Always remember the fisrt time i heard this song every time i hear it.🥰

🖤💙🖤This track is everything🖤💙🖤

Two hours of tripped-out twists and turns with DJ G & Powder.

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DJ G & Powder @ The Lot Radio 11 - 30 - 2021

Anthony Naples's exclusive mix for Rainbow Disco Club 2022 podcast:

"No real concept, when I do mixes, I just pick the first song and try to get to the last while having fun! It's usually just a reflection of the music I've been playing out at clubs at the time of the mix like a timestamp of some kind, or in anticipation of the party or nice tour in this case."

"ミックスを作る時はいつも特にコンセプトはなく、楽しみながらラストまでやってみよう！という感じです。ミックスを録ったその時期にクラブでかけている音楽を選曲したり、楽しみにしているパーティーやツアーをイメージしていることが多いです。"

RDC 038 - Anthony Naples

Ron Morelli's exclusive mix for Rainbow Disco Club 2022 podcast:

"This mix is pure energy straight from the guts, nothing pretty, nothing refined, just a DJ doing what a DJ is supposed to do...rip the cut!!!!! Let the music take control..as the song says...this is it!!!... Do you control the music or does the music control you? Unreleased straight from cassette cuts, rare Windy City artifacts, unreleased new material, classic old material, L.I.E.S. from the archives, forget the pleasuredome back to the terrordome!!!! -RM 2022"

"このミックスは、自分の感覚に任せた純粋なエナジーで、きれいごとや洗練されたものは何もなく、ただDJがやるべきことをやっているだけだ...カマしていくぜ!!!!! Let the music take control…と歌詞にあるように...これだ!!!...と。あなたが音楽をコントロールするのか、それとも音楽があなたをコントロールするのか？カセットテープにしか収録されていない未発表曲、シカゴからレアな楽曲、発売前の新譜、クラシックス、L.I.E.S.のアーカイブからのトラックなどなど。アンダーグラウンドからお届けするぜ!!!! -RM 2022"

RDC 041 - Ron Morelli

"I am still dizzy ... flying from Tokyo eastbound through Los Angeles and Detroit to London. I see pigeons nesting in the pine trees from the hotel window."

@thinner_groove

Mantissa Mix 250: Powder

‘For home use only’ is an anti-club social, a chance to get to know someone/something. A series of transmissions purely dedicated to exploring the other side.

Tis the season to be jolly, to be thankful, to spend time with your loved ones, to eat till you literally cannot move, to do what makes you happy, and to just exist really. All of the above is basically a full-time job at the end of the year, so it’s very important to take some self-imposed time-outs or at least a few deep breaths. We’ve brought in an expert in escapism for this episode, he goes by the name of Guy Choi, an absolute master of musical disguise. 

Giyun is no stranger to sonic artifacts, as he proves in this episode. He can fly you around the world twice in the space of two hours, without leaving the comfort of your own headspace. New to the Naarm scene, he’s already secured a monthly residency at one of the city’s hottest new listening venues ‘The Music Room’, which I feel is only the beginning for Guy, through his incredible musical sense and hard work, has many places yet to go. Proving himself as a capable selecta (please, can we find another word for this) with chameleon-like qualities, adapting to any situation.

Like a politically correct Indiana Jones, he’s taken back all the cultural masterpieces and historic heirlooms from around the world and put them on public display for everyone to finally enjoy. An audio-guided museum tour, where you take control of the visual aspect. Paying homage to every continent under the sun, the mix is a carnival of emotions and vibrations, perfect for this holiday season no matter which way you celebrate it. My ideal location for full immersion in this incredible journey is by the pool with a flurry of cocktails, but that's not up to me… So go and do what you do best and live your life the way you see fit. 

Take care. X

His words >>>> This mix is a good representation of my musical landscape throughout my life. From 90's Korean pop to Brazilian soul and 90's garage house, it captures some of the high moments of my record digging in places like Berlin, Seoul, Busan, Sydney, and my current home base, Naarm. Lately, I've been feeling a little depressed after the dearly loved Korean football team got knocked out of the World Cup. Making this mix helped me get back on my feet as a stronger man who's trying hard to find his place in the Melbourne music scene. My journey hasn't been a total failure as I've managed to get a monthly residency at Music Room playing every first Sunday of the month. With that said, I'd also like to dedicate this mix to the nice people of Melbourne who have believed in me and given me opportunities.

His sounds >>>> https://soundcloud.com/guychoi

FHUO # 78 // Guy Choi

For the first show of the new year, The EDWIN Music channel welcomes Tokyo-based producer, DJ, and "Organic Music" Record Store owner Chee Shimizu (@organicchee).

For the full interview and tracklisting, please visit https://edwin-europe.com

№ 114 - Chee Shimizu

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-7th-march-2023

Pender Street Steppers w/ DJ Frog 070323

Originally broadcast on NTS. Download and tracklist > www.noiseinmyhead.com.au/2017/03/280217-w-plo-man-hashman-deejay/

@plo_sound @acting-press
@hashmandeejay @mood-hut

www.noiseinmyhead.com.au

Noise In My Head w/ PLO Man & Hashman Deejay 28/02/17

私達がいつも食べているものは、どこからどのようにして、ここにやって来たの？

*

余ったものを後で皆に分けようと思っていただけなのに、すっかり忘れていた。

「まさかこんなことになるとは」


...........


ーーーー なんともいえない発酵した匂いと、複雑な味！

artwork by Andry

Yeast Mix 20200327

Powder at Sustain-Release 2017

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.

DJ G & Powder @ The Lot Radio 11 - 30 - 2021

The Lot Radio

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