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

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

Help us stay on air by donating to our fundraiser: https://www.gofundme.com/f/help-refuge-worldwide-community-radio

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

In 2006, the musical landscape was very different; there was no streaming, “shazam" was a word used by magicians, and "all-access” was not granted to the general public. Social media, as we know it, was in its infancy and today’s constant digital feed of interruptions, notifications, refreshes and “likes” didn't yet exist. Those with a thirst for the overlooked regions of the record store had to quench themselves in the climes of the online world's music blogs, and while that digital community was surely expanding, NYC’s www.lovefingers.org was something different. Not a blog but a daily unfolding mix — no opinions, reviews, or backstories were coupled with the music, no full albums or submissions from the outside — it was a mysterious watering hole in the burgeoning digital desert where rogue tracks from Wally Badarou rubbed shoulders with those of Holger Czukay, the drama of Sylvester juxtaposed with the quirkiness of Hosono, and countless other coveted artists’ unearthed gems melted in one pot, a digital space where $1 thrift store scores could easily breathe the same dusty air as cosmic holy grails, oddball psychedelics and proto-electronica b-sides comfortably cohabited with $300 private-press folk rarities. With 1 track per day, Andrew “Lovefingers” Hogge created a truly democratic and educated selection of music for our aural pleasure, and labelled them ‘Fingertracks' (numbered 001-999).

The community around Lovefingers’ site was a call-to-action, gathering analogous minds and inviting them all to the same party, and on New Years Day 2010, after 999 Fingertracks and a plethora of (now classic) mixes, the site made a final post stating, “That's all folks!” The collective energy pivoted into the ESP Institute, a record label and art platform to champion new artists who emerged from this foundational community and as a catalyst to push the musical dialogue forward. Now, as the ESP Institute approaches its 10-year anniversary, we revisit the significant role www.lovefingers.org played in shaping where we are today.

'Fingertracks Vol : 1' is a snapshot of aural delights that were on offer to those of the leftfield persuasion, all who discovered the site and tuned-in for their daily shot of sonics proper — a lovingly selected handful of records that re-introduce the story of Andrew’s most influential and essential music resource. The track list is classic Lovefingers, an insight into the free-flowing nature of the daily Fingertracks, context-free but connected through creative threads and energies — lo-fi loner jams brush up alongside sleazed-out Italo powerhouses, Greek new age obscurities tussle against overlooked Hawkwind-related cuts — nuggets that may be more known to the heads now, but whose initial excavation can be accredited to Lovefingers’ site, and are essential to its story nonetheless. Rumor has it that this is merely the first volume in a series, so as it turns out, and gladly so, “That’s not all folks!”

Buy from ESP

LOVEFINGERS - DJ Intro - SNIPPET

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