into the coppery halls
of beech and intricate oak
to be close to the trees
as they whisper together
let fall their leaves,
and we die for the winter / 
#katherinetowers

come on_2020

Munich-based producer and DJ Sam Goku made his way on to our radar last year thanks to Dutch imprint Atomnation.

Having made several appearances on the label over the last two years, as well as two outings for fellow Dutch label Intercept, Sam's finessed his approach to production, moulding his own modern, refined take on dance music that focuses on fluid rhythms, beautiful melodies and hazy kicks.

Now, with several EPs under his belt, Sam has been focusing all his efforts on his debut album 'East Dimensional Riddims', which again comes via his regular home of Atomnation. Ahead of the release, set for next month, Sam delivers a mix for us, that moves through the motions from fuzzy, twinkling ambience to bright, bouncy rhythms and shuffling breaks.

Read + Download

Sam Goku: The 'Shine A Light On' Mix

Mayurashka's exclusive mix for RDC "Sound Horizon" podcast:

"Since the beginning of 2022, I have been releasing floor-friendly mixes for various labels and radios so I wanted to try something different for RDC. This mix is themed around “water” which is my source of inspiration when composing.
This mix is a selection of tracks where you can feel the water and drips, not beat-matching but water-matching."

"2022年に入りフロアフレンドリーなDJ　MIXは多数のレーベルやラジオで公開してきたため、RDCへのミックスは趣旨を変えて作曲時にインスピレーションをもらう”水”をテーマに制作してみました。
水や滴を感じる曲のみをビートマッチングではなくウォーターマッチングさせたMIXです。"

Track list
1. The Sound of the Sea in Kujukuri, Chiba 2022 08
2. Popol Vuh - Ich mache einen Spiegel
3. DJ Nobu - Zzzz
4. MDA Analog - Rainful Memories
5. Jonathan Fitoussi,Clemens Hourrière - Aqueduc
6. Alex Kassian - Olson Waters
7. Yosi Horikawa - Wandering
8. DWART - Aqua Alta
9. Frog of Earth - Lying Down
10. Richard Bone - Afrouxe
11. Møzaika - Alternating Access
12. Crewdson - Amphibious
13. Roland Bocquet - Djerba
14. Iris - Deadlocked
15. Slow Heat - Terrarium
16. fmvee - everythingUneverKnewUwanted
17. Natural Selections - Sanctuary
18. Vague Imaginaires - Space Birthday
19. Cos/Mes - From Other Space
20. Sindh - Kalahari
21. Donato Dozzy - Aquatica

RDC 045 - Mayurashka

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

AYLI: Ambient Grace with Reagenz (Move D & Jonah Sharp) | Live Set at Grace Cathedral | July 7, 2023

hour 1 : @ronlikehell
hour 2: Flore (Khidja) of @poor-relatives

the Space Between Spaces 42 Ron Like Hell (hour 1) + Khidja (hour 2) LIVE @ the Lot Radio 10.05.2023

Sharing a selection of music that has been put together by Lord Of The Isles is something we are beyond excited for. To showcase his perception of Far Blue, he has compiled a mix that conveys a limitless feeling like a far off horizon. Although Lord Of The Isles is an inspiring producer, he decided to take a different approach. 'Mirage Mountains' contains none of his own productions, but he has selected beautiful tracks from other talented artists only such as John Hopkins, Mary Yalex and Our Lady Of The Flowers.

"A limitless far off horizon with texture and noise. A distorted haze of the farthest away places. Making them seem almost imaginary."

ᐁ ᐁ ᐁ ᐁ ᐁ ᐁ 
@lordoftheisles

Instagram.com/farblue_

Photography by @aspetuck

A Far Blue concept by Lord Of The Isles - 'Mirage Mountains'

Follow @acidsussi

Acid Sussi is a DJ based in Stockholm, Sweden. Having recently played at the Boiler Room party in Stockholm, as well as at well-respected clubs, festivals, and warehouse parties throughout the years, she is a well-known music selector among the local club-goers.

She has played alongside Jon Dasilva at the Acid Friday parties, held residencies in her hometown, hosted the radio show 'Zällh Acid' on Klara Radio, and promoted her monthly club event 'LIVE' featuring live acts from the electronic dance music scene. Despite her DJ name, that lush 303 sound is not the only style she likes. When playing, she loves to move seamlessly between acid, electro, and house, creating eclectic sets with loads of BASS.

Acid Camp Vol. 148 — Acid Sussi

Continuing the series is Mancunian producer, dj and music teacher Tom Burford who just released his LP 'Elevations' with us as Contours (@contoursmusic). Interview (excerpt) down below.

www.musicfrommemory.com

MFM: Hey Tom. You just returned from a big hike, how was it?

TC: Hey! Yeah, we were able to get out on some beautiful hikes around the Anaga national park in the north of Tenerife. It’s a stunning landscape and a nice change from the overbearing grey we get in Manchester for half the year. 

MFM: Does nature play an important role in your life and music?

JC: Definitely in life, and then I guess that just seeps into my music. I grew up in a pretty rural part of Cumbria. It was very beautiful landscape but with very little to do from an entertainment perspective, so getting out in the landscape or jamming with friends always felt like the two most freeing things to do. 

MFM: About jamming with friends... Your new album Elevations includes a lot of collaborations with other musicians, of which you did the recordings yourself. Can you highlight one special moment from those recording sessions?

TC: When recording Pots, I had initially written and recorded the percussion and synth parts at home and hit up Abraham to see if he wanted to add some Trumpet parts. He is based in London and so he recorded initial takes remotely and sent them through. They sounded great, but I really wanted to transform and process his parts for the track to manipulate them into sounding more synth like at points. Doing, that without him in the space felt like there was dialogue missing. In the end I went down to London and we recorded and dubbed them out in the same space at the Rhythm Section studio (shouts to Mali on engineering duties). Being able to respond to his playing and him in turn being able to respond to the dubbing of his parts felt like it was able to capture some really special elements.  

MFM: The A side of your new LP has Elevations 1, 2 and 3. Was it intentional for these tracks to end up separately or did they used to be one larger piece?

TC: When I started writing Elevations 1, 2 and 3 it just began as a series of jams and recording sessions in my flat bouncing ideas back and forth between myself, Beka, Abel and Simmy. These sessions were always just me and one other collaborator at a time, partly down to schedules, the size of the flat, but also the chance to not have to rush the process and to really dig into how we worked together. I continued building out the same project over multiple sessions so that I could have access to all the material collated in one place. Specific sections and ideas started to come together, but I liked the idea of them forging part of a wider piece. I’d previously worked in a largely self-contained track basis but had been listening to a lot of pieces like Six Marimbas, Music for 18 musicians and Tehillim by Steve Reich that build over a long period and loved the scope this gave to get completely lost in the music. I love the hypnotic nature created when polyrhythms morph over each other for a long enough period, shifting emphasis and eventually melting away.  

MFM: What can you tell about the mix you've made?

TC: I wanted to create a mix that was able to showcase the variety of sounds that influence me, both as a DJ and Producer. I love listening to mixes and radio at home and the best club experiences I’ve had have always been when a DJ is able to surprise you and really take you on a journey. The album makes heavy use of strings through the violin and cello, but also the Guzheng, a Chinese Zither and the Clàrsach a Celtic Harp. The initial three tracks of the mix focus on these sounds before skirting into more percussive and jazz focused influences and then into some deeper acid-tinged downtempo tracks and sub heavy club sounds. Hopefully this mix takes people on a journey and is something for people to get lost in.

MFM Mix 051: Contours

Dovs 'Silent Cities' Acid Test
Speckman 'City Pop' Pudel Produkte
Dom & Roland 'Sundown' Over/Shadow
Urban Shakedown 'Some Justice 2002' (Menta remix) Public Demand
Coe 'Radial Ep' (KL tribute) Woozy
Goldspot Productions 'Threshold' Runnin
Decal 'Riptide' Satamile Records
Plant 43 'The Sentient City' Semantica
Daniel Avery 'Spider' (Richard Fearless remix) Phantasy
Thugwidow 'Television' Lore Limited
PAN-AL 'Roadrunner' Luft Recordings
Coco Bryce 'Breach The Peace' Fresh 86
Thugwidow 'Post Modern' Sneaker Social Club
Ryan James Ford 'Rambo First Dub' Dub/Clone

RICHARD FEARLESS DJ MIX May 24

the first album of infinite bisous, 'w/ love'

(terminally) lovesick

Download: https://www.xlr8r.com/mp3/2018/03/ooooo-islamiq-grrrls-be-on-through/

[via XLR8R] - Faminine Mystique

Download

Download: oOoOO & Islamiq Grrrls - Be On Through

Blackbird and Crow come from the farthest northern corner of Co. Donegal, Ireland. The band, discovered and supported by Clannad’s Moya Brennan, formed four years ago and are comprised of Maighread Ni Ghrasta (Vocals) and Stephen Doohan (Guitars/Bouzouki/Mandolin/Stomp Box).

They are possibly best described musically as a psychedelic folk blues duo, they released their first single “I Gave Away My Home”' and the self-produced and -distributed album “'Shock Shatter Convince”' in early 2017 and have been going from strength to strength on the Irish music scene having played major festivals including Cavan Arts, Electric Picnic, Arcadian Field, Standhal and Longitude Festival. In spring 2019 they went on tour in the Netherlands and Germany with the Scottish rock legend Big Country. Back in their hometown Letterkenny they started to produce their second album ‘Ailm’ with producer Tommy McLaughlin (among others Altan, Villagers) in his Attica Audio Studios in Donegal. Pioneering sound engineer and producer Brian Masterson (Chieftaines, Van Morrison, Elvis Costello) did the mastering of the recordings in his studios in Dublin. The lyrics to their songs, almost all of which are written by Maighread, are highly important for the duo - and often they are not for easy listening. Far away from all everyday poetry, they feature topics such as addiction, suicidal thoughts, abuse, social alienation, anxieties, stories about lost souls on the fringes of society and the gloomy aspects of Celtic mythology. A lot of personal experience finds its way into the lyrics, they offer a pitiless view into the past, also into that of their native Ireland. The songs are carried by Maighread's great voice, nuanced, not chummy, with distinct Irish flair, and by the virtuosity of Stephen on the stringed instruments. An impressive work by two exceptional musicians, showing a partly heavy, almost slightly disturbing, morbid beauty.

Ailm

The Ways That I Can Make You Suffer

Amazon

Written by Simon Jefferis, Rosie Lowe and Matt Zara
Produced by Simon Jefferis

Vocals - Rosie Lowe
Drums, bass, keys, guitar - Simon Jefferis
Additional Keys - Matt Zara

Mixed by Simon Jefferis
Mastered at Pink Bird Recording Co

White Rabbit

Brooklyn-based cellist Clarice Jensen’s gorgeous sophomore album and first for FatCat’s 130701 imprint, ‘The experience of repetition as death’, was recorded and mixed by Francesco Donadello at Vox-Ton studios in Berlin in late 2018 and mastered by Rafael Anton Irisarri. Following up her hugely impressive 2018 debut, ‘For This From That Will Be Filled’ , which included collaborations with Jóhann Jóhannsson and Michael Harrison, all of the material on this new album was written and performed by Clarice alone and all of the sounds on it were created with a cello through a variety of effects and effects pedals. 

An outstanding musician, Clarice has recorded and performed for a host of stellar artists including Jóhann Jóhannsson, Max Richter, Björk, Arcade Fire, Nick Cave, Jónsi, Stars of the Lid, Dustin O’Halloran, Joanna Newsom, Nico Muhly, Dirty Projectors, Frightened Rabbit and Beirut. As the artistic director of ACME (the American Contemporary Music Ensemble), she’s helped bring to life some of the most revered works of modern classical music, and as a solo artist has developed a distinctive compositional approach - improvising and layering her instrument through loops and a chain of electronic effects to open out a series of rich, drone-based sound fields. Forging a very elegant and precise vision, her music has been described by Self-Titled as “incredibly powerful neo-classical pieces that seem to come straight from another astral plane” and by Boomkat as “languorously void-touching ideas, scaling and sustaining a sublime tension”.

The experience of repetition as death

Clarice Jensen - Holy Mother

Eartheater - Below the Clavicle
Format: DL
Cat.No. PAN 112S
Release Date: 5 May 2020 
Purchase/stream: pan.lnk.to/Clavicle
@alex-drewchin

Eartheater unveils a new single, “Below The Clavicle.” It is her first release for PAN since her 2018 album IRISIRI.

Eartheater shares the following about the track: “I wrote ‘Below the Clavicle’ when I was waiting to understand more about a situation before talking about it — when the meaning was still below the clavicle and hadn’t made it up to my head yet. The understanding was still underground — forging in my heart and gut. In my upcoming album, I thought a lot about lava and volcanoes and the formation of stone and mountains.”

Written and arranged by Eartheater
Produced by Eartheater
Guitar performed by Eartheater
Harp performed by Marilu Donovan
Chamber arrangements performed by the Ensemble de Cámara CSMA:
Cello - Laura Sorribas
Violin I - Belén Pérez
Violin II - Celia Álvarez
Flute I - María del Barrio
Flute II - Ana Navarro
Recorded by Eartheater and Santiago Latorre at Etopia in Zaragoza Spain
Mixed by Kiri Stensby
Mastered by Heba Kadry
Art Direction by Eartheater and Daniel Sannwald
Photography by Daniel Sannwald
Special Thanks to FUGA

Eartheater - Below The Clavicle (PAN 112)

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.

MFM Mix 023: Jonah Sharp

FatCat Records is a British independent record label founded in 1997.

Clarice Jensen - Holy Mother

FatCat Records

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