such nice vibes on this mix, would love to see a tracklist

Another exciting premier through our airwaves! Colours In The Night w. Jane Fitz begins today and returns every couple of months.
“Old and new music collide; all comes with details and perhaps a story or two. This is not a mix show, nor DJing, just non-club sounds I really love and want to share. And yes, there's talking”.

COLOURS IN THE NIGHT  w. Jane Fitz [Premier] [10.01.2023]

One hundred & twenty seven presented by the ever-talented Melbourne/ Naarm local Rev Lon (@gbrevlon). Known for her classy vinyl technical skills & slow, dubby & chuggy style, she's been making waves in the city for years now. Half of the brains behind local collective @slowburncast & regular at hope st radio with her lush show "gaussian blur", she sticks true to her signature style in this lovely mix filled with groove & depth. 

Thanks so much for putting this together Gab!

Downloads enabled

Animix One Hundred & Twenty Seven: Rev Lon

With purest delight, I'm so excited to welcome Pjenné of Passing Notes Radio & Companion (@companionmelb) for the latest episode in our series. Penny's curatorial expertise and long-standing dedication to the Naarm/Melbourne scene have established her as a pillar of the city's sonic landscape, and both her love of musical discovery and unmistakable influence are felt deeply from afar. 

Pjenné's mix is a enchanting trip through fields of wonder, equal parts honey and gossamer, moving and blissfully sublime. Tender hues paint the air while fervent warmth fills the aching heart. There are few selectors out there with a repertoire as consistently profound as Penny's, and yet one feels we've barely scratched the surface of what's to come. Thank you Penny!

@pjenne

Ikebana by Katherine Frazer
www.katherinefrazer.com

Sure Thing Mix 121: Pjenné

YOU SAY WEIRD LIKE IT`S A BAD THING

‘For home use only’ is an anti-club social, a chance to get to know someone/something. A series of transmissions purely dedicated to exploring the other side.

Big breath in. Local deej Danimoto provides us with a rare chance of relaxation, a soundtrack to hibernation, a one way ticket to divination. Breath out. 

His words >>> 

By dj and producer Danimoto aka Daniel George @iamdanielgeorge who has released music via Addition by Subtraction, Aedi Records and self-released the piece Analog Meditations. He works in the realms of House, Techno & Ambient. 

About my productions: I try to make the intention around my productions natural, almost sub-conscious - intention when producing music can get you into some tricky spots, where you aren’t really feeling anything but rather just forcing it. I was chatting to a friend the other day and he was showing me some of his music, it was so pure, authentic, i could tell it was a labour of love and i thought that’s when you make the best stuff, when you pour it all out, it doesn’t have to be hard, but it does have to be real.

About the mix: Dance floor direct stuff has an immediacy to it, when you are crafting something to be played at home, the reasoning changes, as if you almost want to be immersed in its temporality. For me these records recall a lot of the initial moments of connecting with something which validates an experience. 

Headspace when i made the mix: I’m not a fantastic sleeper, i’ve always had issues with that. I wouldn’t say i’m terrible, i mean i’ve survived but it does agitate me. If i can’t sleep, i’ll usually head to my studio to make or mix music. It’s always weird & somnambulistic but i feel at peace there and i’m never trying to make too much noise. In this case, i felt recreating some dream-state, slipping between moods and riding the very soft ebbs and flows of energy i get from mild insomnia.

Sounds carry intelligence.

His sounds >>>> https://soundcloud.com/iamdanielgeorge

FHUO # 84 // Danimoto

Welcoming Alex Albrecht to the BSRMIX series!

A dear friend and collaborator of ours. You might know him as one half of Albrecht La'Brooy and organic label Analogue Attic or as his solo alias Melquíades.
Sit back and get lost in the smooth sounds in this mix, then take another moment to check out his new album "Coles Ridge"
> https://analogueattic.bandcamp.com/album/coles-ridge

www.buttersessions.com

BSRMIX #140 - Alex Albrecht

Dishing up an extended all-spice-mix from local hot saucier @lava-brain. Prepare for some genuine mind realignment with 3.5 hours of mesmerisingly deep heat!

Q. Hey Eric, what inspiration did you draw upon when putting this mix together? Is there a sound, feeling, or time in dance music history that connects all the different elements in one way or another?

A. Thanks for having me! I don’t know if there was a conscious thought so much, but lots of music to either get you in a meditative mood or moving depending on how you’re feeling. I guess there are definitely a lot of elements from the 90s Bristol scene threaded through the mix in one way or another. That trip hop/down tempo sound was really a big gateway into a lot of electronic music for me and it’s what I was listening to a lot of when I first started DJing. ‘Bass is Maternal’ by Smith & Mighty was a really big record for me; bringing together a lot of trip hop, dub, bass, breakbeat and jungle sounds, which feature in a lot of tracks in the mix.    

Q. Are there any records in the mix that are especially close to your heart?

Definitely! There’s a mix of some older favs like 'Transient' by Mr G, 'Tokyo Dawn' by Doc Scott & a Smith & Mighty tune. 'The Edgelands' by Rings Around Saturn has definitely had its fair share of listens over the years for me too. There's also a bunch of newer tracks, lots of local favourites & just music that inspires me. 
One tune which I hold especially close would have to be Delano Smith’s ‘The Rock’. I remember hearing it for the first time and I still find it hard not to get hypnotised by it. The vocal sample about universal unity is also pretty groovy :)

Q. Tell us what’s the latest with the visual aspect of your Lava Brain project? How would you describe your approach?

A. It’s been really great to get more opportunities to work on the live visuals & projection mapping part of my practice recently and to focus on it 100% at a party. 

In terms of my approach to integrating the two, with every event there are so many different elements that need to work together to make it a success. I think it's really about creating an awesome experience, working together with the music and space to compliment each other and help curate a mood. Working with different collectives or venues is always interesting, as all the elements change including the physical space and I enjoy the design process; usually starting with the logical side of the ‘how’ will this technically work and then the ‘what’ in terms of creative content. 

I guess I try to tap into my own feelings when designing an install or content and ask myself something like ‘How would this make me feel in the context of the party, music and space and what’s the intention we as a collective are trying to curate?’ I’m also starting to expand my setup, experimenting with mapping a small wireless midi controller to be able to still be able to control the visuals while being away from the laptop and part of the party, letting me further tap into those intuitive feelings. 

Currently I’m working on a visual instalment for Ferdydurke’s 11th birthday on August 12th and have been working with some new projection materials, experimenting with sheer fabrics to project a succession of images above the dancefloor to give a sort of floating holographic tunnel effect. For the event I’m also working on building a motorised lighting sculpture for the entrance to the venue, which is something new for me. 
In parallel, I’m working on some grant applications and starting to look for sponsorships for a multi-day projection art and music series I’m working on, in collaboration with the Section 8 crew. With all going to plan, that should be happening mid-next year. 
Other than that, continuing to learn, play and experiment, currently I’m starting to teach myself Touch Designer to expand that side of my creative practice and just always staying open to new projects and collaborations :)

MDC.286 Lava Brain

@lowtec

www.wakinglife.pt
19 - 24 June 2024

📸 camille blake

Lowtec at Outro Lado - Waking Life '23

Interview: https://truantsblog.com/2023/truancy-volume-315-oliver-hafenbauer

Soundcloud: @die-orakel

Access the download and partial tracklist (Just artist names for this one, digging required x) on our Patreon. Your support helps cover all our costs and allows Truants to continue running as a non-profit and ad-free platform. patreon.com/truants

http://truantsblog.com

Truancy Volume 315: Oliver Hafenbauer

A live recording from 2st day of rural2023 at midnight by Vladimir Ivkovic.
His set was  epic and beautiful psychedelic journey, from hypnotic,dark world to sentimental and moving moments.

Vladimir Ivkovic at rural2023

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

label by https://soundcloud.com/sleepd
since 2010

BSRMIX #140 - Alex Albrecht

BUTTER SESSIONS

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