still social distancing

2021

2021_January_Favorite_Mixes

MFM MIX SERIES

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

From Oakland with love comes the 50th submission in the mix series comes by the hand of prolific producer and deejay Space Ghost (@space-ghost-1). Interview (excerpt) down below.

www.musicfrommemory.com 

MFM: Hey Sudi. How's life in California, what's been keeping you busy?

SG: Hey, not much! Just trying to enjoy the summer with friends and get in the studio when I can.

MFM: Looking at your discography it seems that you favor the LP over the EP format, having released well over a dozen albums. How come?

SG: I can’t say that I favor one over the other, just seems that as a musician you strive to write full length LPs. I enjoy LPs for home listening and it feels good to create a nice body of work that flows through a journey. Writing dance singles and eps are trickier for me. It feels harder to write 1-4 really good stand alone songs.

MFM: With such a prolific output, does writing music come easily to you? Can you tell us a bit about how you go about writing and recording, is there a certain flow or method?

SG: Hmm I wouldn’t necessarily say it comes comes easy but I’ve definitely gotten a lot better at getting ideas in my head out into my recordings. It’s still a process of getting into the studio and spending time on it. Sometimes I can spend a whole day or two just spinning my wheels and not being able to get my ideas out. But once I get that perfect dose of creativity and I’m in the right mood, then things can definitely start flowing out. When writing music I often need to start with a very specific idea based on a song I’m listening to at the time. It’s helpful for me to start out with that initial inspiration, whether some chords, style of drums, bassline or a tempo or something. Once I get a few elements working around that idea the song can start to morph and move in any direction, but I really need that specific direction to start. I find that I can often make a rudimentary idea fairly quickly this way and then if it’s inspiring me, I’ll start to try a little bit harder and flush out more of the idea.

MFM: How do you cope with not being inspired or motivated when in the studio?

SG: Honestly it can be a bummer to be in the studio and the ideas aren’t flowing. I’ll just have to step away and do something totally unrelated for a few days.

MFM: Your sound overall has a very soft and melodic touch. The mellow part may be from living close to the Pacific and nature, but where does the melodic part come from? Did you ever learn how to read and play notes?

SG: You know I’m really not sure if I can pinpoint my melodies and where they came from but ya I grew up taking music lessons of all sorts. Piano, drums, guitar, band class, all that stuff. I wasn’t the best at reading music, I learned basic stuff but eventually didn’t progress much farther. Now everything I do is by feel.

MFM: Is there some kind of masterplan for Space Ghost? Like, do you have certain goals to achieve or dreams to chase?

SG: I think my master plan would involve me getting to focus on writing music full time. Honestly I’m not really sure how to get there specifically, seems like everyone gets there on their own path so hopefully mine will end up there as well.

MFM: Tell us about the mix. How did you go about selecting and recording it? Does it have a certain theme or idea to it?

SG: I’ve been wanting to put out a nice lil ambient sort of electronic mix for awhile. Really soft deep introspective vibes. I’ve been holding on to a lot of these tunes for awhile and just listening to my playlist of ambient tunes while traveling or relaxing with friends. After coming back from my NZ/Australian tour, I was ready to play some non dance music for a sec and listen to some other stuff. This mix is just a nice break from DJing a party. I also really want to make an ambient album soon if I have the time, so there are a lot inspirations in this mix.

MFM Mix 050: Space Ghost

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

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

The MFM Mix series continues with Istanbul-born, Amsterdam-based multidisciplinary artist Deniz Omeroglu (@loradeniz), who released her debut album 'SUN SHONE' with us earlier this year. Interview (excerpt) down below.

www.musicfrommemory.com

MFM: Welcome to the series Deniz. Being from Turkey originally, what did your musical upbringing look like? 

LD: There was always music playing in our house - we even had speakers in the bathroom. My dad really enjoyed listening to music; he had an open mind and a great collection of CDs and records. It brought together Western influences, world music, and local sounds. That diversity really shaped my ears and sense of sound from early on. My brother played the piano, so classical music was also part of the atmosphere. I guess I grew up listening to almost everything except electronic dance music. That came into my life later - after graduating from the conservatory and going through my own personal rebellion. 

MFM: Comparing to West-Europe, where you live now, do you feel there's difference in how music plays a role culturally? 

LD: Totally. I think we, as a culture, tend to experience and express emotions more intensely - both internally and outwardly - compared to Northern European countries. So you can often feel that emotional depth and variation in our melodies and rhythmic forms. Just the other day, I found myself wondering... what kind of music would I be making now if I had grown up listening to Chicago house at home?

MFM: You've produced the whole album yourself. Being a classically trained pianist probably helps a lot when creating and writing new music, right? How did you go about writing the songs?

LD: In the past, my creative process was often fueled by pain and drama. But now, I don’t need those emotions to create anymore. Maybe that used to be what made my music distinctive, but now everything feels a lot more free and in flow. Coming from a classical background actually caused years of writer’s block - I often had no idea what to do next. Being classically trained means you're expected to perform everything perfectly. It took a lot of unlearning to let go of that mindset and teach myself that there’s actually more comfort in imperfection. So, rather than being a pianist specifically, it’s more about having music theory to fall back on when I feel stuck - that’s what really helps. But honestly, the most important part of writing new music for me is taking care of myself. All the self work - that’s what keeps my creativity alive.

MFM: When does a song determine if it needs your voice incorporated? And how do you then decide whether its going to be in Turkish or English?

LD: When it comes to language, it’s not really a conscious choice - it just happens naturally. I dream in both Turkish and English, and even while answering these questions, I find myself thinking in both. Sometimes it’s just easier to express something in Turkish, and other times it flows better in English. As for when I decide to use my voice in a song, it really depends. Sometimes melodies come to me while I’m just humming, and other times I feel the need to actually say something. I think of my voice as a human oscillator - just another unique textural element. I use my voice to create percussive or synth-like sounds, layering it in the same way I would with instruments, to add something personal and distinctive.

MFM: Please can you tell us a bit about your mix? 

LD: I think this mix gives off a sense of melancholia but not too much, intimacy, and cerebral energy. It’s not really representative of what I’d play out at clubs, but it’s full of tracks I love listening to, my all time and latest favorites. There’s a lot of slow burners, ghostly sensuality, and a touch of leftfield sass. my intention was to record something as much for the body as for the head in the most mfm way possible. Something light, something fun and something genuine.

MFM Mix 053: Loradeniz

Recording of Robert Bergman's set at Dekmantel Selectors 2018.

Dekmantel Selectors 2018

Robert Bergman at Dekmantel Selectors 2018

Name: Hardcore Soul Mixtape.wav
Type of file: Wave Sound (.wav)
Length: 00:18:49 
Bit Rate: 1411 kbps
Size: 190 MB (199,283,672 bytes)
Created: 26 ‎March ‎2019, ‏‎17:41:03

Hardcore Soul Mixtape is built as a sonic limbo, a journey into the positive melodic stabs and infinite digital saccharin vibes of the happy hardcore mid 90s samples. 
An examination between social behaviors and rave entertainment as pursuit of digital happyness in the pre-internet era.

A special mixtape attached to the Hardcore Soul book, a collaboration between the english photographer Ewen Spencer and Italian dj and artist Alberto Guerrini/Gabber Eleganza with additional discussion by the Turner prize winner Mark Leckey.

HARDCORE SOUL

Hardcore Soul Mixtape [NSRTAPE001]

** DIGITAL RELEASE 01/06/2020 - VINYL RELEASE 18/06/2020 **

The Underwater Island is a collection of four tracks from Grenoble based producer Denis Morin. Philosopher, gardener, father and sonic explorer. Our friendship dates back over a decade, with some of this music first shared during a visit to Glasgow almost 5 years to the day - when 12th Isle the label was but an idea. For ISLE009, Vague Imaginaires gifts us with autobiographical field recordings, FM synthesis and skilled sound design inspired by the ocean and the Drac river which flows through the mountains of his city. Harmonising natural sound sources with digital realms, he navigates through minimalism, ambient techno and flashes of dub inspiration. Morin combines these musical ideas with Roland TR-8, 303 emulations, hydrophone recordings and vocal fragments from Tunisia, Morocco and Vercors Massif.

https://12thisle.bandcamp.com/album/l-le-sous-leau

Vague Imaginaires - L'Île Sous l'Eau (ISLE009)

So happy to welcome Joseph Kamaru (aka KMRU)to the series. Based in Nairobi, Joseph has been releasing music and participating in the local scene there for the past few years, and is a regular performer at Nyegenyege festival. His music emits a deep and dynamic emotionality but is equally as focused on the sound design of its environment. This mix he's made reflects many moods but each one is meditated on just enough before fluidly moving to the next.

https://soundcloud.com/kamarujoseph
https://kmru.bandcamp.com/

Duval Timothy – Whatsapp
Anchorsong - There Will Come Soft Rains
Jogging House – Strings
Nexcyia – Ancestor
Innerglow-Aqu
Acaptcha – Breath
Felic – Cyborg bugs
Ishmael Cor – Ammil
Dan-Cooper – Foiled by
J H Guraj – Furnace
No BaseTri -EXT I
Suso-Sáiz S -Smoke
??
Kareem Lotfy - Fr3sh
Richard Skelton - For An Inward Wound

Motion Cast Vol. 57: KMRU

Versalife - Shape Shifter EP - Delsin Records - dsr-e11

a1. Synapse
a2. Fractal
b1. Shape Shifter
b2. Novelty

vinyl: https://www.delsinrecords.com/release/6815
digital: https://conforce.bandcamp.com/album/shape-shifter-ep

For the first time Versalife appears on Delsin. Having released multiple albums and EPs as Conforce, the prolific Rotterdam based producer now brings a lush electro four-tracker to the Delsin electronic series. Over the course of four tracks he creates a warm and emotive playfield of flawless bassline drifters and atmospheric sounddesign.

Buy @ Delsin Shop

Versalife - Shape Shifter EP (dsr-e11)

40.6907578, -73.9242353

@dj-healthyy stuns again with a cinematic lullaby. He draws us in close for an hour of folky, sublime and mysterious jams. For some answers we turn to the cosmos, for others we turn to DJ Healthy.

d o w n 2 e a r t h 14 - DJ Healthy

“For Scott Zacharias’s No Way Back: Streaming From Beyond set we asked him to bridge the 24 hour continuous NWB into the Outer Space room, coming on directly after Mozhgan’s deeply mesmerizing set. At the physical event, No Way Back has 2 rooms. The No Way Back room, and the Outer Space room. Scott has a unique function unseen anywhere else in the world, coming on at dawn in the Outer Space room after a night of ambient and experimental music, taking an audience that is often laying on the mats on the floor in a blissed out state, and elevating them first in mind, and then in body as he channels his own freeform take on the sleaze tradition. He starts formless and then begins to bring in compelling and psychedelic gems, inching the tempo up so slightly over the course of many hours until the whole floor is pulsating in an under 110 bpm heaven. After nights of major psychedelic experiences, this allows for a kind of mental freedom. This is so crucial, the weekend is a marathon, and you come in to hear Scott to be recharged, it is food for the mind and soul, as he goes from ambient to everywhere you need to be. For the stream, we asked our favorite dharma bum to do this in reverse, since it was a one room stream, starting with NWB and ending in Outer Space, he began with the deep groove and slowly disintegrates it into oblivion, leaving you in Outer Space as only he can. We asked for a 3 hour set and got 4 hours, and we couldn’t edit one out, it's just too pure.” — BMG

video: https://youtu.be/iIoy4x8USF8

No Way Back: Streaming From Beyond

A 36+ hour take on No Way Back, with 24 hours of the No Way Back room residents and 12+ hours of the Outer Space room immediately following. An excess of the mindmelting wormhole dance experience followed by many hours of floating in space and beyond. When we considered podcasting some sets, we decided to just release them all, one week at a time, in an order different than their original broadcast, with the concept of bringing further ideas with the continuum to light.

For us the toughest moment of the pandemic shut down was the thought that we could not gather on Memorial Day weekend for our annual rite of No Way Back. We need our community now more than ever, to connect and to feel free, in a world of shifting real and unreal realities, sequestered in isolation, how can we get together? Time feels different now, we have more patience for everything, so we applied that space for exploration to the sets at No Way Back, extending them to 3 hours so the DJs can fully explore their ideas.

The Electrifyin' Mojo would say "if you reach the end of your rope, just tie a knot and don’t let go" and this stream and podcasts are our knot. This was the first ever NWB without a defined space, without the transformational art of Amber Gillen and crew, let's hope we can get together in the future safely. Grab a little bit of netting or a parachute, turn on some red lights, move into another dimension. Please stay safe and live to dance another day.

Interdimensional Transmissions Podcast

IT Podcast

IT.podcast.s09e05: Scott Zacharias at No Way Back Streaming From Beyond 2020

October plate

One last mix to end the year. When Svreca sent me this set, he could not have known what it would mean to me. I have spent so much time looking back lately, reliving old discussions and re-imagining moments passed, often lamenting how much was lost along the way. In just under three hours this mix communicates the flow of years. An archived recording from a special memory, it reminds me that the passage of time is beautiful even in what it fades away. Listening to it, I become lost completely, as though I am everywhere at once.

Thank you to everyone who listened this year, who sent warm messages and left comments, who supported us and kept us feeling connected. Thank you to the artists who continue to give their time and trust to the podcast and label, and keep us moving forward.

Finally, thank you Svreca for this gift and for being an inspiration from the very beginning. We're all here listening. Let's dive in.

@semantica-records

Artwork by Clara Cortes.

Sure Thing Mix 100: Svreca

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

012Mix02 - Luigi Tozzi

Recorded by Luigi Tozzi in Rome. Cover picture by Maria Jole Serreli from the exhibition “A casa mia avevo tre sedie” at EXMA, Cagliari, July-October 2020.

Music by:

Robert Henke - Studies for Thunder [Imbalance]
Shao - Winter 2012 [Tresor]
Burial - State Forest [Hyperdub]
Marow - Inter 3 [IDO]
Mohlao - File (Scape) [Serum]
Earthen Sea - The Sky is A Sea of Darkness [Silent Season]
Acronym & Korridor - Sscending [Vaagner]
Dj Metatron - Loop 108 [All Possible Worlds] 
Ligovskoï - Mana [Dement3d]
Dj Metatron - Untitled [All Possible Worlds] 
Architectural - Cubismo 8.2 (Lost In Buenos Aires) [Architectural]
Antonio Ruscito - Alodrone [Obseqvivm]

012Mix02 - Luigi Tozzi

DOWNLOAD: to download the complete mix, just go to 
https://ko-fi.com/djsupermarkt 
and donate a little coffee money (as much as you want). You will receive an email with access to a special DJ Supermarkt pleasure centre with lots of DJ-Mixes to Download!

Finishing the year with one of my traditional megamixes. This time i compiled all my favorite modern sunset disco slow jams from 2020. It ended up with 47 tracks and 2:45 minutes in total. Get into the lazy mood and enjoy the ride!

Here is the tracklist:
1. DISCLOSURE - Thinking 'Bout You (Interlude)
2. NICOLAS GODIN - Catch Yourself Falling (feat. Alexis Taylor)
3. SECRET RENDEZVOUS - Back In The Day
4. LEISURE - Spark It Up
5. POOLSIDE & NEIL FRANCES – I'm In Love With You
6. BLEU TOUCAN - Universalis
7. PRIVATE AGENDA - 4 Step
8. COMMON SAINTS - Lovesong
9. SIRENS OF LESBOS - How Many Miles
10. FOZSA - Mirage
11. SKINSHAPE - I Won’t Be There
12. GORILLAZ - The Lost Chord (feat. Leee John)
13. JESSIE WARE - Remember Where You Are
14. YUKSEK - Rollercoaster (CLAAP! & SANTANA Remix)
15. TORA - Cant Buy The Mood (Two Another Remix)
16. DASTE. - Either Way
17. CLEO SOL - When I'm in Your Arms
18. REVA DEVITO - The Supply
19. A-SIRR - Summer Madness
20. COMMON SAINTS - Idol Eyes
21. BENNY SINGS - Rolled Up feat. Mac DeMarco
22. AL’TARBA x MOUNIKA. - Le Jour
23. FEIERTAG - La Parisienne
24. DOPE LEMON - Every Day Is A Holiday (feat. Winston Surfshirt)
25. PHENOMENAL HANDCLAP BAND - Travelers Prayer (EU Version)
26. KIMCHII - When You Feel The Time Is Right
27. DAFT PUNK - Something About Us (Cezaire Remix)
28. RHYE - Beautiful
29. LATER - LYE (La Felix Remix)
30. YAKUL - Company
31. FELIVAND - Ebb & Flow
32. AFOREST - Seasons
33. MIAMI HORROR - Restless (Kraak & Smaak Remix)
34. MOODS & DASTE. - Moonrider
35. MOON BOOTS - Jumpin ft Niia (Oceans 1985 Remix)
36. TWO ANOTHER - Elevate
37. KRAAK & SMAAK - Sommeron (feat. imugi 이무기) (Edit)
38. FHAT - Curious
39. POLO & PAN - Feel Good
40. ABC DIALECT - Stay with Me
41. POOLSIDE – Kinda Lovely (Bleu Toucan Remix)
42. 5 REASONS - I Brought You Flowers
43. COSMO’S MIDNIGHT - Down for You
44. BRIJEAN - Like You Do
45. GOODVIBES SOUND - Beachside Living
46. MOODS - Vulf's Back Pocket Regroove
47. GLAMOUR HAMMER - Is It True

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DJ-Megamix: Modern Sunset Disco Slow Jams 2020 (2:45 hours by DJ Supermarkt/Too Slow To Disco NEO)

Sometimes it can be difficult to label a genre for our guest mixes, but not so here, It was very easy to select the genre in this instance... H.O.U.S.E.... From Berlin's first lady of house music no less. We've been buggin' Cinthie for years to join the SB mix series, and after much badgering (well, not that much, Cinthie is lovely) she's stepped up to the platters that matter and delivered a mix that will catapult you into 2021, and place 2020 firmly in the rearview mirror. 

Get some. 

Artist: @cinthie

SlothBoogie Guestmix #266 - Cinthie

PLEASE DON'T SEND DEMOS, thanks...

Webshop: https://www.musicfrommemory.com

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

Sublabel: @secondcircle

MFM Mix 023: Jonah Sharp

Music From Memory