holy shit so smooth, NEED an ID here plz!

💆‍♀️💆‍♀️💆‍♀️💆‍♀️💆‍♀️

2 breezy hours for episode 8 of Planet Trip radio delivered by the Eternal Love & Nevena Jeremic. 

ID requests -
First Hour @eternalloveyt
Second Hour @nevena-jeremic

Planet Trip Radio - Skylab Ep 8 - Eternal Love & Nevena Jeremic

Our new captains are the Customs lads, sailing from London and navigating through a sea of lover soul, g-funk and garage house. 

Get in, sip your gin and juice, and enjoy the cruise !

@customs_ldn

Cruisin' with... Customs

Long time pal and driving force behind Invisible City it's Gary Abugan (@invisible-city) from Canada serving up the 29th mix in the series. Interview (excerpt) down below.

www.musicfrommemory.com

MFM: Hey Gary. How's life in Toronto today? Did you manage to do some more gardening? :)

IC: We have a really nice garden in front of the shop and also at home in my backyard, both get some nice sun and shade and are where I spend all my time. So yes, gardening everyday ;)

MFM: (Before the pandemic hit) You've seen quite a few bits of the world by now while touring. How would you describe Toronto as a city if you had to promote it to the readers who haven't been there yet? 

IC: It’s summer here now in Toronto and we’re in the middle of a heatwave. We’re lucky to have an island with nice beaches as a nearby getaway via ferry. Toronto is a very large sprawling city compared to most European cities. Our multiculturalism definitely sets us apart. We have heaps of reggae and island music here along with lots of record shops, and the variety of food here can’t really be beat. I miss giving guided Invisible City tours of the city to any traveling DJs passing through.

MFM: Would you say it's a good place for an artist to be, whether being a young upcoming talent or professional and all in between?  

IC: Sure you can make it here if you’re skilled/talented and not overbearing, the problem is that there isn’t that many music venues to play. Between the crazy expensive visa you need to play the USA and the costs of flights to Europe, we are kind of isolated musically. Rent is crazy expensive here and most artists have another job, but I’m not sure if Toronto makes it specifically harder or easier compared to other cities. 

MFM: People may know you as the driving force behind Invisible City, the record store and label. How much time do you spend with the one compared to the other? 

IC: I would say pre-Covid more focus was on the shop and getting that to a sustainable level and stocking the store. We didn’t even have a sign for years until recently. During Covid, when the shop was closed for about a year and a half, a lot of focus was on development and signing artists paying advances and getting back into production. I learned alot about Music Publishing too… Laura helps me a lot with organizing everything, label and shop, I would be lost without her.

MFM: Looking back on running a record store and label for over 10 years now, what would you say are some key changes that took place over time?

Back then there were not that many reissue labels and it wasn’t as competitive or extensive, now everyone has a reissue label. I only wanted to put out records that I was strongly connected to or somehow found on a whim. If someone showed me a record, I would ask them if they were planning on reissuing it, now people just go ahead. It’s crazy how many reissues there are so it’s challenging now as a label to dig even deeper. The record shop also was really niche and specialized in the past and now there’s just more in each genre. It’s still pretty curated, but I am finding that I didn’t know a lot of good common records, so we like having “high end cheapos”. I like that most people can just come off the street and buy records now, although we still have some niche stuff too. It feels overall more balanced and varied and for the people.

MFM: The label seems to run at a nice and slow pace. Is it on purpose to not have a heavy and steady output? 

IC: I like to only do a couple records a year, it’s only me and Laura who do it all and it takes me ages to figure out artwork, I’m very picky. The shop, DJing, and occasionally throwing parties also takes up a lot of our time. We always have a lot on the go. I also like to focus on one or two artists at a time, but also it costs a lot of money to make a record! Now things are totally slowed down and our plant says I can’t get pressings out till next March!

MFM Mix 029: Invisible City

A previous guest of honor at H.A.N.D. as we debuted the series with a recording of his first class workings at Have A Nice Day a few years back - Piers Harrison presents us with yet another generous offering to our new mix series. One of the minds at Test pressing and 1/4 of team Soft Rocks, Piers' insightful relationship with music and dance floor culture has clearly led to a discerning understanding in a wide range of genres - kindly displayed in this pleasant excursion - listen carefully :)
@soft-rocks

Sound Metaphors Mix Series 04 : Piers Harrison

The final 162 mins of a session in which it’s fair to say both the DJs - and perhaps the crowd - had been afflicted by Saturday Night Fever. Recorded live at Brilliant Corners on 02/04/22 (which was a Saturday).

What's Good? w/ Customs (Disco Special)

June Jams 2017 ( Guestmix - DJ Vegetable  )

Ahead of Outro Tempo II close friend John Gómez (@johngomezldn) contributes to the MFM Mix Series with this wonderfully soothing second episode titled Spring Awakening (photo credit: @marionavilaros). Q&A here below.

www.musicfrommemory.com

MFM: Hey John! So, before we talk about the present and future let's briefly flash back. How do you look back on the first Outro Tempo compilation? It seems that it has opened up quite a lot of ears and doors, do you think it had the same impact in Europe as it did in Brazil?

JG: It had different sorts of impacts, in the sense that in Europe Outro Tempo was very much an introduction to a world of music most of us didn’t know about, but in Brazil it offered an alternative take on its own musical history. It generated a lot of interest in that period – I mean, you can see how many reissues of music with a similar sound have come out in the past two years. I was amazed at how much it resonated in Brazil: I still get emails, occasionally from quite prominent musicians and journalists, thanking me for my work promoting Brazilian music. I never could have expected that kind of response and, to answer your first question, on a personal level Outro Tempo generated a lot of good will for me in Brazil. 

MFM: Outro Tempo II the full compilation will be out in May but first there's the Single Promocional teaser EP, containing 2 exclusive tracks. How did you decide these 2 tracks had to be on it? Do they connect both the compilations in one way or another?

JG: Yes, naturally they connect, as two of the members from Bruhahá Babélico were in another group that features on the compilation and were part of the São Paulo scene. The idea for the EP came from being blown away by the incredible Babélico II when I first heard it. It was actually a 26 minute jam that was recorded directly to cassette and it would have been difficult to release in its original form. I edited the music in a way that was true to the original, but as it was taken from cassette it had very different sonic qualities to the rest of the music on the compilation. I felt this would interrupt the overall flow of the comp, so I thought it would be a nice idea to release it independently as a teaser EP. It’s totally bonkers and I’m thrilled that people seem as excited by the track as I am! 

MFM: Would you say Outro Tempo II is the logical or natural follow up to its predecessor, does it really continue where the first left off?

JG: Initially I didn’t really want to do a follow up. I thought there was no point in just compiling the tunes that didn’t make it on to the first. But eventually I distanced myself enough from the compilation to see another narrative emerging in Brazilian music of the time. There are points of intersection but it feels like an evolution from the first, moving in a different direction towards the experimental soul of Brazil’s gigantic cities and the relationship developed with new influences from outside. 

MFM: So, thanks for contributing to our new mix series! When we first asked, you said about maybe doing a more 'chilled' mix. Did you have a specific purpose in mind with that? 

JG: I just wanted to record something less functional and self-promoting than the hundreds of dance mixes that are uploaded each week. Last year I did an RA mix and a Beats In Space but it feels like ages since I’ve simply put together some nice songs. I like saving my dancefloor tunes for the dancefloor as I think they lose some of their magic or impact if they’ve been heard many times before. This is definitely not geared towards the dancefloor: it is deep music for listening and features outsider folk from North Carolina and the Basque country, fusion from Mexico and Argentina, cosmic sounds from Martinique and Nigeria, and hypnotic rhythms from Brazil, with a little nod to Outro Tempo II.

MFM Mix 002: John Gómez

Music that keeps company. Recorded at home, March 2020.

@johngomezldn

Reencuentros

Hailing from Zurich here's Zukunft resident and Phantom Island man Kejeblos (@kejeblos) serving the 15th MFM mix. Interview (excerpt) down below.

www.musicfrommemory.com

MFM: Hi Michael, welcome to the series. How are you holding up during these pandemic times?

K: Actually very well, thank you! I’m spending more time with my son than I usually do and I’m getting better at cooking. Besides that we are preparing some new releases for Phantom Island and I’m helping to keep the record store (Hum Records) I work at alive.

MFM: So the internet says you're a man of big taste and that you could write a doctoral thesis about the art of record digging. Can you take us back a little to where and when all that comes from?

K: First I have to thank Bjorn Schaeffner for those kind words. I was interested in music from a young age, but the record digging really started after I moved to Zurich. Here I was exposed to a lot of great record stores and I took an obvious route from House to Disco and got into it deeper and deeper. Lexx was definitely an important figure for me. He was working at a record store called Zero Zero and I was hanging out there a lot. And through that our friendship grew. At one point he invited me to join him to go t a warehouse that was connected to Zero Zero and housed half a million records. After that first visit I definitely spent a lot of time there and everything took its course.

MFM: Zurich is not particularly known for having a vibrant music scene and it's fairly remote from the cities that are. How did you get your fix as a big music appreciator pre-internet? 

K: I grew up in Liechtenstein and went to school in Feldkirch, Austria. Feldkirch is a small city, but there was a bar called Stone Club where you could listen to proper house and techno. I guess that brought me on the right track and sparked my interest. That’s also where I started djing and learned a lot about it before I was introduced to the Zurich club scene. Anyway, I guess I’m not a music appreciator pre-internet as I’m not that old :) But it was still different back then for sure. I was exposed to all the certified classics before getting deeper into more obscure music from there.

MFM: You're kinda connected to club Zukunft, correct? 

K: Yes, that is correct. That started through Lexx as well. He invited me to play there in 2008 and it really meant a lot to me. I used to visit the club regularly and it was always a dream to play there and it still is. For me it has been Zurich’s best club since it opened its doors and it still is after all these years. First and foremost because of always sticking with quality music. But another key factor is probably the diverse group of people who run the place.

MFM: At what point did you get involved in music production? 

K: Some of my old friends from Liechtenstein who also live in Zurich have been producing for a long time. I always hung out at their flat and out of this we formed Wavetest – but I always saw myself as the DJ in that group and still do. Unlike the others I’m not a trained musician. After some time we started to share a studio with Tobi and Ron (Fuga Ronto) and one day, as Flo (Florin Büchel, CCO), and I were jamming suddenly I was kind of guiding the project. That’s how the first Kejeblos record started. Without Flo, Tobi, Sandro, David, Moritz and Lexx that record would never have happened. I learned more about production during and after this first release but I still see myself predominantly as a DJ. If I have an idea, I try to pursue it. But I’m not constantly thinking about making music. 

MFM: Thanks a lot for contributing a mix! What can you tell about it?

K: Thanks for having me! I wanted it to be a reflection of different influences which turned me into the DJ I am now. A mix which flows well and is not just about track IDs and unshazamable tunes. In the best case you want to listen to it more than once. Also there are some upcoming Phantom Island bits featured.

MFM Mix 015: Kejeblos

We had the pleasure to put together some of our old & new favorites for our dearest @gintonic-6 's DJ de Quartier mix series.

"Dive into the Other Side of Midnight and get to know the story of a Mystical Man in his Ocean of Dreams. Like Sorcery, there will be Bluebirds & Silhouette Calls... you'll get Lost in your Meditation Blues and eventually be Found, Star Dreamin’. This is An Attempt At Understanding Love (Pt's I, II, III, IV & V) on a Rare Summer Night..."

DL the mix and check other great DJs contributions here: https://stepasidemtl.com/

Painting by Linda & Norm.

DQ006 (Step Aside): Linda & Norm - Magic Jive mix

Recorded at home, October 2020.

@johngomezldn

Reencuentros Nº2

John Gómez

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