DJ Sets

BRAIN OFF | BRAIN OFF | BRAIN OFF

The Tent (at the End of the Universe)

Next 70 minutes are brought a familiar face with some big room selections. Inspired by everything raw and punchy, sEmoa brings back certain aspects of the lost 90s with a Romanian twist. A storyline that continues its own convolution in a blend of electro and heavy hitting breaks is definitely a way to spend the next hour.

@stefan-cest-moi

Miromu Series 48 - SEMOA

Following an amazing guest appearance at our Noir. & Friends private party it was only right welcome aboard sEmoa to supply Noircast 010.

The London based Romanian artists supplies a hour of brilliantly fused electro, rominimal and breaks, enjoy!

sEmoa - Noircast 010

www.openlab.fm | 106.4FM in Ibiza & Formentera 

The Tent (at the End of The Universe) with François K

17 Little Portland Street presents ‘The Tent (at the End of the Universe)’, their new monthly show on OpenLab, where they will be sharing amazing mixes recorded live at their venue:

“For our first show, we are proud to present the one and only Francois K. Nuff said. Recorded live on New Year’s Day 2023 at 17 Little Portland Street, London.”

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The Tent (at the End of the Universe) 01 [with François K]

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

www.openlab.fm | 106.4FM in Ibiza & Formentera 
Check the full tracklist on our website:
https://openlab.fm/news/the-tent-at-the-end-of-the-universe-02

The Tent at the End of the Universe second show is presented by Creative Director https://soundcloud.com/basibellini: 
“I’ve put together some of my favourite tracks from the past few months that have been played both in the Tent and in the Studio at Little Portland. It’s been a pleasure playing on both floors and showcasing my more eclectic collection of music. Whilst still keeping a bit of energy, I kept in mind the summer zing, whether chilling by the sea or driving along the coast somewhere special!’”

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The Tent (at the End of the Universe) 02 [with Bas Ibellini]

www.openlab.fm | 106.4FM in Ibiza & Formentera 

The Tent at the End of the Universe returns to OpenLab, featuring an exclusive mix by London-based Lithuanian DJ, Maybe Laura. [https://soundcloud.com/lauraklo]
Recorded live at 17 Little Portland St, expect an hour of deep electronica and broken beats from this rising talent.

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The Tent (at the End of the Universe) 03 [with Maybe Laura]

www.openlab.fm | 106.4FM in Ibiza & Formentera 
Check the full tracklist on our website:

The Tent at the End of the Universe is back on Openlab, this time featuring a special live mix from their resident Harri Pepper (https://soundcloud.com/original-hp). Playing across the UK and Europe, Harri’s sound can take you anywhere. With many residencies across London and a regular on the festival circuit, Harri has certainly built up a reputation for his no-nonsense party starting and odd ball day dream selection.

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The Tent (at the End of the Universe) 04 [with Harri Pepper]

www.openlab.fm | 106.4FM in Ibiza & Formentera

A 2-hour mix recorded live in the Tent from their resident Paul Day. With many residencies across London and recent appearances alongside David Holmes in London and Belfast, and a monthly radio show at Loose FM this technicolour mix showcases the special and unique atmosphere of 17 Little Portland Street.

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The Tent (at the End of the Universe) 05 [with Paul Day]

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

New Quirk mix by our good friend @stefan-cest-moi

sEmoa aka Stefan Cimpeanu is an underground electronic music DJ / Producer based in East London. Their signature blends together house, electro, experimental and breaks in the pursuit of telling dynamic and intense stories. Known for their affinity in arrangement, sEmoa’s productions follow the development of carefully designed sounds with unexpected pace that will shake up the dance floor.

bookings : semoa_ro@outlook.com

QUIRKS 27 - sEmoa

Dutch techno pioneer Jeroen Schrijvershof, alias Jeroen Search, needs no introduction. To those who’ve been living under a rock for the past three decades, just google his name and you’ll be drawn into an endless sea of links, vids, bios, event pages, and all kinds of past and present prowesses vouching for the man’s incredible career so we’ll leave it at that. Having graced the grooves of our record label with the magnetic ‘Enigma’ EP back in 2022, the man is now back with a much anticipated podcast - made up of 100% OG Jeroen material - that shall have a tsunami of modular signals, chiselled 909 onslaughts and Ubik-uitous floor narratives break loose to entrancing effect. Better buckle your belt, for when Jeroen Search steps on the gas, you simply don’t want to end up flying through the windshield. So to speak.

soundcloud.com/jeroensearch

Reclaim Your City 

Reclaim Your City 615 | Jeroen Search

Wow, what a journey it's been...pulling this set together was a real exploration of self and nudged me to delve into parts of my music collection that are a big part of me and my musical identity, but that I've somehow pocketed away... a softer, perhaps more fragile side of me, which is very much a part of who I am. Thank you for the invitation, for putting me on this journey and for inspiring me to explore myself more deeply and truthfully.

Soundcloud: https://soundcloud.com/vitka_sounds
Instagram: https://www.instagram.com/stories/vitka_sounds

Link to interview on Flow Music: bit.ly/3VolVnh

Check out Flow Music Suggests on Spotify, all tracks are chosen by Flow and 333 Sessions artists: https://shorturl.at/6iNMq

333 Sessions  079 - Vitka

Extended ambient set for Bar Ton in December 2024

sEmoa for Bar Ton - 18/12/2024

www.openlab.fm | 106.4FM in Ibiza & Formentera

Eclectic in style, sEmoa's productions are ranging from stripped down percussive rhythms to deep, hypnotic textures, constantly pushing their sound to new dimensions. Throughout their musical career, sEmoa has released across vinyl and digital for : Hours London, STAMP Paris, Duckit Records, Podvodo, with a wider selection available on Bandcamp.

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The Tent (at the End of the Universe) 23 [with sEmoa]

Tomorrow’s world...today. 
Playing forward thinking music via www.openlab.fm and 106.4 FM in Ibiza and Formentera.

The Tent (at the End of the Universe) 23 [with sEmoa]

OpenLab Radio