potes

We live an age where long hair are most probably needed again, a good chance to (re)discover what “kids” were doing in the late 60’s. this set has been recorded for Dj So and his wonderful Westfalia.

a rock selection v.1

@gizemoz live at outro lado

foto: coletivo.negativo

Gizem Öz live at Outro Lado - Waking Life '24

Waking Life 2024 @ outro lado # arno schäfer part 1

recording of my set for Sputnik on Mars radioshow on Cave Carli Radio Marseille, broadcasted on 08-07-2025

Sputnik On Mars Show @ Cave Carli Radio Marseille 08-07-25 - mixed by Roger Gerressen

Next up on the GROOVE Podcast is Eluize (@eluize). Go to bit.ly/EluiPod for interview and track list.

GROOVE Podcast 472 – Eluize

With the summer festival season drifting into memory, it feels like the right moment to linger on one of the most thoughtfully shaped events in recent years. The Mostra Festival unfolded over the Easter weekend across two Barcelona locations, and what set it apart wasn’t just the programming, but the curation - a balance of trust, patience, and precision. The first two days leaned toward the ambient and the experimental, tipping into rhythm as the nights wore on. Yet the real magic of that opening stretch lay in the beatless hours. Friday in particular offered a moment that still reverberates among Mostra regulars and beyond: Robert Henke’s performance of Dust. If there is any place in the world designed for such a work, Mostra provided the perfect frame. For one afternoon, Henke held the crowd in complete attention and reverence, something essential for any artist, but especially for one whose work is as delicate, shifting, and expansive as Dust.

For many of us, Robert Henke, Monolake to longtime listeners, has been a constant presence in the background of our musical lives. His records shaped taste, his performances redefined how electronic music could be experienced live, and his role as co-creator of Ableton changed the very tools we use to make and share sound. Few artists can claim such a dual legacy: architect of both the music and the machinery. Whether in moments of joy or frustration, whether in the studio or on the dancefloor, it’s impossible to imagine modern electronic music without his fingerprints on it. Henke embodies the link between technological innovation and artistic expression, and his influence runs deeper than most of us can trace.

Dust is perhaps the clearest expression of that link. Powered by a custom granular synthesis engine, it reduces sound to particles, field recordings, analog tones, machine hiss, bells, and waves, then disperses them into clouds that evolve in real time. The result is less like a composition and more like a living organism: fragile, unpredictable, always becoming something new. At Mostra, this unfolding took shape in late afternoon, after Patrick Russell’s set had sharpened the air with its own restraint. Henke stepped in with a 360-degree surround system that transformed the floor of Fabra i Coats into a resonant body. The sound was cosmic and liquid, grainy and immense, stretching outward until it seemed to erase the horizon. Every surface in the space shimmered with detail, as if the air itself had been tuned. What made it remarkable was how fragile it all felt. Nothing was forced; every movement seemed to arise on its own, like dust caught in late-afternoon sunlight. Yet the immersion was total. People surrendered, leaning into the space as if trying to hold onto something that could never be held. For that hour, Mostra wasn’t a festival anymore. It was a room of people floating together in a world made entirely of sound, knowing it would never happen in quite the same way again.

https://soundcloud.com/monolake
https://www.instagram.com/studio.robert.henke/

www.mostra.barcelona
www.instagram.com/mostrabcn/
@mostrabcn

Write up by @gilleswasserman

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Read

Delayed x Mostra: Robert Henke presents Dust

We’re live from Berlin studio: David Fogarty is here for the next hour!

David Fogarty [17.09.25]

Sundays are for…

All of us. As each year passes, I appreciate more and more the mental haven that has developed. A space to relax, a platform to create. Focusing on moods and sounds that we listen to recover and unwind. Deeply personal, and a sonic window into the soul, the variety of guest mixes, and emotions covers the spectrum. I am so humbled to be able to release each and every entry.

This September marks 6 years of Sundays. The musical journey continues, and evolves, so too does the visual. Simple, and abstract. Bridging the digital and analog realms, the art continues to change and match energy. A sine wave in all its glory, nothing less, nothing more. A comfort in its identity, a comfort in its simplicity.

Enjoy the mix, this is my yearly ‘moment’ if you will, to let the hair down, and indulge.

Much love and admiration,

mixed and compiled with love by hue | @huedj
september 2025

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linktr.ee/delayed
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Sundays are for... [Sep/25]

KUNE’s own Alin (@alinkbh) stepped into Space as only someone with such a years-long intimacy with those concrete walls could. 2 hours charting a subtly hypnotic course of minimal techno and house laced with entrancing earworms and weird progressive contrails. Maestro.

photo by @ennehempen

Kune Festival 2025: Alin @ Space Stage

Haruka x Craig Gonzalez opened the Dance Room at I.T. presents The Bunker, May 26, 2025, Day 3 of Return to the Source, at Tangent, Detroit.

Craig Gonzalez – @craig-gonzalez:

It's one thing to hop on the decks with someone during peak time at a party in a packed room like the first time Haruka and I played together in NYC but it's another to open a party during the last leg of RTTS weekend. So we started talking about the set a couple of months beforehand, but nothing really prepares you until you're in the middle of RTTS weekend itself. We were texting and chatting about the setup and direction throughout the weekend and eventually landed on keeping things a little funky and fun.  Playing with someone with a similar approach to DJing and also range really made the set feel so effortless for me and I feel that cohesion and the fun we had translated quite well to those that were in attendance.


Haruka – @haruka_ptc:

2023, Good Room (Brooklyn)
We were both booked to play a Bunker party that night and with an hour left before our room was about to shut down, I asked Craig to jump on for an unplanned B2B.  Craig had already set the room up with a deep, super-diverse selection and then vibe in our room was so good, I will never forgot it. So when IT asked us to do it again we got hyped.

RTTS, Detroit
Our slot opened the last day of the three-day marathon, and other parties were running in the daytime too, so it felt like one long 72-hour session. Craig also played Movement. It was my first time in Detroit, so I wandered around, popped into a bunch of events, but spent every night back at Tangent Gallery with Craig—talking, listening to other artists, and getting a real feel for the room. That helped us lock in the vibe and refine the ideas we’d been tossing around for months.

The set
Two words kept coming up: funky and fun (maybe sexy too). I played only a few recent tracks but most were older finds with some electro slipped in naturally. In hindsight the whole thing was a back-and-forth between electro and deep, psychedelic techno, with extra flavours layered on top.




IT Podcast

IT.podcast.s14e06: Haruka x Craig Gonzalez

Happy - Volca sample 1st record

Roonie

Beat Tom 3#05

E Clavi Song 34345

Moi c'est plutôt Le rigolo

B1 MantraFunk -  Oddysee (snippet)

"Während der musikalische Fokus von OYE in den frühen Zweitausendern besonders auf Latin und Brazilian Music lag, hat sich der Laden mit seinen beiden Filialen in Kreuzberg und im Prenzlauer Berg in der folgenden Zeit zu einer der wichtigsten Anlaufstellen für House, Techno, Disco und Artverwandtes entwickelt. Und OYE verkauft längst nicht nur Platten. Diverse eigene Labels wurden aus dem Umfeld der Läden heraus gegründet. Außerdem entstand eine hauseigene Partyreihe, die sich auf Vinyl-Sets spezialisiert hat." 

www.oye-records.com

Mail:
mail@oye-records.com

Tel:
+49 30 666 47 821

A is for Afro, B is for Breaks, C is for Cosmic, D is for Disco, E is for Electro, F is for Funk, G is for G-Funk, H is for House,  Get it all and more at OYE!

Amtsgericht Charlottenburg
HRB 150596 B

VAT: DE291540858

Geschäftsführer: 
Tinko Rohst

B1 MantraFunk - Oddysee (snippet)

OYE Records

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