Fell in love with this song when it came out a couple years ago- so good!

Born in Paris, @ed-isar is interested in joining the dots and bridging the gaps between different genres, styles, eras and scenes, specializing in ambient, downtempo, experimental and house-influenced tracks.

Catch Ed Isar every 4th Monday of the month, from 14h to 16h [CET] on rinse.fr

Rinse france Podcast

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Moins Vite Plus Loin Ed Isar invite Jonah Sharp (rEAGENZ & Spacetime Continuum) - 24 Mai 2021

Detroit, Deephouse, Acid, Underground Techno Music Mix.
And remember...Sharing is Caring !  Thanks, DJ Koh Bon.

Detroit, Deephouse, Acid, Underground Techno Mix.

Check out my mix from Ocaso Festival 2021 

Ocaso Festival returns to Tamarindo, Costa Rica this January 6-9th, 2023

Last remaining tickets available at https://ocasofestival.com/

Live from Ocaso Festival 2022: Doc Martin

Hope you are ready for some energy! Our newest podcast is a live club recording by our crew member, Helly. This is a cut from her closing set @ Renate when she played for Fresh Tunez in the Green Room on 19-01-24.

Mood Waves Podcast 007 // Helly (Live recording @ Renate)

Kolter - Bust a Beat (Original Mix)
Franky Rizardo - X Marks The Spot (Original Mix)
Prunk & Aron Volta - Bocado (Original Mix)
Archie Hamilton Ft. Onallee - Eye Of The Storm (Archie Hamilton VIP Remix)
Alexander Matchak - Dark Heavens (Original Mix)
Brett Gould - I'm Feelin' Good Right Now
JAEN - Another Mood
Mentissi - Buffalo (Original Mix)
Alisha - Changes (Original Mix)
Rossi. - Feel It (Original Mix)
Kolter - I Feel It Right (Original Mix)
Barrell - Bass Theory
Loco Dice - Detox (Original Mix)
Parris Mitchell, Nina Kraviz - Feel My Butterfly (Jamie Jones Tribute To Aaron Carl Remix)
Late Replies - What The Funk (Original Mix)
André Salmon, Xavier Iturralde - Out Here (Original Mix)
ASH-R - Just Getting Started

Groove Sessions 15 [Minimal / Deep Tech]

Ahead of two appearances in Tisno this summer, Giammarco Orsini serves up DIM304. An hour of tripped-out groovers with classy elements of progressive house that you'll often find punctuating his productions, both solo and alongside Jacopo Latini as DMA. Thanks Giammarco, this one's already been on heavy rotation.

@giammarcoorsini

DIM304 - Giammarco Orsini

Groove Sessions 16 [Minimal / Deep Tech]

mix of rEAGENZ  tunes from the last 27 years

rEAGENZ mix

51 Days - Paper Moon (1994)
Reverse Commuter - Icarus
North Lake - Moonwalker
Extreme - Transparenza (1990)
Yousef - Life is Too Short
Mark Force - Chicago
Audiofly and SIS - Dreams
The Logic Box - ATM (2001)
Counterplan - 90 Degrees - DJ Q rmx (1998)
Dani Sicliano - I'm The Question - Ben Vendren rmx
Chris Wood - I Give You Everything
Angel Moraes - Welcome To The Factory
Bobby Konders - Massai Women (1995)
Gab Rhome - Mount Fuji's Roman Federation
Superpitcher - Rabbits in a Hurry - Sascha D Rmx - (Part)
No Regular Play - Derecha
Nhar - The Swallow

I walk on the empty side
Spending my days, thinking too much
Behind words, I don’t have to hide
A basic system, I don’t have to blush.
My love is a bloody line
It’s a thing I never be aware
Without you it works so fine
Anyway, I don’t care.

Spring Into Summer

Detroit, Acid, Deep House, Underground Techno Music Mix.

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.

Spring Into Summer

david solmes

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