@acolourfulstorm label boss Moopie presents two hours of music each month, connecting the dots between club cuts, weirdo experiments, indie sensibilities and more.

Tune in for A Colourful Storm every 4th Thursday of the month, from 00h to 02h [CET] on rinse.fr

Rinse France Podcast

A Colourful Storm With Moopie and Klon Dump - 20 Octobre 2022

@kiernan-laveaux is truly in her own zone, on a planet far, far away. Her spirit and curiosity for different sounds and textures made for a mesmerizing moment and Hemlock Nights.

Campout Mix Series: Kiernan Laveaux

Read our interview with @8salamanda8 and check out this mix's track list here: bit.ly/SalaPod

Groove Podcast 399

Tracklist

Groove Podcast 399 - Salamanda

Enea Pascal is the co founder of IVREATRONIC and has just released a new record called ‘BRUTTO?’. It’s a wicked release, compiled of downtempo explorations, trip hop, weird skits, mutations and beyond. It’s tripped out and freakish, playful and yet somehow makes sense as a body of work.

Released on IVREATRONIC, the label and party series first emerged from Ivrea in Italy in 2017 and has grown from strength to strength, helping to push forward the leftfield, underground of Italy’s electronic music scene.


 
Now to this mix…

Enea delivers a killer selection of sounds, woozy, wonky and punk esque in style. This is a mix for the heads. Think Mo Wax meets L.I.E.S meets early 2000’s Grime. A wild ride through a number of sounds makes this a wicked journey.

Enea Pascal : The 'Shine A Light On' Mix

House records for two hours.

https://www.instagram.com/stellasnacks 
https://soundcloud.com/stella-zekri-ouiddir 

 

Stella's Snacks with Stella Zekri @ The Lot Radio 04-04-2025

Irish quartet Lankum take over this week's Sunday Mix with just over an hour of traditional music, ambient sounds, Americana and more.

If you’re a fan, become a Supporter: crackm.ag/subscriptions

Sunday Mix: Lankum

2 hours of music in all styles from The Level Party resident Andrew Devlin. 

https://www.instagram.com/thelevelparty

THE LEVEL PARTY with Andrew Devlin @ The Lot Radio 05-08-2025

Vinyl release date 30.05.2025

Dâdalus & Bikarus are Benedikt Merz (Vox, Synths, Electronics) & David Hänni (Bass, Electronics).

'Off the Shelf' is the latest work by Dâdalus & Bikarus. Seven tracks driven by the exploration into analog machines and hyperrealistic sound collages. Holding back to the roots of the project, their sound approach features krautrock repetition, trip hop rhythms and punk territories.

The album was created around moments of personal transformation into a world of mystical meaning. 

𓆱

𝑇ℎ𝑜𝑠𝑒 𝑤ℎ𝑜 𝑓𝑙𝑦 𝑡𝑜𝑜 ℎ𝑖𝑔ℎ, 𝑏𝑢𝑟𝑛 𝑏𝑟𝑖𝑔ℎ𝑡𝑙𝑦.
𝑆𝑎𝑚𝑒 𝑎𝑠 𝑖𝑛 𝑡ℎ𝑒 𝑠𝑡𝑜𝑟𝑦 𝑜𝑓 𝐷â𝑑𝑎𝑙𝑢𝑠 & 𝐼𝑘𝑎𝑟𝑢𝑠, 𝑡ℎ𝑒 𝑚𝑒𝑠𝑠𝑎𝑔𝑒 𝑠𝑒𝑒𝑚𝑒𝑑 𝑡𝑜 𝑏𝑒 𝑠𝑘𝑖𝑝𝑝𝑒𝑑 𝑡ℎ𝑟𝑜𝑢𝑔ℎ. 
𝐿𝑖𝑘𝑒 𝑓𝑜𝑙𝑙𝑜𝑤𝑖𝑛𝑔 𝑠𝑜𝑚𝑒 𝑠𝑜𝑟𝑡 𝑜𝑓 𝑐𝑜𝑛𝑛𝑒𝑐𝑡𝑖𝑜𝑛, 𝑜𝑢𝑟 𝑖𝑑𝑒𝑎𝑠 𝑓𝑜𝑢𝑛𝑑 𝑎 𝑤𝑎𝑦 𝑜𝑢𝑡 𝑏𝑒𝑐𝑎𝑢𝑠𝑒 𝑡ℎ𝑒𝑦 ℎ𝑎𝑑 𝑡ℎ𝑒 𝑠𝑝𝑎𝑐𝑒 𝑡𝑜 𝑏𝑢𝑟𝑛. 
𝐼𝑓 𝑤𝑒 ℎ𝑎𝑑 𝑡𝑒𝑚𝑝𝑒𝑟𝑒𝑑 𝑡ℎ𝑒𝑚, 𝑡ℎ𝑒𝑦 𝑤𝑜𝑢𝑙𝑑 ℎ𝑎𝑣𝑒 𝑛𝑒𝑣𝑒𝑟 𝑐𝑜𝑚𝑒 𝑜𝑢𝑡. 
𝐻𝑜𝑤𝑒𝑣𝑒𝑟, 𝑜𝑡ℎ𝑒𝑟 𝑟𝑢𝑙𝑒𝑠 𝑎𝑝𝑝𝑙𝑦 𝑡𝑜 𝑢𝑠 𝑎𝑠 ℎ𝑢𝑚𝑎𝑛𝑠: 𝑖𝑓 𝑤𝑒 𝑓𝑙𝑦 𝑡𝑜𝑜 ℎ𝑖𝑔ℎ, 𝑤𝑒 𝑎𝑙𝑤𝑎𝑦𝑠 𝑔𝑒𝑡 𝑏𝑢𝑟𝑛𝑒𝑑. 
𝑆𝑜 𝑤𝑒 𝑙𝑒𝑎𝑟𝑛 𝑡𝑜 ℎ𝑜𝑙𝑑 𝑜𝑛 𝑖𝑛 𝑜𝑟𝑑𝑒𝑟 𝑡𝑜 𝑔𝑎𝑖𝑛 𝑐𝑜𝑛𝑡𝑟𝑜𝑙. 𝐵𝑢𝑡 𝑡ℎ𝑖𝑠 𝑙𝑒𝑎𝑣𝑒𝑠 𝑜𝑢𝑡 𝑡ℎ𝑎𝑡 𝑤𝑒 𝑐𝑎𝑛 𝑙𝑒𝑎𝑟𝑛 𝑓𝑟𝑜𝑚 𝑒𝑥𝑐𝑒𝑠𝑠.
𝐵𝑒𝑐𝑎𝑢𝑠𝑒 𝑤ℎ𝑒𝑛 𝑤𝑒 𝑓𝑖𝑛𝑎𝑙𝑙𝑦 𝑑𝑎𝑟𝑒 𝑡𝑜 𝑓𝑎𝑙𝑙, 𝑙𝑖𝑓𝑒 𝑤𝑖𝑙𝑙 𝑙𝑒𝑎𝑑 𝑢𝑠 𝑡𝑜 𝑡ℎ𝑒 𝑟𝑖𝑔ℎ𝑡 𝑝𝑙𝑎𝑐𝑒𝑠. 
𝑇ℎ𝑒 𝑚𝑢𝑠𝑖𝑐 𝑤𝑎𝑠 𝑜𝑢𝑟 𝑠𝑝𝑎𝑐𝑒 𝑡𝑜 𝑏𝑢𝑟𝑛 𝑜𝑛 𝑡ℎ𝑒 𝑠𝑒𝑎𝑟𝑐ℎ 𝑓𝑜𝑟 𝑎𝑛 𝑒𝑥𝑝𝑟𝑒𝑠𝑠𝑖𝑜𝑛 𝑡𝑜 𝑙𝑒𝑡 𝑔𝑜.

✺

Tracklist 

1. KO Intro (02:26)
2. Freier Fall (06:26)
3. Erebros (11:57)

1. Kuhlio (02:08)
2. Kill your Feed (09:41)
3. Wolken über Ikarie (04:20)
4. Off The Shelf (05:25)

؄

All tracks performed by Dâdalus & Bikarus, recorded at Mediacampus Zürich.
KO Intro, Freier Fall, Off The Shelf written by Benedikt Merz. Bass on Freier Fall written by David Hänni. Erebros, Kuhlio, Wolken über Ikarie written by Benedikt Merz and Dâdalus & Bikarus. 
Kill your Feed written by Dâdalus & Bikarus. 
All tracks produced by Benedikt Merz and Dâdalus & Bikarus.
Editing on all Tracks by Benedikt Merz. Overdubs (FX & Synths) on Erebros, Kill your Feed, Wolken über Ikarie & Off The Shelf by Benedikt Merz at Letzirock Studio. Bass Overdubs on Freier Fall, Off The Shelf and Kill your Feed by David Hänni at Wollutopus Studios.
Musical contributions by Mario Hänni on Erebros (Guitar & FX, Perc), Kuhlio (Drum & Synthesizer Performance), Kill your Feed (Copicat Performance) and Off The Shelf (Additional Drums) at Mediacampus Zürich. 
Studio Engineering at Mediacampus by Mario Hänni. Studio Engineering at Wollutopus Studios by Roland Wäspe.
Tape Processing by Sirup Gagavil.
All tracks Mixed by Roland Wäspe at Wollutopus Studios.
Mastering by Mike Marsh at The Exchange.
Art direction & design by Alicia Carrera.
We want to thank Aargauer Kuratorium for the support.
LÍO Press © 2025

Dâdalus & Bikarus - Off the Shelf (LIO003)

Hashman Deejay stands out as one of those DJ's and producers where he lets the music do the talking. Like fellow collaborators PLO Man & C3D-E you won't see many interviews, let alone photos - they show up to the party and do their thing. 
With a vast range of alias' and collaborative projects Hashman has been responsible for some of the rawest sounds in experimental, breaks, house and techno. As well as a DJ his vast taste can expand anywhere from shoegaze and punk, disco and raw chicago sounds, to dubbed acid and techno. 
For this mix the selector has dug deep into the tape hiss sounding crates covering oldschool beats that could be mistaken for an OG Ras G tape, dub flowing onwards into some select acid house and more synth focused club sounds all working together with the most seamless touch. We had a very brief chat with Hashman about his mix but this one is all about the sounds and he lets that do the talking.

Off The Record Mix Series 56: Hashman Deejay

zuhause

From Paris with love here comes mix 008 by Second Circle artist and friend D.K. (@d-k-music). Q&A (excerpt) here below.

www.musicfrommemory.com

MFM: Salut Dang Khoa, welcome to our podcast series. Had a nice summer?

DK: Hey! Thanks for having me. My summer was pretty cool, I was happy to play some nice festivals and gigs in Europe. I also had a little break to go on vacation with some friends in Marseille to enjoy the sea and the South coast of France.

MFM: Speaking about summer, your music has quite an exotic touch in which melody and percussion both seem to play a pivotal role. Where does that come from? 

DK: At the very beginning, it was simply inspired by the kind of house music I was listening to. But it changed through the years. I had a period when I was into industrial stuff, and I’ve been really inspired by the textures, by that sensation of mechanical groove and how the percussions were used. It kind of lead me to listen to the roots of music, and got into ritual sounds. Regarding the melodies, I don’t know man, it’s maybe because I’ve listened to too much R’n’B when I was a teenager haha.

MFM: But you're not a trained musician in one way or another? Like, can you read notes and play keys or other instruments maybe?

DK: I played violin when i was very young at the Rennes Conservatory of music for 6 years but it was a long time ago and i didn't practice since. I still can read notes but i'm super slow when it's about to play a musical score with other instruments now.

MFM: Would you say you have a D.K. workflow when in the studio?

DK: I like to have a precise idea of what I want to do before I start, even if it’s going to change completely during the process. Also, the shape of a track will really depend on what I’m listening to at the moment. I can easily get lost sometimes, producing something that is totally different of what I’m doing but I always learn some new technics. It’s a good way to find new ideas as well. Most of the time, I work on the same loop until I’m satisfied, almost all the elements of the track have to be already present on this loop, so I can have a vision of what it’s going to look like. Then, I know it will be easy to structure, edit and finish.

MFM: Interesting, for a lot of producers making arrangements seems a tough task or annoying burden even. What's your trick?

DK: I start with the  rhythm structure then focus my work on finding the main theme of a track,  and i build everything around it. If the beat and the  hook are strong enough it's usually not a tough task to make the arrangements.

MFM: You've been putting out music not only as D.K., how come?

DK: I decided to use that 45ACP moniker to focus my work more on sound textures and beats. It was maybe more heavy and club-oriented than what I used to do as D.K.. But now, I’m trying to combine everything in one project to create more contrast in my music. I’m generally interested by the opposition of textures and sounds in music. For instance, I like to mix raw percussion parts with clean drums or melancholic cold pads with naive midi melodies.

MFM: So, what can tell us about the mix? Any specific theme behind it?

DK: It’s a collage of tracks that I’ve been listening to at home recently and some edits I’ve made, from ambient and tribal to Japanese stuff. It’s obviously not what people can expect to hear me play in a festival or club but I would say that it’s more the vibe that I’m trying to create when i’m performing live.

MFM: Last but not least, any exciting news you'd like to share?

DK: I’m wrapping up my next Ep at the moment, it will be the third volume of my trilogy dedicated to club music on Antinote. I also have a release to come out soon on 12th Isle, and a couple of remixes.

MFM Mix 008: D.K.

Ransom Note is an online music, arts and culture magazine. We provide a home for readers and writers with boundless enthusiasm, esoteric knowledge, fierce opinions and impeccable taste.

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