Tornado Wallace's exclusive mix for Rainbow Disco Club 2022 podcast:

"This is an excerpt from a live recording at a show I played in Sydney in March 2022. I played at 9 am and I wanted to start with the music slow, warm and soulful. A fresh and feel-good start for everyone that had been at the party since the night before."

"これは2022年3月にシドニーで行ったショーでの録音から抜粋したものです。朝9時から演奏したのですが、スローで暖かく、ソウルフルな音楽で始めたいと思いました。前夜からパーティーに参加していたみんなにとって、新鮮で気持ちの良いスタートになる様にプレイしましたね。"

RDC 040 - Tornado Wallace

We were asked by BBC 6 Music to put together a mini mix in tribue to Andrew Weatherall to celebrate what would have been his 60th birthday. It is made up entirely of music Andrew had a hand in. Broadcast April 7th 2023.

Optimo (Espacio) - Andrew Weatherall 60th birthday tribute mix for BBC 6 Music

We welcome Tornado Wallace (@tornadowallace), long time friend of the label and whose record 'Falling Sun' we released through Second Circle back in 2016.  Interview (excerpt) down below.

www.musicfrommemory.com

MFM: Hey Lewie, how have you been lately?

TW: I dipped out to East Asia and Australia for the infamous Berlin winter and now I’m back ready for the euro warmth. Though it’s in no hurry to arrive here just yet.

MFM: There's a new record coming on Basic Spirit, the label you run with Jamie Tiller, and it all looks rather secretive... Can you tell us more about it Lew E? :) 

TW: I made these tracks when I was holed up sick for a week. Not being able to go to the studio I relied strictly on samples and software, which was fun to change the workflow up a little bit. I wanted to make some very club ready tracks, without any intention for a release. They (rather obviously) sample two well known tracks, but there’s a lot of new ideas too. I use a different name as it felt like a different style and approach to how I usually go about things. I think there will be more Lew E things on the horizon though :D.

MFM: Previous releases on Basic Spirit also had this '90s touch to it. What is it that you like about (music from) that era?

TW: I grew up in the 90s so a lot of the music coming out then really hits the nostalgic feels. But also, really interesting things were happening with technology, and it became a lot more affordable to put together a record. So there were a lot of - for lack of a better term - laymen releasing electronic music. Some of which had very new and out-there approaches to processes like sampling, mixing and arranging. But trends and technology all moved along so quickly that some of these sounds and ideas never had a chance to get fully fleshed out. Which is why it’s nice to pick up where some left off. People are currently very responsive to this late 90s/early 2000s sound, which is great for me because that’s a time when I really fell in love with electronic music. As a DJ, I’m playing these really personal tracks that I discovered as a teenager, and for the first time since I began playing parties/clubs 18 years ago, people seem to really understand them. It’s a very cool feeling.

MFM: You've also started a new more pop oriented project called a.s.o. together with vocalist Alia Seror O’Neill. Has it always been a dream or goal of yours to start a more band kind of project? Does it require a different writing/recording approach compared to when making dance music for the clubs?

TW: I like making music that I like listening to. And with the pandemic in full swing in 2020, I was having a little break from club music, and diving deeper into other styles of music I enjoy. Both from a listening and producing perspective. I found it to be a very different approach. It’s more melody/hook driven and focuses on getting ideas down quickly as they’re forming. A lot of the time I would use a basic keyboard and guitar to record, and Alia would add vocal melodies and harmonies on the fly. Sometimes it could get difficult when we would both want to put our fleeting ideas down at the same time! On that note, collaboration is never easy for me as I like to have full creative control of whatever it is I’m working on, and sometimes the creative paths divide and compromises have to be made. Sometimes the compromised path is thick and thorny, and sometimes it is paved gold and smells of roses.

MFM: How did you go through the selecting and recording process, any specific record or mood you had planned?

TW: I came across a bunch of really nice tracks all in a relatively similar downtempo/shoegaze style, and wanted to make a mix of music like that. For moody home/car/train etc listening. I also included a forthcoming Cousin remix of an a.s.o. single which I love and wanted to share early!

MFM Mix 049: Tornado Wallace

ESP Institute artist Bartellow, one third of the project Tambien and otherwise known in the Contemporary Classical sphere as Beni Brachtel, returns to the label with his second full-length release, 'Noosphere'. While currently heading the SVS label and residency series out of Munich, Beni’s resume expands well beyond electronic music to include immersive sound installations such as 'The Adventure Of The Empty House' (solo live performance across seven floors of Walter Henn’s Deckelbau building), a slew of compositions for the Bavarian State Opera (for which he doubled as conductor), and a prolific career of over twenty-five theater scores for institutions such as the Münchner Kammerspiele, Schauspiel Basel, Maxim Gorki Theater Berlin, Berliner Ensemble, Schauspiel Köln, Schauspiel Graz and with directors Ersan Mondtag, Alexander Eisenach, Jessica Glause and Tobias Staab among others.
	'Noosphere' is a compendium excerpting from theatrical scores 'WUT' (Elfriede Jelinek, at Schauspielhaus Köln, directed by Ersan Mondtag, 2020), 'Ödipus and Antigone' (Maxim Gorki Theatre Berlin, directed by Ersan Mondtag, 2017), 'Der Zauberberg' (Thomas Mann, Schauspiel Graz, directed by Alexander Eisenach, 2017), 'Hass Tryptichon' (Sybille Berg, Wiener Festwochen / Maxim Gorki Theatre, directed by Ersan Mondtag, 2019), 'Wonderland Ave.' (Sibylle Berg, Schauspielhaus Köln, directed by Ersan Mondtag, 2018), 'Die Verdammten' (after Visconti´s film, Schauspielhaus Köln, directed by Ersan Mondtag, 2019) and 'Roi Ubu' (Alfred Jarry, Theater Neumarkt, Zurich, directed by Alexander Eisenach, 2018). 
	The work traverses homages, infusing everything from Baroque to Impressionism, and while these types of references are certainly built into the canon of Theatre as a discipline, here we gather historic layers in an even wider net. Under the self-referential thumb of Contemporary Classical music, this sort of "hindsight" approach has been largely avoided, however, in today’s all-access arena, the constant stream of historic causal-chained events has opened a delta where anything is possible. This defines Bartellow’s stance among his colleagues as well as his cultural position as a composer.
	Beni considers beauty a fleeting objective in the arts, that expression is often expected to follow notions of Destructivism or the unfulfilled. Art will pore over wounds, collective angst, mourning a loss of natural habitat or a fear of technological invasion, yet there is a bitter irreverence for the friction or salvation in beauty itself. Acknowledging this subjectivity — what one audience considers superficial pleasure may be deeply profound to another — he leans into musical instinct as if composing via divine conduit.
	'Noosphere' conjures a array of suspense, ecstasy, melancholy, and dread, but in isolating the work from its theatrical component, Brachtel directs our focus toward formal qualities, clearing unimpeded space to conceive fresh narratives and examine dynamism and interconnectivity. In sympathy with often difficult theatre pieces, the passages can be dark and transgressive, but more importantly they remain relative to Brachtel’s circumstances at their time of creation. The title 'Noosphere' speaks to the evolution of human thought and knowledge, opening a door to subjective points-of-view. For example, 'Nexus II On The Beach' refers to both Roberto Musci’s 'Water Messages On Desert Sand' as well as the film 'Bladerunner', invoking the image of a android enjoying the sunset, but whether or not this abstraction may be considered beautiful depends the listener’s cumulative life experience and perspective.
	This is hybrid chamber music, augmented by electro-acoustic layers, juxtaposing various periods and successively processing their residual themes into a trans-generational rendering of “now.”

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B6 Langsame Bewegung - SNIPPET

The recording of our all night b2b session with @jan-schulte at Salon Des Amateurs back in February 2024. Totally forgot about this recording, was a top party with a fairly eclectic selection across almost 7 hours ;)

Bufiman b2b Mike Burns @ Salon Des Amateurs 24.2.2024

The last Ciranda of spring 2025
Recorded live at Doka, Amsterdam

Ciranda Season Closing (Part II)

https://soundcloud.com/hans-nieswandt
https://soundcloud.com/finn_johannsen
https://soundcloud.com/palomabar

2025-06-21 Live At Power House (Hans Nieswandt, Finn Johannsen)

If you get lost, listen to the music play . 

https://www.instagram.com/captainrocklock
https://www.soundcloud.com/jonnyrock

Jonny Rock Headbangers Tour Ignition @ The Lot Radio 07-11-2025

🌐 Refuge Worldwide is a radio station and community space based in Berlin-Neukölln.
➡️ More info, more music: www.refugeworldwide.com

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Flight Mode - Vio PRG - 23 Jul 2025

https://on.soundcloud.com/CA3wuPfF0mE4zkvEdn

Telephones – schmusi floor @ between mountains festival

Recording of Gilles Peterson's last 3-hour closing set at RDC Stage on Friday night.

RDC 094 - Gilles Peterson at Rainbow Disco Club 2025

Welcome to the ESP Institute. Please remove your shoes at the door. Thank you.