basiani – Tsintskaro
Morgannick – R2D2
Mocongo – Broken Pillar [@mocongo]
Esi (feat. Natalie Beridze) – NO SUCH THING AS SILENCE [https://soundcloud.com/esibornonsunday]
Clip from Ashik Kerib (1988) – dir. Sergei Parajanov
Tsa – Mandem 
Nika Kartvelishvili – Come Closer
Generali Minerali – Zambara [https://soundcloud.com/generali_minerali]
Volruptus* – Neckjerk (This one snuck in accidentally; thought I had thrown in a SALOME & Volruptus track… But was released on a Georgian label’s V/A compilation [VA002 on Mind Controlled Rectifier])
Generali Minerali – Gear House [https://soundcloud.com/generali_minerali]
Monogum – Transatlantic Spa [https://soundcloud.com/realmonogum]
Children's Medicine - შედიხარ ტყეში
Beqa Kacheishvili – Sevda [https://soundcloud.com/beqakacheishvili]
Gogi.Ge.Org – Morning Light (Original Mix)
Nikakoi – Krasnagorsky dream [https://soundcloud.com/nikakoi-music]
Keto Gugushvili – Crunchy Waves
Gogi.Ge.Org – Post Industrial Boys (Original Mix)
Gogi Dzodzuashvli & Nino Palavandishvili – Kampolina
Gacha Bakradze – Dawn [https://soundcloud.com/gacha]
Denis Riabov – Somnific
10 Minutes to Landing in Tbilisi – Asleep and Dreaming
sTia – It's Burning [Since You've Been Gone] (covered by Natalie Beridze & Nikakoi)
Eto Gelashvili – Rivers

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Cover art by Sayro.

#010 – Georgia (with Sayro)

Mixed by Endorfin (@endoorfin).

Interview with Endorfin coming soon!

-----

Tracklist:

Kuniyuki Takahashi (@mulemusiq)– Island 
Mariah – 心臓の扉 (Shinzo No Tobira)
Kuniyuki (@mulemusiq) – Puzzle (Call Super's Garden)
Stereociti (@stereociti) – Lost Land 
Anchorsong (@anchorsong) – Eve 
Onoken (@onoken-1) – Lataia
Satoshi Fumi (@satoshi-fumi) – Lalalalaland
Yoshinori Hayashi (@yoshinorihayashi13) – Touch 
Hiroshi Watanabe (@kaito) – Sight
Powder (@thinner_groove) – New Tribe
Hiroshi Watanabe  (@kaito)– Days 
Hinako Omori (@hinakoomori) – 早歩き [haya_aruki]
Soichi Terada – Eversummer Island
A.G. Cook – The Darkness (Sarah Bonito Remix)
Soichi Terada – Winterville- 
Makoto (@makoto-humanelements) – Freedom Reality (Feat. Missing)
Sakura Tsuruta (@sakuratsuruta) – Trauma
Artificial Intelligence, Makoto (@makoto-humanelements) – Cold Expanse
Onoken(@onoken-1) – felys
Kumi Takahara – Tide (Earth Trax Remix)
Keiichi Sokabe, Hiroshi Watanabe (@kaito) – Summer '71 -2021 Revisited-

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Photograph by Nic Pimlott.

#011 – Japan (with Endorfin)

1PUG

Dig into the musical history of any nation and you'll find a golden kernel of sound; beautiful, unique, intoxicating and booty-shaking in nature.

In this mix series, a network of intrepid explorers traverse some of that sonic territory. Their mission is simple: use a random generator to select a country, get digging and come back with a mix based on what they’ve found.

Our goal is to break free from our geographic silos and highlight some of the scenes, sounds and styles that have been overlooked on the world stage. At the same time, we’ll chart unashamedly idiosyncratic routes through the terrain – filtering our discoveries through our own peculiar tastes and perspectives. 

Take hold of these postcards from our musical voyages and stick them on your fridge.

One Planet Under a Groove

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