Out Moving Windows is a 7 track LP out early October from @sean_labrooy, co-founder of Analogue Attic and one half of Albrecht La'Brooy.

Currently based in New York, La'Brooy presents an emotional and contemplative record that leans on acoustic instrumentation, drawing on collaborations with a range of New York and Melbourne based jazz musicians, and a remix from Other Joe.

Those familiar with the nine records released under Albrecht La'Brooy will recognise the expressive piano and synth lines that feature. Here, the piano Jazz and Improvisation graduate creates space for long-form solos from himself and featuring instrumentalists.

True to what we expect from the ever-maturing Analogue Attic, this is a listening album; orchestrated pads with dance-leaning rhythms meet piano chords, guitar and brass melodies. Arranged with the idea of the contemplative state experienced during a solo commute, as the name Out Moving Windows alludes to.

Featuring:
Fernando Ferrarone - Trumpet (NYC)
Kalia Vandever - Trombone (NYC)
Oliver Paterson - Guitar (Melbourne)

Out Moving Windows (Clips)

Splash w. Fernando Ferrarone

Welcome Sean La’Brooy to the BSRMIX!

So happy to have our dear friend Sean La’Brooy offer us this soothing mix out of the blue from his new home in New York. The co-founder of Analogue Attic Recordings (with Alex Albrecht) has long been pleasing our ears with a unique blend of improvisational jazz inspired ambient recordings and live sessions. All that and more can be heard in this one hour beauty, and if you're not satisfied there check out his brand new album ‘Out Moving Windows’ on Analogue Attic. Enjoy!

https://analogueattic.bandcamp.com/album/out-moving-windows

www.buttersessions.com

BSRMIX #116 - Sean La'Brooy

Eli Verveine b2b Soela - Kassablanca Jena

Command D summons the gods of the deep to have us completely submerged in a world of interdimensional dub techno, traversing us through an hour and a half of infinitely looped reflections and subaquatic soundscapes. 

@commandd

Q. This certainly feels like one of your most immersive mixes to date, deeply contemplative and full of dreamy dub techno atmospherics. What inspiration did you draw upon, and what type of setting or situation could you imagine it being enjoyed in? 

A. I started to get into this sound when I was putting together my mix for the Moonshoe mix series. I didn’t know what to call it at the time but I found all of those tunes and tied them together with a certain feeling that was really inspiring me then, it was very organic and that is still one of my favourite mixes. You can hear dub elements scattered throughout that whole mix.

As I started incorporating more dub elements into my productions I discovered artists like Stephen Hitchell and Rhythm & Sound that had created a kind of music that was really extremely satisfying for me to listen to, especially considering my developing love for hi-fi and larger sound systems. I incorporated those artists into my FHUO mix which was a much more considered exploration of the style. Looking back on the process of making the mixes and how much I enjoyed them really assures me that the deep and contemplative sound is a big part of who I am.

For this mix I’ve taken inspiration from the MDC series itself which I’ve been listening to for years. I wanted to add little hints of deep house sounds as a nod to the mixes of the past. I personally think mixes like this are the best to listen to when you’re travelling and looking out a window, otherwise maybe sitting at a desk on a rainy day doing some work. I’d like people to listen to this in a time where they won't be distracted by something else or feel the need to skip forward, I’d want people to just throw it on and let it play, drifting in and out of the tracks and their own thoughts.

Q. Are there any songs in the mix that are especially close to your heart, and what is it about these tracks that resonate with you so much?

A. My favourite tracks in the mix are Saftig Komposition by Rasmus Hedlund and Sedlec Ossuary by Persuasion. At a base level I love these tracks because they take a more modern approach to a dub techno track with tight production. Going deeper, the thing that really resonates with me is hard to put into words and best left unsaid. I think this kind of music (along with many other kinds) allows the listener to feel emotions that aren't able to be put into words, part of why I love it so much. I find that dub techno specifically can feel sad and happy at the same time like lots of jazz ballads. That to me is a really beautiful sound that kind of encapsulates life in general.

Q. Tell us about the development of your live set, and where things are currently at with it? Do you feel like you’re able to explore different shades of your sound when playing in a live setting?

A. Putting together my first live set was an awesome experience. I got to play it all around Australia from clubs to rainforests. I’ve put the current live set to bed for now and am starting to work on a new one with a slightly different setup. Although it was a challenging experience, I loved making a live set because often when I would dig for tunes to play out I’d think ‘I wish I had a song like this’ and writing a live set meant that I could bring those ideas to life and curate a set exactly how I wanted. I think I’m really starting to settle into ‘my sound’ in production and DJing, but there are creative limitations in both like finding new music or learning new skills. Overcoming technical barriers in production allows me to get closer to my most true form of expression when it comes to what’s coming out the speakers so I’ve been really working on that recently. Hoping the next live set will be bigger and better : )

MDC.302 Command D

Myles Mac

An Australian DJ and co-founder of the legendary Melbourne Deepcast, Myles Mac has been a cornerstone of Naarm's underground music scene for over 15 years. A tastemaker and curator, he’s known for hosting iconic house music events through his MDC, Lost Weekend, and Made in the Shade parties, consistently bringing some of the genre’s biggest names to the Australian dancefloors. His deep, eclectic selections have earned him a reputation not only in Australia but also internationally, regularly performing in cities like Berlin, New York, London, and Tokyo.

Whether solo or with long-time collaborators DJ Possum and DJ Camov (as Project 95), Myles’ dynamic, ever-expanding sound has made its mark on mixes for platforms like Truants, Trushmix, For Home Use Only, c-, and, of course, his home base, Melbourne Deepcast.

來自澳洲的 DJ 及 Melbourne Deepcast 的共同創辦人，Myles Mac 在 Naarm（墨爾本）的地下音樂圈已活躍超過 15 年。他以策劃和舉辦 MDC、Lost Weekend 以及 Made in the Shade 派對聞名，這些活動為眾多經典 house 音樂藝術家提供了舞台，並多次引領澳洲及國際舞池的風潮。他的深邃選曲不僅在澳洲受到熱烈推崇，也在 柏林、紐約、倫敦 和 東京 等城市的音樂場景中頻繁亮相。

無論是獨自演出，還是與長期合作夥伴 DJ Possum 和 DJ Camov（作為 Project 95）組合合作，Myles 不斷擴展的音樂語彙為他在 Truants、Trushmix、For Home Use Only、c- 等平台上帶來了極具價值的混音，也讓他在 Melbourne Deepcast 中擁有穩固的立足點。

Myles Mac @TOHA Radio 2025.04.29

Interview, download and tracklist: http://truantsblog.com/2016/truancy-volume-162-space-afrika/

Comprised of Josh Inyang and Josh Reidy, Space Afrika first cropped up a few years back on Where To Now? (the label responsible for our 113th Truancy Volume) with their tape release Above The Concrete/Below The Concrete. It was The Manchester duo’s Primrose Avenue EP from late last year on the same label that especially caught our attention; A fare of gloriously subtle dub techno and house that took cues from Rod Modell and Kassem Mosse, the record felt like a considered appreciation of the strange comfort a rainy inner city journey might invoke. We’re incredibly pleased to have the pair put together our 162nd edition of our Truancy Volume series. They also spoke to us about the mix, their music and their influences. Sink in.

http://truantsblog.com

Truancy Volume 162: Space Afrika

Silverlining, aka Asad Rizvi,accidentally fell into DJing in 1993, when he was invited to host an experimental techno show on a London pirate radio station, being the only person they know with any records of that ilk. When he first committed his early studio productionsto vinyl in 1995, he only expected it to be a short-lived stint of fun. The intentionwas to have a go at makingsome records that smelted the shuffle-heavy grooves of US house, the abstract energy of Detroit and deep techno, using the mixing desk as an instrument in the way that the early dub technicians did in Jamaica. Before long, he was invited to play his first gigs from Brixton to Berlin to Buenos Aires.Two decades on, the man-hours he has put into the studio and decks can                       be heard at every instance. With over 150 titles under different names, old titles recently have been fetching up to £75 on Discogs. In response he has decided to launch his Silverlining Dubs imprint to make the music accessible to ordinary vinyl buyers. The label has addressed the demand, whilst re-contextualising the sought-after back catalogue with fresh tracks, re-edits, and lesser-known gems. All titles have hitthe top 10 genre vinyl charts on Juno, with onenumber one.After several years of using other names, he has reinvented the Silverlining guise with the benefit of an extra 20 yearsexperience.All the while, his sophisticated, party-savvy DJ sets have been tickling feet and minds alike in over 40 countries, in hundreds of venues over from warehouses to main stages at festivals, often with repeat bookings that are too numerous to count. Although he has not headlined Ibiza’ssuper-clubs, he has played some of the world’s most illustrious venues, and remained a regular proponent insome of the world’s finest butlesser-discussed party scenes such asthose on the West Coast of USA andCanada, Bulgaria, Croatia, Czech Republic, Brazil and more. Straddling the lines between the contemporary and the old school, his addictive journey sets encapsulatea broad spectrum of moodsthat can be communicated within the 4/4 and electro format

https://soundcloud.com/silverlining-dubs/sets/silverlining-dubs-vi
https://www.facebook.com/silverlining.dubs/
https://soundcloud.com/silverlining-dubs

MEOKO Exclusive Podcast: Silverlining

Recording of Terekke's set at the listening stage during Dekmantel Festival 2019.

Dekmantel Festival 2019

Listening Stage: Terekke at Dekmantel Festival 2019

We're on a voyage with Huerta this week as he joins our series with mix #198. Laden with effortlessly cool house cuts, smooth vocals and bouncy bass rhythms, it's full of zesty energy that longs for the sun-kissed dance-floors the summer promises. Laced throughout the mix are unreleased gems from the man himself; a passionate producer whose more club-focussed releases on labels such as Small Hours and Slow Life have been lighting-up your favourite dance-floors for some time.

With his latest 'Junipero' LP, released on Voyage in January, he shines light on a more explorative sound, piecing together ambient, synth-infused sounds, paying tribute to the Californian coast.

We await Huerta's return to Dimensions this summer as we get together for the Tisno throw-down alongside pals The Ghost, Sugar Free, Youandewan, Vera, Gene On Earth and more!

https://soundcloud.com/stevehuerta

DIM198 - Huerta

With more than twenty-five years in the game, Asad Rizvi, better known as Silverlining, has firmly rooted himself as one of the UK’s leading house and techno figureheads.

Having started out as a DJ on a London-based pirate radio station when he was just sixteen years old, Asad’s journey as a producer started around the same time, when he started to create his own brand of Warp Records-inspired electronica – some of which was picked up and played by Colin Dale on his seminal show, Outer Limits. From there, Asad’s musical influences shifted somewhat and the result was a blend the shuffle-heavy US house grooves with the abstract energy of Detroit and deep techno. A style that still rings true in his music to this day.

Since the ’90s, Asad’s music has been released via such labels as Neotropiq, Talman, Furthur Electronix, Reverberations and Terry Francis and Nathan Coles’ legendary Wiggle – not forgetting his own label Silverlining Dubs – the label from which his long-awaited debut album ‘Simulacra’ is due out later this year.

Asad’s mix, below, is a masterful one and a half-hour recording packed with all things house and techno, new and old, mixed to perfection at home using nothing more than a pair of Technics 1210s and a mixer. Be sure to check out the interview over on Off The Record as well. Enjoy!

Detailed expression

Duffy

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