Music from Memory

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

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

Taken from 'Dead Sound - Into The Void' (MFM069)
Buy Vinyl: https://www.musicfrommemory.com/
Buy Digital: https://music-from-memory.bandcamp.com/
© 2024 Music From Memory

Into The Void

Illusion

A2. Dead Sound - Illusion

From Japan here's producer, DJ and friend of the label Kunyuki Takahashi (@kuniyuki-takahashi) with a special recording of his live set during Rainbow Disco Club this year 2024. Interview (excerpt) down below.

www.musicfrommemory.com

MFM: Hey Kuni. What was growing up in Sapporo like, being quite remote from the other major cities in Japan? Via what channels/media/ways did you learn about music, art, etc? 

KT: Tokyo is most biggest scene about culture and music, but I was really looking for more out of Japan. Sapporo is more slow. I was just into music when I was teenager so everydays looking interesting music, because around 80's was crazy it' like big bung for music. My friends and i also really looking for PUNK, Industrial music, Ambient music, also of cause electric music as well at that time. It was just our like networks and channels for connect to other essence from each one. You know Teenager No need mainstream, no need TV show just believe to get some good one  from friends!

MFM: Your sound overall has a very 'organic' and 'spiritual' touch. Where does this come from? Who and what were/are your inspirations?  

KT: Both of feeling is definitely I need and my favorite things about when I touch instruments because it's nice to connect into music. So many instruments has lot's of colors so it's my inspirations come from. But to be honest i'm really bad to playing instruments....

MFM: That is debatable, haha. Where did you actually learn to play all those instruments, like the conga's and flute?

KT: I learnt about percussion and congas by listening to African music, and in the 90s I spent a lot of time with these. I used to listen to Peter Gabriel's Realworld record series so it's my teacher of  music! There are flute-like instruments in synthesizers and music workstations, but when I tried to use flute sounds by Synth, I couldn't feel spiritual, so I decided to try my hand at it. There is so much spiritual real instruments.

MFM: Your contribution is a recording of your live show at Rainbow Disco Club in Japan this year 2024. What can you tell us about the show? For those who had to miss it, maybe you can describe the setting a bit?

KT: Yes it was from My good friend Masa From Rainbow disco club.
I've been joined Rainbow disco club many times and always did a Dance set but he Told me “could you play live show like your album from Music from memory For RDC2024?”, and I was say “YES I would love to and if we can do then I want to do proper Music from memory live set.” So it was so exciting. Because these music from MFM was very special. It was morning time, there is nature and birds singing, and I was joined with my like bird whistle, feel windows, relaxing people waiting before making dance time. I re-created all sound patterns so it was so fun like should do make Tape sound like bit noise sound, more retro sound. Also I really remembered about what I used different Chords before in the 80's and 90's!

MFM: Your live shows seem to be improvisation based, very playful. As if you're jamming in the studio. Does playing live differ much to you from working in the studio?

KT: Yes I love like improvisations when doing live show. I'm always thinking about each party is totally different energy from music lovers. I love to get something good happen with music lovers, and yes it's totally different with Studio works. Prepare for live set also needs time and skills, so i always try to do at my studio for what can happen at the live show.

MFM Mix 052: Kuniyuki Takahashi

Taken from 'H.A.N.K. - The Big Melt' (SC021)
Buy Vinyl: https://www.musicfrommemory.com/
Buy Digital: https://music-from-memory.bandcamp.com/
© 2024 Second Circle

The Big Melt

Cruise

A1. H.A.N.K. - Cruise

Taken from 'Loradeniz - SUN SHONE' (MFM075)
Buy Vinyl: https://www.musicfrommemory.com/
Buy Digital: https://music-from-memory.bandcamp.com/
© 2025 Music From Memory

A3. Loradeniz - Brick House

Mutant Radio (Tbilisi, GE) monthly residency, episode #47, May '25. A somewhat misty heartbroken-versus-hopeful two hour by returning friend of the show McBain (Ghent, BE) and host Jouko. Vice versa for the return, so it's the Midnight Vultures captain guiding us through the second hour of the show this time! Music by Noir Boy George, Pittori Locali, Forma Norte and Pretty V, among others.

@brecht-van-dingenen

Mutant Radio - Inner Overtones w/ Jouko & McBain [27.05.2025]

First thing on Fridays - Jack Rollo's here to take care of things.  
Find the full tracklist and related episodes on NTS: https://www.nts.live/shows/early-bird-show-jack-rollo/episodes/early-bird-show-jack-rollo-13th-june-2025

The Early Bird Show w/ Jack Rollo & Andre Pahl 130625

Live from Echobox Radio HQ, providing the Thursday afternoon soundtrack. Monthly residency, 62nd episode, June '25. Music by Al D, Carmike and DJ Screw, among others.

Circus Underwater #62 w/ Jouko [Echobox Radio]

First thing on Fridays - Jack Rollo's here to take care of things.  
Find the full tracklist and related episodes on NTS: https://www.nts.live/shows/early-bird-show-jack-rollo/episodes/early-bird-show-jack-rollo-4th-july-2025

The Early Bird Show w/ Jack Rollo 040725

| CLOSE COMFORTS | w/ D Grade & Con Pani | E3

Philipp Otterbach is a German artist, DJ, and electronic music producer known for his experimental and atmospheric approach to sound.
His musical journey began in the underground scene of Düsseldorf, where he became involved with the influential club Salon des Amateurs—a space recognized for its avant-garde take on club music. It was there that Otterbach developed his distinct style, one that prioritizes emotional storytelling over conventional dancefloor functionality.
His productions often feature analog synths, field recordings, guitars, primal percussion, and ambient effects, forming dense and cinematic sound collages. Listening to his work feels like entering a sonic dreamscape—rich in mood, memory, and quiet tension. There's a strong narrative quality to his music, as if each track were part of an imaginary film score.

| EPISODE 223 | Philipp Otterbach

"an exploration of humid sounds for wet ears"

🌐 "Outsiders" is our daily show hosted by labels, collectives, agencies, venues, clubs, ... worldwide
📡 Connect with the Outsiders, every day, at 9 am or 9 pm CET
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Outsiders: k means @ Kiosk Radio 19.08.2025

Living Room n°88 ~ @user-195275547

q. pls introduce yourself…
Hello, we are forest.exe (Sven and Silvan). We run a label that focuses on ambient, avant-garde and experimental music. It is called Jurassic Ambient Records. The name is inspired by the Jura forests in Switzerland, where we live and grew up. We create our own mixes and also release guest mixes as well as music from friends and anyone interested. We started about four years ago. Over time, we gradually moved away from technoid sounds and club culture, and began experimenting and mixing together within the genres of ambient, experimental and drone, where we felt more at home. For us, it is essential to connect music with the wellbeing in nature, which is also the origin of everything.

q. is there a story behind the mix?
This time we created the mix with Ableton in Sven’s home studio, nestled near the Jurassic forest — not, as we usually do, in a rehearsal room with a Pioneer setup. It was a warm and luminous day at the very beginning of summer. Surrounded by nature, we let the atmosphere guide us, working spontaneously and intuitively. Instead of CDJs, we wanted to explore a new approach, giving ourselves more time and space to shape the flow. This allowed us to engage more deeply with each track and to sculpt the transitions with greater precision.
The result is a mix that feels reduced and calming, almost dreamlike, yet still carries a quiet strength. It mirrors the uncertainties and concerns we feel about the world, and the question of how we might navigate through them. We dedicated an entire day to the process, with pauses, a few beers, and long conversations about the value of music and the character we wanted this mix to embody.

q. what’s the best way to enjoy your mix?
Step into the forest, put on your headphones, leave the world behind and sink into natural, calming sounds. You might wander along the paths and lose yourself in the embrace of nature, or sit quietly on a tree stump, listening to the mix while observing the subtle life unfolding around you. This is, in essence, what our name forest.exe is meant to evoke.

q. describe a favourite object in your living room...
Silvan: My favourite object in my living room is a handmade ceramic piece with an organic, natural design. I discovered it in Krakow last year during my visit to the Unsound Festival.
Sven: Hehe… epic indeed. My favorite object in my living room is a triptych of three Japanese woodblock prints. In the first, several farmers brandishing katanas burst forth with fierce cries. In the second, a lone farmer leaps dramatically over a waterfall, sword in hand. And in the third, a bear flees from the oncoming attackers. The imagery is raw and powerful, yet strangely inspiring. I don’t know the artist or when the pieces were created — but stumbling upon them in an antique shop felt like a stroke of fortune, as if they had been waiting there for me.

q. are you working on any projects right now (music or not music)?
We are both working on new music, though it often takes a lot of time — which can be challenging, since we both work more or less full-time as social workers, and Sven also has children. Still, we meet regularly to create ambient mixes, discuss musical developments, and continue shaping our vision for the label. Through it, we keep releasing new mixes as well as music (EPs) from ourselves and from other artists.
What we love is that this project has been with us for quite some time, and we can move at our own pace — deciding how much energy to put in, or when to slow things down. That way, it never becomes stressful, because we are not chasing success, but rather sharing our musical principles and offering others a fresh listening experience. We are also searching for a spot in the forest where we can record outdoor mixes, letting nature inspire our music even more directly.

Living Room n°88 ~ forest.exe

The aim of "RELIEF" is to bring together different music genres and sound textures, to explore notions of (a)synchronicities and flow, the dynamic potentialities of the one-hour mix format, to create a narrative that is literally in relief. Considering “errors” as opportunities, RELIEF navigates between poetry, experimental music, field recording and the dancefloor. RELIEF plays on the two meanings of the word relief in French and English: on the one hand, relief is that which stands out from a surface - the sound wave being like a landscape - and on the other, it is a feeling of relaxation after great stress.

RELIEF w/ Céline Gillain @ Kiosk Radio 27.08.2025

https://cosmicleaf.gr/releases/546/afterburner-trilogy
https://cosmicleaf.bandcamp.com/follow_me
https://www.patreon.com/cosmicleaf
https://cosmicleaf.gr/playlists
https://cosmicleaf.gr/tag/63/free-download/releases


Check our playlist:
Psychill Blossom 🌸 Псайчил / псайбиент / Psybient
https://www.submithub.com/link/psychillblossom
Psychill Blossom is a vibrant journey through psychedelic chillout, psybient, and downtempo soundscapes. Blending ethereal melodies and deep grooves. Let the music guide you beyond the ordinary. #Psychill #Downtempo #Psybient

Maluns - Afterburner Trilogy -  First Boost (Sephira Remix)

PLEASE DON'T SEND DEMOS

www.musicfrommemory.com

Amsterdam based record label releasing visionary electronic music from both past and present.

Sublabel: @secondcircle

A3. Loradeniz - Brick House

Music From Memory

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