The Path of Least Existence. Illbient, Post-Industrial Dub, and Dark Downtempo w/ Thomzilla from Zillas On Acid.

The Path of Least Existence w/ Thomzilla - June 2025

Residency show broadcasted live at Radio Tempo Não Pára (19.07.2025)

Artist: @andrea_ida

could be us, but u're human w/ andrea ida @ Radio TNP 19.07.2025

Live from Berlin: Cosmo Vitelli is at the studio!

Exploring the fringes betwixt indie/prog-rock-infused melodic soundscapes and daringly off-kilter electronics, French disc jockey and producer Cosmo Vitelli's name has become synonymous with deep, no-holds-barred forays into uncharted territories and full body-&-soul sonic immersion. Schooled by the sound of guitars, it’s when confronted to a 4-track tape recorder that young Cosmo experienced an epiphany, which resulted in him dabbling in production as French Touch was soaring towards worldwide popular acclaim. Released in 1998, his eponymous debut for Etienne de Crécy’s Disques Solid launched his career, soon followed by an array of extended players and remixes that established him as one of the spearheads of the French electronic scene on an international scale.
 
Taking a sharp turn back to the leftfield after a ruthless stint in the arcane world of the majors, Cosmo Vitelli created his record label I’m a Cliché in 2004. Always a step ahead of his time and contemporaries, the Frenchman’s made it his signature to scout artists on the rise - Simian Mobile Disco, Azari & III, Yuksek, Moscoman, Red Axes to name but a few - offering them bespoke support and assistance to climb the ladder towards wider recognition. In parallel to his label-running venture, Cosmo went back to the basics with Bot’Ox, his joint project with Tekel’s Julien Briffaz. Merging alternative pop harmonics with a rock sensibility of varying scale and synth-heavy precision mechanics, the duo’s graced the grooves of labels as diverse and highly regarded as DFA and DC Recordings, eventually landing a gig at the legendary Olympia in Paris.
 
Now working from his Berlin studio, Cosmo Vitelli immerses himself in the heart of the vibrant European electronic music scene. Over recent years, he has left his mark with noteworthy releases and remixes on labels such as I’m a Cliché, Edit Service, Les Disques de la Mort. Among his standout releases are the two EPs 'Holiday In Panikstrasse' on Malka Tuti. Rather than conforming to formulaic and DJ-friendly beats, Cosmo's focus is on sound, deeply immersing himself in production, working towards aesthetic unity in each release, and refining his craft with each new record. 
 
In 2020, he curated a triple-LP VA compilation entitled 'Bongo Beats & Bankruptcy: The Sound of I’m A Cliché', released during the peak of European lockdowns, before releasing another EP under his name, 'As She Rolled Another’.
 
In 2022 he finally delivered his third album, 'Medhead', featuring eight cuts, five of them with vocalist Truus de Groot from the Dutch new/no-wave outfit Plus Instruments, 'Medhead' saw Cosmo liberated from conventional confines and arbitrary labels, effortlessly traversing various genres—from slow-drip kraut to intoxicating disco, murky motel-pop, neo-kosmische, hip-hop, industrial, and revamped indie-rock elements. This was followed the next year by an album of Medhead remixes by up-and-coming and well-established producers, including Krikor, Froid Dub or Khidja's Andrei Rusu.
 
In 2024, Cosmo Vitelli will have a busy year with the release of two collaborative albums. 
'Dopamine Dreams', set for release in March, renews his creative partnership with Truus de Groot, through a full collaboration authored equally by both artists. The dream-like soundscapes, enhanced by de Groot's vocals, evoke moods reminiscent of the 70s and 80s, with a timeless, debonair, and almost sardonic attitude. The next step in Cosmo Vitelli’s focus on high production values, Dopamine Dreams invites listeners to delve into its melodic and emotional depths.
 
This will be followed in September 2024 by a brand new album created with his Bot’Ox partner in crime Julien Briffaz after the project was left on standby for almost a decade.

Cosmo Vitelli [26.08.25]

'Mani' #13 w/ Prins Emanuel 2025-09-10 @ Lyl Radio

“We slowly rot” was originally a tag that Front de Cadeaux found on a chair in the botanic garden in Rome. It refers to the necessary and permanent epistemological breakdown that music creation and its evolution requires. The show is helmed by Dj Athome.

We Slowly Rot w/ DJ Athome @ Kiosk Radio 19.09.2025

Live from our Berlin studio with Paesaggi Takeover:
first one is Andrea Ida

Originally from Ottakring (Vienna) is a graphic designer and vinyl devotee. Recently relocated to Berlin, we love her musical choices spacing between wide spectrum of genres, atmospheres and moods - matching wonderfully with Paesaggi’s approach to sonic entertainment.

Paesaggi Takeover - Andrea Ida [24.09.25]

Last hour from Neukölln: electric evelyn on the decks!

electric evelyn [15.10.25]

Up next in the series is Johnny Sais Quoi (@johnny_sait_quoi) who just released his dancefloor-focused pop debut album 'Love On Ice' with us last month. Interview (excerpt) below.

www.musicfrommemory.com

MFM: So, who is Johnny Sais Quoi and where does he (and it's name) come from?

JSQ: Johnny Sais Quoi is my new French identity, I felt that France needed another Johnny after the passing of Hallyday. I live in Marseille now, but I’m from the UK.

MFM: Your debut LP 'Love On Ice' just got released a few weeks ago. Do you remember the first
steps or moment that eventually led to it becoming a full record?

JSQ: Not so much.. I write quite consistently, so they were made over a long period of time. During that period I was trying to find my ‘sound’ and trying lots of new ideas, so I suppose it was when I had enough tracks that I could make a selection that felt good to me.

MFM: The music on the LP somewhat reminds to the sound of the '80s, like New Wave, Pop and Italo but with it's own new identity. Would you agree? In what way did the '80s have an influence on you as an artist?

JSQ: Yeah I love 80s music. I love the production, emotion and romance of it, it’s always been such an inspiration for me musically and culturally. I love how the production seemed to go a bit crazy and people were really pushing the way music, even pop music, could sound. Also the advent of home recording and the seemingly endless supply of people at home who were trying to be their own variation of Wham! or Depeche Mode. These days I’m really interested in finding ways to borrow from this epoch but still sound contemporary. I find that hard sometimes, but always more rewarding.

MFM: Although the music is all yours, it's easy to imagine a full band on stage. Do you have a
background in playing in bands? And do you have any desire to bring it out on stage at one point, alone or with band?

JSQ: I started playing bass when I was 12 and then in bands from around 18. My history in bands was short and I miss it - I would love to join a band to play bass or synths or drums. Then I was part of a duo with my brother, we had a band for a while but now it’s just me. I’m beginning to work on the live show for this project which I’ll do alone to begin with, then maybe bring in some other instruments as I go, we’ll see.

MFM: Does writing new music come easy to you or...? What comes first, the instrumental part or the lyrics?

JSQ: I say that I’m working on the live show but in reality every time I try to work on it I end up making new songs. Making the music often comes very easy and is normally first. I’ve realised recently that writing lyrics is a very different process for me - the instrumental often comes very fast and I work fast, but I often forget that I need to slow down and work in a different way for the lyrics. I’m still learning how I work.

MFM: Tell us about your mix!

JSQ: I made it in Bretagne whilst I was doing some work there this summer, in the peace of the countryside. I wanted it to be a wide mix of things that I’ve listened to since I wrote Love on Ice. New inspirations and some classics, maybe a taste of what’s to come next. 

MFM Mix 056: Johnny Sais Quoi

build or modified this one and only bass uke to safe money and only got little room for maybe even a shortscale bass... a very good match with my other concert uke

build a bass 🫠 part 3

TheseWeirdDrops

Rough Bass Drums with solos and random noises

Philadelphia-based label, Internet radio and streaming A/V sessions. We document the grit. 

Label Catalogue [digi available for all releases via Bandcamp]
GRCR-001 - Jason Carr - Athletic [12"]
GRCR-002 - Tony G - Tous la Part le Même Sort [12"]
GRCR-003 - _moonraker - m_type [12"]
GRCR-004 - _moonraker  - remota instruere [12"]
GRCR-005 - Westov Temple - Messiah Drugs [12"]
GRCR-006 - Dan Trevitt - The Missing [12"]
GRCR-007 - Dan Trevitt / Westov Temple  - 2.2 mi [12"]
GRCR-008 - M//R - Gathering Response Data [12"]
GRCR-009 - Chaperone - P O N D [12"]
GRCR-010 - Mid-Atlantic Death [2x12" label comp] 
GRCR-011 - WOLF DEM - Hydrophobia [12"]
GRCR-012 - THRIVE - Nested Structure [12"]
GRCR-013 - Prefix Moniker  - Plasmas [LP]
GRCR-014 - Chaperone  - Snapback Balaclava [12"] 
GRCR-015 - M//R - Among The Methods [LP] 
GRCR-016 - Heckadecimal - Murder Tape  [12"]
GRCR-017 - Radere - I Do Not Want What I Have [LP]
GRCR-017R - Radere - I Do Not Want What I Have Remixes [DIGI]
GRCR-018 - M//R - Forever Intended [DIGI]
GRCR-019 - WOLF DEM - Chatter From A Dying Planet [DIGI]
GRCR-020 - Westov Temple - What's Left [DIGI]
GRCR-021 - M//R - Slo Cerebral [Cassette]
GRCR-022 - Chaperone / WOLF DEM - Live August 14, 2021 [Cassette]
GRCR-023 - Grant Bouvier & Simon Martinez - Live at Passages [Cassette]

The Path of Least Existence w/ Thomzilla - June 2025

Great Circles