Mix 26 comes from dear friend of the label and Revelation Time shop owner Eiji Taniguchi, who(with Norio Sato) is responsible for compiling the 'Heisei No Oto' compilation. Interview (excerpt) below..

www.musicfrommemory.com 

MFM: Thanks for joining the series Eiji. How is life in Osaka?

ET: It's a pleasure to join the series along with other great lineups. The state of emergency has just been lifted in Osaka. Bars & restaurants are starting to open later than 8pm gradually. Everyone is feeling like doing parties again now. I miss when it was more lively with many tourists. Compared to Tokyo, it’s more chill and relaxed. And things are much cheaper although it's the 2nd biggest city in Japan.

MFM: Is it a healthy city in terms of culture, art and nightlife?

ET: About 5 years ago, clubs were cracked down and people couldn’t dance after 1am but it became legal and now it is allowed to open clubs till morning. I think it’s not so close to the mainstream, and you can be more free from commercialism and you can do what you want.

MFM: Your record store Revelation Time has gained a lot of appreciation and respect within the worldwide music industry. How did it all start?

ET: I was more like a collector, private dealer, buying records in Europe, States, selling them on the internet. But I got bored of sitting in front of the computer for a long time, then I opened my shop. Fortunately you can have shops on like 4th floor of the building for cheap in Japan. And luckily I met many good friends and famous DJs, artists I had never imagined to meet before. I learned how people listen to music, and how to recommend music.

MFM: Osaka counts many more record stores, most of them in the same area too. Do you have an explanation to why so many record shops can survive next to each other?

ET: I think there is relatively less pressure economically to live in Osaka and more small shops with speciality than big commercial shops. People try not to compete but help each other to coexist. I personally try to sell different stuff from other shops. It’s the same for clubs. In clubs, you sometimes find party flyers of other clubs. We have many tourists from Asia, not only from Europe, Australia, and the States, after relaxed visa (of course not at the moment), we have sales from people of many different countries.

MFM: Heisei No Oto contains music released almost exclusively on CD. What do you think is the reason that a lot of Japanese music got released on CD but not on vinyl? 

ET: I think it was a global trend but a specific reason for Japan is the residential environment. CDs take up less space than records and 1990 was the peak of the bubble economy, CD was a better format for the mass market. But vinyls for DJs were still pressed in the 90's because there wasn’t CDJ yet. Japanese Hip-Hop became popular in the 90’s and my friend DJs in the UK wanted those Japan exclusive releases so much. 

MFM: How is that for you, does the CD have a different meaning or value to you compared to a vinyl record?

ET: For me it’s just a different source of music. I was into 80’s stuff but as my interest moved to 90’s, it was very natural to start to dig CDs. I think I bought almost 1000 CDs in the last few years, but I'm still buying a lot of vinyls too. I love the sound of vinyl of course but I like the clear hi-fi sound CD too. And it’s very easy to digitize. 

MFM: Did you encounter a lot of difficulties with making the selection and contacting the artists for Heisei No Oto?

ET: I guess it’s relatively easier to find artists than before, thanks to the internet and social media. I almost gave up on licensing one track but Jamie suggested to find the player and contact, (actually the artist was a fictional character) and it worked. Some artists weren’t so interested at first but I think everyone is happy to get involved now. More artists understand now that people listen to music regardless of when they are made, after Youtube and music subscription.

MFM Mix 026: Eiji Taniguchi

Astrobal ‎– 100 000 Ans 
Torky Tork & Fid Mella -  Nove   
Haircuts For Men ‎–  あなたの目は悪魔です
Fillo & Soupbox ‎– Impressions
Lord Akton ‎– Folk Tales
R23X ‎– Letting Go
Pascal Viscardi ‎– Guided By A White Light
Scott Bomar ‎– We Done    O.S.T.  Dolemite Is My Name
Chris Coco ‎– Down To The Sea
The Lasso ‎– Pier Of Dreams
Sweetback ‎– Gaze
KevinTheCreep – Afta All Dis Time
knxwledge ‎– Learn
Smoke DZA x Pete Rock – Cheeba (Bonus)
Devin Morrison – Guaranteed (Instrumental)
B.A.R.
Tibor Szemzo - The Lullaby of Á
U.C. Redd – The Way I Like It 
Fabio - Heroes show up late
Connan Mockasin - K is for Klassical
Dean Blunt - WOOSAH
Years 
Sam Gendel - They B All Like
YL Hooi - Lucky
World Famous ‎– Robby's Song
Meyna Co. - Theme Of Lui

artwork by Hiroto Ise
instagram.com/iseneehihinee

cosxmes 2021

cosxmes 2021mix

CHIDA自九十年初期成為東京地下House music界的先峰，除了DJ身份外，他也是一位德高重望的製作人，自2009年開始營運廠牌Ene Records。二十年的DJ的生涯，Chida既是面向世界，又是整個House和Techno新浪潮中的依然屹立不倒的人物。

 與Masters at Work、Strictly Rhythm和Nuyorican Soul等等傳奇音樂單位關係密切，多次同台演出，Chida都從中學習。在家鄉他以超過十二小時的馬拉松DJ set為人知悉。2009年開始營運個人廠牌Ene Records，為地下House music界注入新力量，分別有Prins Thomas、Eddie C、Man Power、Tiago、Lord of The Isles及日本本地音樂人如The Backwoods、Cos Mes和Sly Mongoose均在Ene Records旗下推出作品。

 他在ESP Institute千喚萬喚之下推出首張十二吋作品「Danca」後，他終於百忙之中製作更多個人作品，包括原創歌曲和不同的混音作品，都收歸於Ene Records旗下。

 在各DJ包括Eric “Dr Dunks” Duncan、The Idjut Boys、Lindstrom、Mak E、Justin Vandervolgan、 Andrew Weatherall、Soft Rocks、Discodromo等人都讚口不絕，Chida是名符其實DJ中的DJ。 在這個音樂製作地位高於DJ手藝的世代，單憑DJ身份就在國際舞台上大放異彩，Chida絕對是一個異數。

CHIDA has been a pioneer of the Tokyo underground house music scene from early 90s. Influential DJs playing around the world, he is also a very respected producer and run the label Ene Records since 2009. 
 
 Revered after more than 20 years as one of the most respected DJs in Tokyo, Chida is front and centre in the exciting new wave of House and Techno DJs who are now finding fame around the world.
 
 Learning his craft playing alongside legends like Masters at Work, and at Strictly Rhythm and Nuyorican Soul Label Parties, Chida is famed in his home country for his marathon sets which have been known to last well in excess of 12 hours.

 Since 2009 Chida has been running his label “Ene”, one of the most respected underground imprints amongst true house music aficionados, boasting a list of contributors including Prins Thomas, Eddie C, Man Power, Tiago, Lord of The Isles and homegrown Japanese talent such as The Backwoods, Cos Mes, and Sly Mongoose.
  
 Finally, after so much anticipation following his much sought after debut 12”, Danca, on ESP Institute, Chida is finally about to release more music, with originals and remixes due on both his own label, and several others in 2016.
 
 Respected and even, on occasion, name-dropped by such amazing DJs as Eric “Dr Dunks” Duncan, The Idjut Boys, Lindstrom, Mak E, Justin Vandervolgan, Andrew Weatherall , Soft Rocks, Discodromo and a whole load more, Chida is truly a DJ’s DJ.

 In this modern time where music production all too often takes precedence over true DJing craftsmanship, Chida remains that rarest of phenomena, a performer who has managed to carve out a global DJIng schedule purely from the merits of his sheer skill behind the decks.

MIX026 - Chida (東京)

Here’s a special mix of records from Music From Memory, the label behind those incredible Leon Lowman & Gigi Masin LPs, and ran by Redlight Records founders Tako Reyenga, Abel Nagenast and Jamie Tiller. Featuring some of the label's favorites on wax, plus some present and upcoming MFM material.  Kick back to this one.......

Music From Memory / April Mix

spring 2024 mix

passing it clockwise is good luck,
anyone can join the joy of joint, just choose a time and post !


A (00:00)
1. Hipnotech – Mother Nature
2. P-Gruv – Calm Down (Instrumental)
3. Pete Rock – It's The Postaboy (Instrumental)
4. Masters Of Illusion - Let Me Talk To You (Instrumental)
5. The 45 King – Evergreen
6. Daily Plannet – Love It (Original Instrumental)
7. Da Beatminerz - Open (Instrumental)
8. Droop Capone – Somethin' Else About Mary
9. Prin-Sess – He Needs Me (Instrumental)
10. Kice Of Course – Thumpin (Instrumental)
11. Mission - Home (Thes One Instrumental)
12. Masterminds - Deja Vu (Instrumental)
13. Shadez Of Brooklyn – Paradise (Instrumental)

B (30:18)
14. Hipnotech – Yeah Yeah
15. Spectac - Reasons (Instrumental)
16. Encore Featuring Ladybug Mecca –Real Talk (Instrumental)
17. Lone Catalysts – Once Before (Instrumental)
18. CopperShot – Save Me (Instrumental)
19. Akrobatik-No losses (Instrumental)
20. El Da Sensei - Keep It Live (Instrumental)
21. Bits N Pieces – The City Is Us (Instrumental)
22. J. Rawls – The Night Belongs To The Music (Instrumental)
23. Almyghty Myghty Pythons - Curb Your Nerve (Instrumental)
24. Swamburger – 9 To 5 Poortrait (Instrumental)
25. Hi-Fidel And DJ Crucial – Rainbow Beach (Instrumental)


 ‎ﻌ ﻌﻌﻌ ﻌﻌﻌ ﻌﻌ from further from the sea ‎ﻌ ﻌﻌﻌ ﻌﻌﻌ ﻌﻌ

Passing it clockwise (18:15 - Flatic)

Savvas Ysatis & Taylor Deupree - Listen To The Morning Sleeping
av moves - Condolences
Sentena and DJ Spence - Monkey
Neglect - Biet Hanun
Junior Boys - Night Walk
Boris Blenn - Metaphsical
SW. - Part 3
Virgo Four - Deep Blue
Firnis DC - Innozenz Jahr
Tiago - Maquina dos sonhos
The Lamb - 19
TV Blonde – Ghost
Eric Hilton – The Easy Underground
P.E.A.C.E. – Mimosa (Smooth Edit Instrumental)
Misha Panfilov – Kallistus
Ark & Pit Spector – Hawaï
Brijean - Ocean
Leisure Centre – アントニオ
Magnif – The Last (Instrumental)
DJ Cam – Flora
Daniela Andrade – Ayayai
Professor Creepshow – 4 Games In 1
Awkward Corners – Paragraph One (After The Rain)
Born Tokyo – Morning Sunrise
Pink Shabab – You Can't Go Back
Nicolas Godin - The Border
Dita Von Teese - Bird of Prey
Warriors Of The Dystotheque – Beachside Drive
John Milk – Offline Love (Instrumental)
Eric Hilton – In a Quiet Mood
Falk & Klou – CBS

artwork by Hiroto Ise
instagram.com/iseneehihinee

cosxmes 2024

cosxmes 2024mix

One of the truest stylists in DJing.

Although leaving behind only a small repertoire, sadly cut short by an early and unexpected passing, what we have left as evidence of his deep dedication to the pleasures of music is so unique and designed with such charming consistency, that when listened to, can only be Zecky’s selection.


Since the late 2000’s we studied the few mixes we could get our hands on obsessively, to the point where for example: we will never be able to hear Pats and Pat “Tobago” without the expectation of “City Lights” to be mixed in next, courtesy of the 2008 Ebisu Bar Jam recording. To us, Zecky became a sub genre of music — "Zecky style tracks" — something in the realms of what we might consider as Balearic, but still somehow blurring the borders of acceptable Italo-disco, and then coming way out of left field with something contemporary like Simply Red...and somehow it all made perfect sense. A lot of these tracks may seem obvious now, but keep in mind this was mid 2000’s, a lot of these tracks were still not known, discogs was not what it is today: contextually, the calliber of his research was heavy. Imagine living in a time when the idea of what a good DJ should be doing is minimal techno yet you’re a Japanese guy going to Italy to look for completely expired Italo material, one can only imagine the facial expressions and dialogues that might have emerged between Italian record store owners and Zecky throughout his digging travels.


The role that talent plays in the DJ "profession" can sometimes feel fuzzy, especially in the post social media/CDJ era. In our humble opinions however, listening to Zecky’s oeuvre gave this mystery a good amount of inspiring clarity. The aesthetic precision of his selection supported by his simple but flawless mixing created compositions so striking that the mixes became new stories or soundtracks to beautiful movies no one had ever seen before. It really felt like he was making something larger than the music he was using to compose these moments. A common (and disturbing) cliche one often hears when people go about describing a DJ’s work is the idea of being a “story teller”. To us Zecky genuinely put forth this idea on a meaningful level, his stories were some of the nicest of all.

We learned so much from Zecky.


Thank you for the music and happy birthday — Zecky would have been 54 today.


Thank you to Daisuke, his party partner, for making this possible ❤️
_
DJ 界での真のスタイリストの一人。
残念ながら、予期せぬ早すぎる死によって残されたレパートリーはわずかですが、音楽の楽しみに対する彼の深い献身の証拠として残されたものはとてもユニークで、魅力的な一貫性をもってデザインされており、聴くとZeckyのセレクションを感じざるを得ません。
2000 年代後半から私たちは手に入れることができる数少ないミックスを執拗に研究し、例えば、2008 年の恵比寿バージャムのレコーディングのおかげでパットとパットの「Tobago」を聞くと、次に「City Lights」がミックスされることを期待せずにはいられなくなりました。
私たちにとってZecky は音楽のサブジャンル、つまり「Zecky スタイルのトラック」になりました。これは、私たちがバレアリックと考えるものの領域に属しながら、それでも許容できるイタロディスコの境界を曖昧にし、その後 Simply Red のような現代的なものによって予想外の形で登場しました... そしてどういうわけか、すべてが完璧に理にかなったものでした。これらのトラックの多くは今では当たり前に思えるかもしれませんが、これは 2000 年代半ばのことであり、これらのトラックの多くはまだ知られておらず、discogs は今日ほどではありませんでした。文脈上、彼のリサーチの質は高いものでした。優れた DJ が行うべきのことはミニマルテクノであるという考え方がある時代に生きていると想像してください。しかし、あなたは完全に期限切れのイタロの素材を探しにイタリアに行く日本人男性です。彼のレコード探しの旅を通して、イタリアのレコード店のオーナーと Zecky の間に生まれたであろう表情や会話は想像するしかありません。 DJ という「職業」において才能が果たす役割は、特にソーシャル メディアや CDJ の時代以降は、曖昧に感じられることがあります。しかし、私たちのささやかな意見としては、Zecky の作品を聴くとこの謎がかなりはっきりと理解できました。彼の選曲の美的精度と、シンプルでありながら完璧なミキシングが、非常に印象的な作品を生み出し、そのミックスは新しい物語や誰も見たことのない美しい映画のサウンドトラックになりました。彼は、これらの瞬間を作曲するために使用した音楽よりも大きな何かを作っているように感じました。人々が DJ の仕事を説明するときによく耳にする一般的な (そして不快な) 決まり文句は、「ストーリーテラー」であるという考えです。私たちにとって、Zecky はこの考えを本当に意味のあるレベルで提示しており、彼の物語は最も素晴らしいものでした。私たちは Zecky から多くのことを学びました。音楽をありがとう。誕生日おめでとうございます。Zecky は今日 54 歳になっていたはずです。これを実現させてくれたパーティーパートナーの大輔に感謝します❤️

H.A.N.D. MIX 065 : Zecky – Metro 1st

Summer2 (2025)

Beneath a silent pulse, warmth clings where distance once dwelled. Light curves through the icy air, touching memories that never learned to fade. Each movement carries a serene tenderness, a gravity made of trust and time. Between shadow and glow, affection becomes its own language: gentle, infinite, and always returning home.

Passing it clockwise (18:15 - Flatic)

cos/mes