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MFM MIX SERIES

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You are very welcome to enjoy part of Prima Musica podcast series with Zonzo. You gonna shake your tambourine.

@raver-jewish - Barcelona
@gloveparty

Prima Musica with Zonzo

It’s a strange world we’re living in and these addictive cuts mirror it well.
Dancing all night in cheerful melancholy with two strictly limited edits. 

The A-side renders gothic synth pop at cruising tempo, spinning a web of tape delay as your mind unravels. A bassline throbs, pistons hiss and a paranoia takes hold of an icy vocal. Lose yourself in the otherwhere.

We step into a pristine wilderness on the B-side, stately pads gliding over a supple rhythm section while tender chimes tug at your heartstrings. Emotion abounds on an instrumental which never was. Big boys do cry, and this dove’s weeping over broken wings…

Strange World

selezione mps #020 – Jack Bulgaro
--------
@jackbulgaro

selezione mps #020 – Jack Bulgaro

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

While dropping their self-titled debut LP with us in August, Anya and Izaak from Loveshadow (@loveshadowdjs) were kind enough to also record a lovely mix and answer a few questions. Interview (excerpt) down below.

www.musicfrommemory.com

MFM: Hi Izaak and Anya, nice to have you on board. Both living in Bay Area, how would you describe your daily surroundings? Is it a nice place to be as an artist?

LS: Right now we live in SF. We grew up one town away from each other near the airport, though we didn’t meet until much later. The landscape is inspiring for sure- we spend as much time as we can out in the parks and wild areas and draw a lot from that. The art and music scenes here run deep, though the cost of living and of course covid have made things tougher.
 
MFM: The songs on your debut album as Loveshadow -which will be out in August- sound incredibly fresh where they also remind to certain pop, boogie, funk and even house from the mid and late '80s. What were some of your main influences for this project? 

LS: Thanks! We have to mention the UK act Fashion after whose song we named the group, but our tastes range all over. You could say that Loveshadow is kind of a lap around the 80’s prehistory of today’s dance music, when things were still firmly rooted in pop songwriting but had a simultaneously psychedelic and funky sensibility- one that grew out of dub/disco/punk counterculture. Getting more serious about learning the records at the roots of the whole thing allowed us to see how we might contribute something new to it in a way that was more than a style exercise.

MFM: Of course also the use of specific instruments ad up to that flavor - it seems that for example the Linndrum plays an important role. Did you aim for that sound and gathered the instruments around it, or the other way around maybe?

LS: We had an overall idea in mind that definitely informed the instrumentation but we’re not purists. A lot of the sounds on the record are replications of or deviations from the iconic originals. Those famous drum sounds in particular are like symbols, they impart a particular meaning and we use them to set a mood.

MFM: What's the dynamic between the two of you like in the studio? Is there a certain steady structure or does this change all the time? Maybe you could tell a little about your writing and recording process?

LS: It changes all the time- we’ve lived and worked in so many places separately and together since we started recording. Either one of us might come up with an idea that we’ll design sounds around, demo, arrange, and then throw it all in the trash and start again. Most of the songs on the record have had a few lives.

MFM: It feels that the music from the LP could work really well live on a stage too. Are there any plans for you to go touring? 

LS: We’re going to play a gig in Detroit later this summer that will be sort of a test run! After that, we’ll see. The project started out as an interest in records and recording, but anything’s possible.

MFM: Thanks a lot for contributing! It seems you quite regularly record a mix. Have you both always been busy collecting and sharing records? 

LS: Our pleasure, thanks so much for asking us! We’re always looking for new music. Sharing mixes online has helped us organize our favorites but playing parties is the best. We were gigging around before covid and we’ll hopefully get back to it as things continue to open up. This mix is definitely on the hype side of things- new digs, old favorites, some edits, tunes pals graciously sent our way, and what we’ve been dancing around our apartment to while we were stuck inside.

MFM Mix 030: Loveshadow

We're happy to welcome Munich's digger-extraordinaire and Schatzi Musik head honcho: Le Discoboulet. He's taking us on a two hour trip through his record collection for Bordello Radio: Camp Cosmic Fever Part 7. Enjoy!

https://soundcloud.com/le_discoboulet
https://soundcloud.com/schatzimusikrecords

Camp Cosmic Fever Part VII

Bordello Radio #80 - Le Discoboulet (Camp Cosmic Fever Part 7)

* INTERVIEW: https://boltingbits.com/mixed-by-red-axes/

Created by producers & DJs Dori Sadovnik & Niv Arzi, Red Axes constantly defies classification while remaining a stalwart of the dance music scene beginning with the launch of “Break It!” an underground psychedelic electronic party series in Tel-Aviv in 2009. Red Axes have helped dancers around the world bridge the intersecting tastes between rock and electronic music, and are known for their dozens of EPs and albums across the last ten years as well as recent outings via Redrago (alongside DJ Tennis).Arriving hot on the heels of their latest EP for Phantasy Sound titled “Some Lights,” their mix for Bolting Bits showcases their singular vision – merging a kaleidoscopic range with driving tempos that demand listeners lean in and participate. In addition, Dori and Niv have been kind enough to answer some questions from the Bolting Bits team to learn more about their selections and how they’re envisioning the future of their long-standing project.

INTERVIEW.

MIXED BY / Red Axes

Hailing from the Belgian capital and as 1/3 behind the Şelale record on Second Circle, it's our friend soFa (@sofaholic) on mix 32. Interview (excerpt) down below.

www.musicfrommemory.com 

MFM: Hi Chris, can you tell a bit about how you made your first steps in the scene as a DJ/producer?

SE: That was first by playing school parties only, and later by organising parties and getting booked by others in return. The usual game, but it was a bit easier as today since there was less competition I think. On the production side I am quite new to that. I started in 2018 only because I lacked time before that, I used to have a job as curator for an art festival and also digging for records kept me busy and excited for many hours every day. 

MFM: Earlier this summer saw the release of Selale on Second Circle, a collaborative project between you, Okay Temiz and Houschyar. Most releases you've worked on are collaborations. Is there a reason for that? 

SE: Yeh different reasons. It's much more fun to share the fun! I'm not a properly trained musician, I like to break rules, rather than applying them. Collaborating with people who know notes and harmonies allows to combine those 2 visions and the results are more exciting to my ears. I feel I have more to say by helping others to get their music right (or wrong) cause that's what all those years of digging after very specific records have taught me.

MFM: Any more projects lined up already?

SE: Yes, quite a bunch I produced with dear friends, Nyati Mayi, soon on Bongo Joe, CCCVVV with Clara Vellin on Strangelove Music and Sexo Y Fantasia with Da Boochie from Kiosk Radio on Glossy Mistakes coming up. There is also a solo record going to the pressing plant next week, coming out on Planet Trip in spring. It has guest singers, but I call it my solo record since I played the whole beats and synths by myself. Its probably gonna remain my only solo record for a while. I slipped into so many collabs and I'd like to focus on that. I especially love working with singers/voices and hopefully some day I get to produce a whole band project!

MFM: What are you hoping for to find in nightlife now that dancefloors are opening up again? Have you been thinking about this whole situation a lot at all?

SE: I am looking forward to seeing people smile and dance again! Party wise I would especially hope to find more groove and less hard music everywhere. I have the feeling the youth of today can only dance to hard stuff, I find that sad. Real music lovers can dance to anything. The whole situation is/was of course tragic for the nightlife sector. Especially for younger people who are in their best years to create a network of friends and experience adulthood for the first time. On a personal level I liked the time off. It allowed me to focus on a more healthy lifestyle and on making music. 

MFM: Cheers for contributing your mix! What can you tell about it? 

SE: I glued together the first half of it while on a roadtrip in Albania last month. Second half I did this morning in a rush. It's nice tunes, diverse and odd enough as I love. I don't care too much about the technical aspect, I just recorded a bunch of records I felt for sharing. In my opinion all that Dj thing is a bit overrated and way too serious. We are just playing other people's music afterall. There is an art behind that, but I feel it's getting lost more and more. For me it's not about the technical side of it, it's about adapting to people and still surprising them in an original way.

MFM Mix 032: soFa elsewhere

Heaven’s Gate - Noo - Optimo Music
Vasija - Juan to Tree - Hard Fist
The Lambs Suffer - New Hook & Perel - Live at Robert Johnson
I Know (Club Tularosa Remix) - Overjoy - forthcoming???
Broken (Shubostar Remix) - Jason Peters - Roam Recordings
Endlessly - Warehouse Preservation Society - Futureboogie
Lubie - Strapontin & Zillas on Acid - Optimo Music
Human - Rotciv - Permanent Vacation
Space Race (Javi Redondo Remix) - Mystery Affair - Weirdos Records
Cerro Gordo feat. Mijo - Rodion, Mijo, Fabrizio Mammarella - Slow Motion
Industry - Jason Peters - Nein Records

Feed Your Head Guest Mix: Jason Peters

@jitterparty invite @movingstill
@movingstill is Jamal Sul - a Jeddah-born, Dublin-based DJ and producer with releases on Nail Shop, Orange Tree, Jive Hive and Dar Disku. His edits have charged the sets of high-profile DJs, topped the Rush Hour sales charts, and made his own Dublin Digital Radio and Radio Al Hara shows a portal to untold musical riches.

Jitter Variance invite Moving Still

Brussels digger soFa fills in this month’s episode for Strangelove Music.

🌐 "Outsiders" is our daily show hosted by global independent record labels
📡 Connect with the Outsiders, every day, at 9 am or 9 pm CET
🔗 kioskradio.com

Outsiders: Strangelove Music w/ soFa elsewhere @ Kiosk Radio 11.04.2022

"Feuerfalter - Part02" ALBUM

Tracklisting: 
1. Puki
2. Anthurie
3. Prisma
4. Spacecraft To Mars
5. Push It
6. Vampire
7. Lonely Planet
8. Purple Noise
9. In Memory Of Love

Release date: 21.02.2014
Label: Harthouse 
Format: CD, MP3

Have fun! 
www.borisbrejcha.de

Pre-Order here:

Amazon:
http://www.amazon.com/Feuerfalter-Part-02-Boris-Brejcha/dp/B00IB48UKO/ref=sr_1_1?s=dmusic&ie=UTF8&qid=1392375189&sr=1-1&keywords=boris+brejcha+feuerfalter

Humpty
www.humpty.de/?id=47&aid=304…setDC=&lang=en

Join the competition! to win 1of 5 packages. Just click on the link:
boris-brejcha.squarespace.com/win-part02

Description:
Music is colorful, diverse and vibrant as the butterflies. Almost 180,000 different species live in 127 families. The music by Boris Brejcha is like a "Feuerfalter" (copper). On one side the butterfly is relaxing and floating on the wind, but on the other hand he also sets with steam and fire to a fall into a low altitude. This is how it feels when Brejcha makes music.

The fourth album is exactly the description of this "Feuerfalter", a kind of backflash into the impressive career of Boris Brejcha. An album that deliberately shows how the artist works versatile. Times slightly floating, sometimes wild hitting the wing, always full of passion. The influences of his travelings and performances characterize his art again.

This creates a music that may be accompanied on Brejchas audience the whole day: at home, in a relaxed atmosphere or just at night, when the trip through the clubs starts. On the album "Feuerfalter" this individuality is turned on. Brejcha even picks up the desire of his ans to weave a few quieter tracks into his cosmos.

Lonely Planet - Boris Brejcha (Original Mix) Preview

Now this is something special: While our mixes normally aim at an average length of one hour, Pingipung artist (Mameen 3) and veteran leftfield selector soFa elsewhere presents almost 3,5 hours of pure joy. Here is what he says himself about this beauty:

"This collection of tracks has been inspired by a psychedelic trip near a lake in Portugal last year. It's meant to be the soundtrack of a sunny and funny afternoon of visual hallucinations and much laughing somewhere near water. Along the way it will also serve a normal day of holidays in the sun. Sip a cocktail near the beach and let yourself fade away with this magic tropical potpourri. Expect oddities from the most diverse corners in time and space."

https://soundcloud.com/sofaholic
https://www.instagram.com/sofa_elsewhere
https://www.facebook.com/DeejaysoFa

Up next: Alisa Berger

Pingipung Podcasts

Pingipung Podcast 153: soFa elsewhere - Music To Have Mushrooms On The Beach

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

New mix made by Paris-based sound artist, radio producer, composer and DJ Elen Huynh (@nowherearu). "A soundscape of shifting emotions, reflecting a reality shaped by joy, sorrow, doubt and hope."

www.musicfrommemory.com

MFM Mix 054: Elen Huynh

Recorded live in bar Lulu in Athens at the end of 2024, Mix 055 is by long time dear friend Petit Bear (@petit_bear) from Greece. 

www.musicfrommemory.com


MFM Mix 055: Petit Bear

Bringing the vocals forward as the focal point, Kellerkind morphs the track into a heavy progressive exploration. Led by a gloomy, wobbling bass and mechanised cuts, were treated to a more spacious and playful take on the initial arrangement.

Jiggler - Illusions (Kellerkind Remix) **OUT NOW**

Selection of ex Yugoslavian reggae mostly from period from 1977 to 1991.
There is no playlist for this selection.. you have to discover and dig that beautiful scene by yourself. You can always write questions on positive.reality.sound@gmail.com

Yugoslavia Reggae VA. (1977-1991) selected by Haris Pilton

Artist: Timo Maas, Aidan Lavelle, Re.You
Title: Body Language EP
Label: My Favorite Robot Records
Release: 2017-07-28

MORE INFO:
http://bit.ly/2vNt9DQ

MORE MI4L PREMIERES:
soundcloud.com/musicis4lovers/sets/exclusive-premieres

Stay connected with Music is 4 Lovers:
Soundcloud: @Musicis4Lovers
Blog: www.Mi4L.com
Twitter: twitter.com/Musicis4Lovers
Facebook: www.facebook.com/Musicis4Lovers
Instagram: @ Musicis4Lovers

Walking Away

MORE INFO

Timo Maas & Aidan Lavelle - Body Language (Re.You Remix) [My Favorite Robot] [MI4L.com]

A musical trip of sophisticated beauty on behalf of soundcloud.com/annahaleta. Representing Pacotek she gracefully leads you through cryptic electro, into enthralling minimal, down into the depths of house, and up again with techno sounding in the distance like an audible illusion.

TASCAM DR-100MK2

ZeeZout Podcast 045 | Anna Haleta

A mix from one of Brussels’ finest - DJ soFa - aired on Sanpo’s most recent NTS broadcast and it’s now available on the cloud for unlimited streaming. Recorded in December with tracks from Neuzeitliche Bodenbeläge, Jeremy Campbell, TOLOUSE LOW TRAX, Gökçen Kaynatan, Krikor, Smagghe & Cross, Jan Turkenburg, Left Ear Records & many more..

Also check Sofa’s excellent compilation “V . A. Elsewhere MCMXIII” here: https://iciyouare.bandcamp.com/album/v-a-elsewhere-mcmxiii

https://soundcloud.com/sanpodisco/dj-sofa-sanpo-098-nts-7218

MIXES

DJ SOFA - SANPO 098 (NTS - 7/2/18)

Recording of soFa's (@sofaholic) set at Lente Kabinet Festival 2019.

Lente Kabinet Festival 2019

soFa at Lente Kabinet Festival 2019

DJ Biscuit https://soundcloud.com/goodmorningtapes for https://soundcloud.com/the-trilogy-tapes.

'Mushroom' Mixtape – Side A (2017)
Shoutouts + big thanks to DJ BISCUIT & WILL BANKHEAD 🙏💚💚💚

A contribution to P.A.M.'s new online resource POSITIVE MESSAGES. Visit https://perksandmini.com/positive-messages for more...

Image :
Ghislane Leung 'SHROOMS' (2016)
Chinese night lights and adaptors
Installation view, Galerie PCP

POSITIVE MESSAGES #3 : DJ Biscuit 'Mushroom' Mixtape (Side A) - The Trilogy Tapes

Edit by @runninghotmusic. 

Bonus track on the Dance for Relief Vol.01 compilation.

Woi (Running Hot Edit)- Bonus Track

King Maker (JAZ's rap n slammin drums edit)

PLEASE DON'T SEND DEMOS

www.musicfrommemory.com

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

Sublabel: @secondcircle

MFM Mix 032: soFa elsewhere

Music From Memory