0522

Feb, 2010

Mix originally for http://noncollective.com/

夕方の影「Evening Shadows」[Mix, 2010]

In the slipstream of the recent 'Oumuamua' release MLO's Jon Tye was kind enough to contribute a mix and we had a nice chat with him along the way too. Interview (excerpt) down below.

www.musicfrommemory.com

MFM: Hi Jon. You live in South England close to the coast and the national park now but come from a more city environment. What made you swap city life for the rural country side?

JT: I live in Cornwall in the South West but spent 25 years in London prior to moving here. I find the countryside and the beach much more conducive for making music and it’s been a great place to bring up children.

MFM: Can you tell a bit about how you and Peter Smith (other half of MLO) got to start the project? 

JT: Pete and I were in rival punk bands in Exeter, Devon in the 70’s. When Pete’s band split up we decided to form a new group called Missing Chemicals, we were very into bands like Talking Heads and Pere Ubu. It was a good time to be in a band, so much great music being released, amazing gigs, places to play, lots of energy.

MFM: At what point did techno start to make an impression on you, and can you describe what impact it had when first hearing it?

JT: It was hearing underground radio stations in London that got me hooked, I remember hearing Fingers Inc and Larry Heard and then Adonis, Rhythm is Rhythm. It blew my mind, the early days of acid and techno were wild, a real revolution.

MFM: Most tracks from the recent 'Oumuamua' compilation are unreleased pieces of music that were recorded between '92-'95. Had you forgotten about them over time or...?

JT: We fell out with Rising High over non payment of royalties and R&S as we couldn’t agree on a deal, I then started the Lo Recordings label and Pete went to America and yes I guess we just forgot about all the tapes we recorded. It was a really pleasant shock to rediscover the music we’d made and to find it sounding so fresh. 

MFM: How do you feel listening to them now in relation to back when you wrote and recorded them? Does the music still bring up the same energy and thoughts you had back then?

JT: It feels better now. We weren’t in great shape when we recorded a lot of that material, there was a lot of tension with Rising High and people were moving away from ambient music. I’m amazed it sounds so serene!

MFM: How do you feel of your music being (re)appreciated by a whole newer and younger generation?  

JT: It’s fantastic, this a great time to be making music. Everything is so much more fluid these days. 

MFM: Does it motivate you to work on new music? 

JT: I’m working on music constantly, there’s a new Ocean Moon release on Golden Ratio Frequencies called ‘Music for Vibraphone & Tape’ and a new Seahawks album later this year on the Cascine label called ‘Infinite Echo’. I’ve also been working on new music with Cate Brooks (The Advisory Circle/Cafe Kaput), some of which features in the mix.

MFM: How did you approach making the selection and mix?

JT: I wanted it to be a companion to the MLO compilation and I wanted to combine music made recently with music made nearly 30 years ago. The mix is made of unreleased or alternative versions of MLO material and recent tracks I’ve made with Cate Brooks (we don’t have a name for the project yet). All the tracks seem to flow together really well despite the fact they were made nearly 30 years apart! A circular trip.

MFM: Are you still catching up on what happens in music land these days? What appeals to you nowadays? 

JT: Running the Lo label and also a library imprint called Lo Editions means I’m constantly listening to new music. Also various friends run labels so I’m always hearing new tracks. The Zenmenn album was a huge favourite, as was Eddie Chacon’s album. Mary Lattimore , Holly Herndon, Abul Mogard, Eris Drew...so much good music out there.

MFM Mix 039: MLO

Keeping things closer to home as we often do, we're psyched to welcome Lane Split with two-hours of delectable deep cuts and dubby atmospheres. Also known as one half of the Naarm/Melbourne based duo Handle Soundsystem, David is someone who appreciates great sound, and has been working on a variety of sound systems for local parties and large scale music festivals, all the while refining his own exquisite taste for classic deep cuts and dreamy psychedelic excursions.

We really can't speak highly enough of this mix, a deep subliminal odyssey packed full of uplifting 90s tech house and mind massaging dub grooves. Now sit back, relax and enjoy the ride.

Click here for our chat with Lane Split: melbournedeepcast.net/portfolio/lane-split

@lanesplit
@handlesoundsystem

www.melbournedeepcast.net

Interview

MDC.272 Lane Split

Delighted to host @invisible-inc influence mix on Oddity Radio.

@g-k-machine : At first I decided to only pick records that existed prior to 2015, the year the label started. In other words I interpreted it as using the mix as an opportunity to showcase what HAD inspired its birth. Then I thought, fuck this weird limitation I’ve imposed on myself….there is so much great music being released NOW that I want to put on it. Besides, the label is constantly evolving so it would be weird to say the influences stopped after the label started. So in the end it encapsulated as much as I could possibly bring into it and despite it’s diversity, it’s still quite niche…….

Turn on, tune in and don't drop out!

For regular updates please follow : www.instagram.com/oddityradio.fm/

GK Machine - Oddity Influence Mix

Composer, DJ and sound artist @yu_su is Vancouver-based but China-born and she makes music that travels just as far. It is rooted on the dance floor but with influences that span a wide array of emotions, styles and scenes. From jazz to ambient to organic synthesis, wistful texture to her own multi-instrumental skills, she brings a new style of composition to her work. That was best exemplified on her adventurous and accomplished 2021 album Yellow River Blue which picked up plenty of critical acclaim. 

Her mix for us this week brings Su's signature blend of dub, downtempo, house and trippy leftfield electronics. She says, "Once again, the story has a start and an end, but you could be anywhere you want inside the journey." She's not wrong - it is a living and breathing selection packed with cultural references, interesting rhythms and carnival atmospheres that is perfect for out door dancing under the sun with music from Pearson Sound, Jimmy Edgar, Midland, Carl Craig and many more.

Dekmantel Podcast

Dekmantel Podcast 386 - Yu Su

DJ Voices presents Mixtape Club 009, ‘Avoiding Bad Thoughts’ - 90 minutes of escapist dance records, built for long journeys.

Download and read more on the Mixtape Club website: 
www.mixtapeclub.net/dj-voices

Tracklist:
Amandra and Karim - Sqala 4.2 (natural/electronic.system. remix)
HhÉiR - Hang My Hat
Nvs - Avoiding Bad Thoughts
DJ Headshot & Matris - Space Bells
Harry Mariani - Nagchampa
Lowplay - Pulser
Protect Ryan - Liam Features (Boulderhead Remix)
Steve O'Sullivan feat. Ben Buitendijk - Take It
Nathan Kofi - My Heart Will Go On
A Hutchie - Coco (NPNP Dance Mix)
Ayuji - Heliopolis
Maroki - Alfred Stole My Brain
Emissive - Sunset Yellow
Aria Rostami - Bolbol (Sepehr Dark UKG Mix)
Maara - Ultimate Revenge
St. David - Da Love Feeling (Main Mix)
YT8K - DJ DJ
Quelaan - Veleity
Piezo - Unto
Fictional Devices - Asteroid Island
Wavesense - Mirage
C O N T X T - Beneath the Bloom
FFF - World is Closed
DJ Hank - Stay
AGILITÄT - Logopedics

Mixtape Club

DJ Voices - Avoiding Bad Thoughts

LA mix for Secret Circuit - Cosmic Neighborhood - dublab 10.06.23

Savvas Ysatis & Taylor Deupree - Listen To The Morning Sleeping
av moves - Condolences
Sentena and DJ Spence - Monkey
Neglect - Biet Hanun
Junior Boys - Night Walk
Boris Blenn - Metaphsical
SW. - Part 3
Virgo Four - Deep Blue
Firnis DC - Innozenz Jahr
Tiago - Maquina dos sonhos
The Lamb - 19
TV Blonde – Ghost
Eric Hilton – The Easy Underground
P.E.A.C.E. – Mimosa (Smooth Edit Instrumental)
Misha Panfilov – Kallistus
Ark & Pit Spector – Hawaï
Brijean - Ocean
Leisure Centre – アントニオ
Magnif – The Last (Instrumental)
DJ Cam – Flora
Daniela Andrade – Ayayai
Professor Creepshow – 4 Games In 1
Awkward Corners – Paragraph One (After The Rain)
Born Tokyo – Morning Sunrise
Pink Shabab – You Can't Go Back
Nicolas Godin - The Border
Dita Von Teese - Bird of Prey
Warriors Of The Dystotheque – Beachside Drive
John Milk – Offline Love (Instrumental)
Eric Hilton – In a Quiet Mood
Falk & Klou – CBS

artwork by Hiroto Ise
instagram.com/iseneehihinee

cosxmes 2024

cosxmes 2024mix

Inaugural upload to Tender Radio, where we will post seasonal mixes and live guest DJ sets, amongst other things.

First up - a selection of releases from 2024 that were on high rotation at Tender, compiled into 2 hours of listening to soundtrack your day.

Please enjoy~

With Tenderness, 
Steph and Nik

Tender - Best of 2024

This is a recording of KOOLMFL live show during 7hinner 6roove at Mago, Nagoya which was the first night of '7hinner Tour' back in 2024 . .

We also have a juicy Thinner Groove party happening soon at,
Shhhh.. secret location  🍇  featuring a live show of KOOLMFL

Save your dates and come to Secret Location, Nishiazabu Tokyo 
on May 5th, starts 23:00- sharp. 
https://www.instagram.com/p/DIB98cJy9jl/?img_index=1

Bandcamp

KOOLMFL -  Live at Thinner Groove (2024)

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

Bollywood Nights

Ovheda - Unreleased Demo x9

By Of Light(Sam'Stars)

Trujillo - SANPO 164 (Lockdown Series)

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 039: MLO

Music From Memory

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