passing it clockwise is good luck,
anyone can join the joy of joint, just choose a time and post !
"This mix was recorded in July 2021 at an indoor club in Omotesando, when lockdown was briefly loosen and was allowed to party at night little bit (maybe for about 2 weeks). It’s an excerpt of that all nighter set I have played, everyone wearing mask so was not able to see their faces but seemingly people were having a good time."

Kinkeshi doll made by Katchan

Passing it clockwise (0:30 - Powder)

So - We're back with mix #57, which is very special indeed. 
It took us a little while, but we finally managed to get a sublime mix from our friends Elaine and Jack, also known as Time Is Away.

Digging into the outer realms of everything from dream-pop, dub, reggae to dub techno and beyond, Time Is Away are 2 of London's finest and most original record playing duos. They've been friends of GGHQ for many years and have been the brains and ears behind a couple of borderline cult mixtapes, as well as their long running and much loved NTS radio show.

This fine selection for GGHQ sees all sorts of mysterious b-sides, obscure 12 mixes, deep LP cuts and rarities woven together with the care and the instinctual approach to playing records that comes with years and years spent combing dusty racks in backwater suburban towns and infamous record stores alike. Like us, Time Is Away are equal opportunities listeners and no stone is left unturned when it comes to finding the gems.

To find out more about Time Is Away, or to check out their activities and radio show, please click the links below:

https://www.nts.live/shows/timeisaway
https://www.instagram.com/timeisaway

*Photo by Robin Silas Christian

GGHQ Mix #57 : Time Is Away "Late Summer Dance Mix"

Mayurashka's exclusive mix for RDC "Sound Horizon" podcast:

"Since the beginning of 2022, I have been releasing floor-friendly mixes for various labels and radios so I wanted to try something different for RDC. This mix is themed around “water” which is my source of inspiration when composing.
This mix is a selection of tracks where you can feel the water and drips, not beat-matching but water-matching."

"2022年に入りフロアフレンドリーなDJ　MIXは多数のレーベルやラジオで公開してきたため、RDCへのミックスは趣旨を変えて作曲時にインスピレーションをもらう”水”をテーマに制作してみました。
水や滴を感じる曲のみをビートマッチングではなくウォーターマッチングさせたMIXです。"

Track list
1. The Sound of the Sea in Kujukuri, Chiba 2022 08
2. Popol Vuh - Ich mache einen Spiegel
3. DJ Nobu - Zzzz
4. MDA Analog - Rainful Memories
5. Jonathan Fitoussi,Clemens Hourrière - Aqueduc
6. Alex Kassian - Olson Waters
7. Yosi Horikawa - Wandering
8. DWART - Aqua Alta
9. Frog of Earth - Lying Down
10. Richard Bone - Afrouxe
11. Møzaika - Alternating Access
12. Crewdson - Amphibious
13. Roland Bocquet - Djerba
14. Iris - Deadlocked
15. Slow Heat - Terrarium
16. fmvee - everythingUneverKnewUwanted
17. Natural Selections - Sanctuary
18. Vague Imaginaires - Space Birthday
19. Cos/Mes - From Other Space
20. Sindh - Kalahari
21. Donato Dozzy - Aquatica

RDC 045 - Mayurashka

“Summertime is falling down and winter’s closing in - welcome to the freak zone” - @innertotality

B.P.T. Radio 055: Inner Totality

Here is the 12th mix of OPEN PORT CLUB mix series by Tornado Wallace.  Hope you enjoy that 65 minutes a meditative journey.
OPC Mix 12本目となる今回は、メルボルンに生まれ近年はベルリンを拠点とするTornado Wallaceによるミックス。日本ツアーを目前に控えて録音された65分の瞑想的な音楽旅行をお楽しみください。
インタビューも合わせてどうぞ。

Interview : http://openportclub.net/opc-mix/tornadowallace/
Tornado Wallace SoundCloud : @tornadowallace

=INTERVIEW=
Q1. How and where was the mix recorded? Could you tell us about the idea behind the mix?
I recorded it at home using a turntable, an e&s mixer and ableton. I wanted to listen through to music I had come across recently and dig into the tracks deeper. I leaned more into the trippier sounding tracks with really nice sonics and "world-building" characteristics.

Q1. このミックスはどこでどのように録音されたのでしょうか？また、このミックスに込められた思いについて教えてください。
ターンテーブル、E&Sミキサー、abletonを使って自宅で録音しました。最近出会った音楽を聴いて、より深くトラックを掘り下げたいと思ったんだ。トリッピーなサウンドで、音質が良く、「世界観がある」楽曲に重点を置きました。

Read more : openportclub.net/mixseries/tornadowallace/

OPEN PORT CLUB Mix Series – Tornado Wallace

The breezy sound of the Canadian Riviera, from Mood Hut's Pender Street Steppers.

https://www.nts.live/shows/pender-street-steppers/episodes/pender-street-steppers-15th-november-2022

Pender Street Steppers w/ Scott W - 15th November 2022

Ari Balouzian – Comfort Or Freedom
Pool Boy – Closed for Renovations
Agosta – Don Alfio
Tracisgrey – Night Eyes
Leisure Centre – 食料品店
Wojciech Jagielski– Śniadanie Pod Palmą
Wichita LimeWire –  Be My BonziBUDDY
Lil Creepshow – Underwater Racetrack
Tracisgrey – Wet Night
Alina Baraz –  The Beginning
死夢Vanity – ソウルメイト
Desert Sand Feels Warm At Night – 第一次
DX-Digital – Magic Rose
Employee – Romantic Relax
Bahamadia – Interlude
swing slow - Voo Doo Surfer
Tibor Szemzo - Einstein-Express
Dick Hyman - I'm Glad There Is You (5ive bit)
Civilistjävel! – Untitled
Thomas Fehlmann – Wunschwechsler
Dentistry - bdw
Odopt - Orch Noise
Twin Peaks Angelo Badalamenti explains how he wrote Laura Palmer's Theme (piano)
Tonio Rubio – Dead Slow 

artwork by Hiroto Ise
instagram.com/iseneehihinee

cosxmes 2022

cosxmes 2022mix

For Trushmix 200 we got two mixes by the founders of it all!
LA 2000 and DJ Fett Burger in the mix.

LA 2000 recorded a fantastic balearic mix in 2007. It was early on when the balearic genre was rediscovered as a thing. Really good tunes selected in a masterful way!
Just to put it in context, This was in 2007, so balearic wasn’t as familiar like now, only heads started to pick this up again after the heydays in the 80’s, so some really good compilations started to float around, and that became a spark. Also DJ Harvey hadn’t yet made his euro comeback so it was a whole different time back then, it was very marginal. Very nice in many ways. A fantastic mix, that is recorded a bit too loud on a lousy PC.

The second mix, by DJ Fett Burger is a quite eclectic mix recorded in 2009 for a CDR label called Sony Norge, under a different DJ alias. 
This mix matches the previous mix in an odd way, a proper out there balearic interpretation, with some Norwegian cuts that make it local in a global way. So we got a package full of surprises here! You never know what will come next! 

As one mix, these two become quite something, a perfect journey for a 200 mix celebration on Trushmix! It’s a listening party for people who want to take things to a special level. And it really catches the essence of what Trushmix is about!

Music from the top!
Enjoy!

To read the special Trushmix interview on Inverted Audio go HERE:
https://inverted-audio.com/feature/12-years-of-trushmix-dj-fett-burger/

Trushmix.com

Trushmix 200 - LA 2000 & DJ Fett Burger

Japanese DJ and producer Powder rightfully debuting and delivering a mix of mirth house and techno on a sunny day.

Dekmantel Festival 2018

Powder at Dekmantel Festival 2018

Our 700th podcast is a masterclass in entrancing grooves.

Read more: https://www.residentadvisor.net/podcast-episode.aspx?id=700

@thinner_groove

Resident Advisor podcast

RA.700 Powder

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.

RDC 045 - Mayurashka

Rainbow Disco Club

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