2021_Apr

26.5

For Crack Mix 400, we're celebrating clubs and nightlife culture across the world with a series of archive mixes. This was selected by Yu Yu in Mexico City. 

Lifted from a balmy night at the club, MNTY’s no stranger to sprawling narratives. Expect a rich tapestry of deep, driving and shapeshifting sonics.

Listen to all 18 mixes on crackaud.io → crackm.ag/Mix400

Crack Mix 400: MNTY

For Crack Mix 400, we're celebrating clubs and nightlife culture across the world with a series of archive mixes.

While many will associate ZULI with a mutant, percussive sound palette, this mix – recorded under his now-defunct moniker XULI – sees him explore a different set of textures. It’s a thoughtfully crafted mix with tracks from S Olbricht, Madben and Lukid.

Listen to all 18 mixes on crackaud.io → crackm.ag/Mix400

Crack Mix 400: ZULI

"I’m surprisingly feeling like life is kinda low key for me at the moment. After being unemployed for most of last year and working on tons of music, I have two LPs on the way that are both mastered and inching towards production. So I’m really just in between moments here, waiting for the summer. Obviously since there haven’t been any DJ gigs, I’m finding myself drifting towards a lot more mellow music, things I wouldn’t normally play in a dance set. So ya, drink a glass of wine, maybe microdose a lil acid, or whatever you prefer and just relax to some down tempo tunes ;)" - @space-ghost-1

B.P.T. Radio 017: Space Ghost

Rinse France Podcast

Download

Han Duo - 1er Avril 2021

https://soundcloud.com/c_e_q_i

https://www.retreatradio.net/ceqi

Ceqi #13 (31/03/21)

Patrick Belaga - Blutt
Format: LP / DL
Cat.No. PAN 117
Release Date: 2 April 2021
Purchase: pan.lnk.to/Blutt

Conceived at the heel of Italy’s boot-shaped peninsula in Apulia, Patrick Belaga’s Blutt makes music for the unruly imagination. The title is an old German word for ‘naked’, ‘bare’, but it can also mean ‘blood’ when spelt blut. Take away another letter and it makes ‘butt’. None of these definitions and adaptations were what prompted the classically-trained composer and cellist to name his second album with a word simulating the sound of a punctured artery. That came later.

Blutt’s nine woozy compositions are inspired by a contemplative road trip with a friend, and the mysterious muffled music heard from an unidentified source. It was a combination of jazz and classical music that haunted Belaga’s wanderings through the Byzantine town Gallipoli, and soon infected his dreams of long-gone civilizations. This record is its outcome, where organic instrumentals and electronic production merge into a sound that’s both contemporary and ancient. Samples of mewing incantations and tape hiss sway atop the waltzing thud of piano chords on “Sigh”. Composite layers of Belaga’s cello play in downcast harmony on “Rust”. There’s a wistful sense for the romantic, in the eerie rhythm of a piece like “Momentum”. The quarter tones of an Eastern European and Middle Eastern folk scale probe a profound melancholy via Kai Knight’s violin. Its notes are haunted by a field recording of running water on “Unsoft”, echoes of panpipes and a Jew’s harp on opener “Lilt”.

As a consummate composer and performer known for his work with artists Wu Tsang, boychild, Josh Johnson and Asma Maroof, Belaga’s Blutt is itself marked by flawless collaborations. Vocalist and instrumentalist Jazmin Romero sings and composes the surreal melodies of “Grey Eye”. Multidisciplinary dance artist and producer Riley Watts contributes to the muted, motorik movement of “The Tunnel is a Tower”. Together, the record plays as a stunning soundtrack to the strangeness of sleeping, and the heartbreaking transience of time. Like an intense dream half-remembered, the emotions persist after waking but for the sharp machinations just outside of the mind’s reach.
credits

The album is mastered by Rashad Becker, featuring artwork by Giovanni Forlino and design by Bill Kouligas & NMR.

@patrickbelaga

Blutt

Patrick Belaga - Rust (PAN 117)

@andrasfox recorded live on the uno rooftop, march 11 2017.

up for a limited time only. 

www.unodanceclub.com

www.unodanceclub.com

András Live @ UNO Rooftop Garden, March 2017

Greetings! The 60th episode of Pacific Spirit comes courtesy of our friend @djclassiclover from Russia. If you've been to a Pacific Rhythm event in the last year or so there's a strong chance you've seen one of his life-affirming edits fill up the dance floor. Be on the look out for some more news on those soon! 

For now sit back and sink into this beautiful session and be sure to take a dip into the Pacific Spirit archive if you're looking for more: soundcloud.com/pacificrhythm/sets/pacific-spirit

Pacific Spirit No. 60 | Classic Lover

Video here > https://www.youtube.com/watch?v=G3FHEv4n5Rs :)

Jamie Tiller @ HÖR (Berlin) 15.10.2020

The last mix of 2020 comes from Jonah Sharp (@reflecto), electronic mainstay and part of 'Virtual Dreams' as Space Time Continuum. Interview (excerpt) down below.

www.musicfrommemory.com

MFM: Welcome to the series Jonah. Originally from Edinburgh, San Francisco resident since 1992, do you still live in San Francisco?

JS: Actually I recently just moved back to SF after spending most of 2020 in the UK. I had planned to be in Europe for an extended break from the US but Covid saw an end to that and my plans had to change. I miss British and European culture. I have family and friends there so I intend to be back over as soon as I can!

MFM: According to your discography the majority of your output started to shape up right after you moved abroad, in '91. How would you explain this creative outburst? 

JS: Before I arrived in San Francisco i was still figuring out how to produce the music that I wanted to make so when I got here I started to collect gear in earnest - it was a little moment in time when most people thought analog synths and drums sounded shit so I managed to find a TR-909 for $150, a Roland SH101 at the flea market and so on. So yes, suddenly having some decent gear and fun gigs to play was very inspiring! I did feel a kind of creative freedom being so far from South London and the pressures of living there as an artist. SF in the 90’s was very affordable for artists and it gave us the freedom to really focus on the music.
 
MFM: You started your own label Reflective in '93 and had quite a busy release schedule, especially during '95/'96, before it suddenly seemed to stop right after. What happened? 

JS: I started Reflective in '93, the year my first son was born. Flurescence EP was my first solo release and it got noticed around the world so that enabled me to keep putting releases out. With the momentum of the Terence McKenna collab album, things were going pretty well. But what we found was that even though there are lots of amazing labels in the US, it was actually pretty hard to sell them domestically so most of our stock was exported to Europe and Japan. We ended up pressing in the UK and running the label from SF and that presented problems so I had to put the release schedule on hold. At that time I had also signed a deal with Astralwerks so had contractual obligations to deliver albums and tour. It was a very busy time and by 1997 when our second son was born we decided to take a hiatus from the label. Not to say the label is gone forever though!
 
MFM: Flurescence, now found its way to the Virtual Dreams compilation, almost 30 years later. How does it feel that your older music is being re-released and rediscovered by newer generations?

JS: I am very happy and honored to be part of the Virtual Dreams compilation. Yes, there seems to be a bit of attention for this time period of electronic music at the moment, and the chill out thing in general. With so many online resources, everything is discoverable by anyone so all those tiny labels like Reflective that were putting out small runs of 1000 records (that was a small run then) are maybe enjoying some retroactive attention now. 
 
MFM: Does this new interest change your motivation and/or inspiration in the studio maybe?

JS: I follow my own interests and direction when it comes to making music but reaching new audiences has to gratify the artist whose work was made for sharing. My development as an electronic musician has come through thirty years of studio experimentation, initially with hardware and then incorporating digital software. When I made Fluorescence in 1993 there was no computer in my studio, but by the early 2000s San Francisco was the epicenter of computer innovation, people like my friend Josh Clayton were writing amazing software and so I went off on a long exploratory trip to integrate digital technology both in my studio and in my live rig. My aim right now in the studio is the same as always: make sounds and keep the good ones.

MFM Mix 023: Jonah Sharp

As usual in good tradition now here at Trushmix. Cato Canari is back  with another new years mix! Deep, tech, trance, emotional, techno and the harder sounds, surprising like we always get from the Tokyo based Norwegian underground man. Always on point!
A more subtle and darker leaning party oriented mix. Somehow a reflection of this past weird and off year. But there is light in the tunnel! We keep it rolling and we keep it positive!

Again as last years reminder for this year to come as well.
Hope it will be a way better year for everybody. And as always let's keep peace and unity in mind, respect each other and let the good vibes take over for 2021! 100% and more!

Enjoy!

Trushmix.com

Trushmix 169: Cato Canari

Mela Melania - Blue Desert

Montreal-based DJ, producer and label owner Francis Latrielle, better known as Priori, joins us for the 79th edition of the Phonica Mix Series.

Priori has become a firm favourite of ours here at Phonica over the past couple of years. His releases, which crossover through many electronic genres, from house and techno to IDM and ambient, have been picked up by such labels as Echovolt and Dust E-1’s Dust World in recent years, although much of his musical output, including his phenomenal 2019 album, ‘On A Nimbus’, comes via his own label, NAFF, which he co-runs with fellow Montrealer Ex-Terrestrial.

Head on over to Off The Record to check out the full feature, including an interview, where we talked about his past, present, and future plans, life in lockdown, Montreal’s music scene, and more. Enjoy!

Phonica Mix Series 79: Priori

Recorded in his native city of Derry, Andre Devine provided a selection of both traditional and contemporary Celtic music this morning. Sounds from Lankum, Loreena McKennitt, Saint Sister, and more feature throughout.

Notions w/ Andrew Devine - January 2021

Mix of the Week #359 is "Boards of Tarkhovka vol. 4" by X.Y.R.
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Boards of Tarkhovka Vol 3: https://soundcloud.com/the-dream-chimney/mix-of-the-week-305-xyr-boards-of-tarkhovka-vol-3

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Mix of the Week #359: X.Y.R. - Boards of Tarkhovka vol. 4

"Probably The Best Wine Bar In The World"

B.P.T. Radio 017: Space Ghost

Bar Part Time