This bit got me like Jamal at a foam shop

Taken from 'The Zenmenn and John Moods - Hidden Gem' (MFM060)
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Hidden Gem

Everytime

B3. Everytime (8:03)

Ordinary Time

B2. Ordinary Time (5:45)

Fantasy Again

B1. Fantasy Again (6:52)

The Invisible Landscape

A3. The Invisible Landscape (10:09)

Into The Heart Of The Matter

A2. Into The Heart Of The Matter (6:06)

Out Of My Mind

A1. Out Of My Mind (6:31)

Mix was cut short due to technical issues.  Uploaded anyway...

01 Lucky Jase - Feb 2014 Mix

Please meet London based DJ and producer, former Cafe Del Mar resident, and our long time close friend Phil Mison (@cantomamusic). Interview (excerpt) down below.

www.musicfrommemory.com

MFM: Hi Phil, many know you as one of the DJ's who has played all the best sunset spots across the globe. How did your summer look this year, still been scoring sunsets here and there?

PM: My summer was great. I travelled to Amsterdam, Cork, Copenhagen and Barcelona and had some nice gigs in the UK. My friend Deke has opened a bar on the seafront in Margate, you get pretty epic sunsets down there. I played a few records one evening and managed to fit in a few old cafe classics as the sun disappeared into the sea. 

MFM: Please tell us a bit about how it all started for you?

PM: I grew up in the 70’s, so there were quite a few different influences. David Bowie ‘Life On Mars’ was an early memory, and I was obsessed with Blondie. Parallel lines was the first album I bought. Later it was Northern Soul, Electro, nothing really that mellow! In 87 I met a couple of people who were really into House. I started going to groove records in soho to buy records like Adonis - No Way Back, Ten City - Devotion. Then as 88 rolled around I got into the more Balearic side of things. Later in 89 I’d pop into Reckless Records for second hand stuff and started to browse the New Age section where I got things like Kitaro  ‘Tunhuang’ and Paul Greaver ‘Joy’. Those records were the starting point really. 

MFM: DJing in clubs to make people dance never really attracted you?

PM: I’d say pretty much most of my DJing has been in clubs. I started at the Milk Bar in Soho in 1992 after giving Darren Emerson a tape. Even though I was doing the warm up and playing mellow stuff at the beginning, you had to build it up to a full dance floor by the end. In 1996 and 2000 I was the tour DJ for Lefttfield, playing in front of 1000 odd people. ‘Just get it going before we come on!’ Alongside Ross Allen and Rob Da Bank, I was resident at Bar Rhumba for our Next Level night in 1997. It lasted a year and we opened with Harvey and closed with Andrew Weatherall. I Have to mention Moonboots and Jason Boardman’s night Aficionado too. I always enjoyed playing to a dancefloor there, they’ve kept the Balearic flag flying since 1998. 

MFM: At what point did you got into making music on your own? 

PM: I’d worked on a project for Kenneth Bager in 1994. Then later on he started his Music For Dreams Label, and asked me if I would be interested in making an album.  So the first Cantoma album was started in Copenhagen in 1999, and finished in London in 2003. 

MFM: How do you come up with a new song, is there a certain Phil Mison way to it? Do you write the parts for the musicians?

PM: It usually starts with an idea that pops into my head. Sometimes a memory or travelling will get a melody going, and I’ll sometimes hum it into my phone and use that as a starting point. Ive worked with Engineer/Producer Robin Twelftree on all the Cantoma albums. I’ll go into Robin’s studio and usually start with some basic keyboards, then I’ll play a bassline in. I’ll take the demos away and think about what would work on the tracks. For some musicians the music is written down. Ive worked with Robin Lee from Faze Action on a few Cantoma tunes, and he usually transcribes my basic melodies onto sheet music. Other times I’ll play the melodies on a keyboard or hum the tunes for the musicians to follow along to. On some tracks I’ll write the lyrics too and get a singer to record on a track. There’s a lot of going back and forth until I’m happy with the final cut. The music rarely ends up sounding like the first version.

MFM: Making a mix must have been a piece of cake for you :) What is this mix like?

PM: I went back through my 92-94 selection and picked a selection of the lesser played records. Memories of magic times at the Milk Bar and warm summer evenings at the Cafe del mar.

MFM Mix 044: Phil Mison

It's a real pleasure to welcome highly respected and experienced musical selector, DJ, radio host and curator Colleen 'Cosmo' Murphy (@colleen-cosmo-murphy) with a special 'audio yoga mix' to our series. Interview (excerpt) down below.

www.musicfrommemory.com

MFM: Hi Colleen, thanks for sharing your thoughts and music with us. Hosting your weekly online radio shows, making plenty mixes for several outlets, DJing clubs and festivals... How do you keep motivated and inspired?

CM: Sharing music has been focal to my life since I was a teenager hosting shows on our 10-watt high school radio station and working in a record shop after school. Turning people onto new tunes and artists gives me immense joy and courses throughout every aspect of my vocation. I’m a communicator at heart. That’s balanced with the more internalized creativity of music productions and remixes. Being in the studio and playing with ideas and sounds is very focusing and the rest of the world seems to fall away. It’s therapeutic. And playing records as a DJ or musical host is like a lively musical conversation in which I draw energy from the dancers and give it back in turn. A great party is a collective creation. Throughout all of my endeavours I try to impart the life energy of music, a healing and motivational force that inspires me every day.

MFM: In a time and place where the context of a DJ seems to have changed over decades, do you feel your “classic” approach of DJing gives you an advantage in keeping relevant and reaching a crowd?

CM: It's important to have your own point of difference. I have never been a ‘cookie-cutter’ type DJ and used to struggle with the idea that I didn’t fit in. But then I recognized that all the different aspects of my vocation had one thing in common – myself. Once I integrated everything and became more holistic in my approach, I felt happier and more confident. Being authentic to oneself is first and foremost and then it is up to others to decide whether or not they like your creative output. You can’t please everybody, but you have to try to please yourself otherwise there is no point. I get immense pleasure in what I do and hope that it brings joy to others. I do have a classic approach to DJ-ing but I’m also always looking for new sounds that resonate. I also admire other DJs styles even if it’s quite different to my own. There’s room for everyone.

MFM: You're a DJ who encourages the listener to open up and really listen to music, its definitions, context and aesthetics. Probably one of the foremost reasons why you tend to let a song run from beginning till end. With such strong values, what's your view on the modern way of “consuming” music?

CM: There are many different ways to enjoy music and none are the wrong way. Any experience of music is good. When I started Classic Album Sundays in 2010, it was a response to music only being ‘consumed’ rather than experienced and I wanted to share the way the I often listen to music with others to provide an alternative. At that time, we were in the midst of shuffle culture and the almighty MP3 and whilst both have their place, it shouldn’t be the end-all experience. When people come to a Classic Album Sundays event and hear the subtleties and nuances of an entire album played without interruption, on one of the world’s best sound systems and in a communal setting, they experience music in a different way and most find it transformative. But listening to music in a car or dancing to a DJ who scratches and cuts up songs can also be inspirational. I can only try to offer what is authentic from me.

MFM Mix 045: Colleen 'Cosmo' Murphy

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01 Lucky Jase - Feb 2014 Mix

Lucky Jase

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