Ice'n Techno Mix #6 : Shinsuke Goto

Words from Knekelhuis:
In the beginning of the 20th century modern art started to flourish. 
There was a wide range of art forms with a huge variety of movements. Impressionism, pointillism, Dadaism, expressionism, kubism, futurism, constructivism – to name a few – had an influence on painting, 
sculpture, film, literature, architecture and yes, even music. 
Although very different, these movements had one thing in common: 
a dogma. Especially later forms like De Stijl or Bauhaus had a specific 
set of rules to follow, sometimes written down in the form of a manifesto. Joining such a group meant sticking to the aesthetic standards. 
The urge to specify and later categorize art never seem to have left.
When you read interviews with Traxx it shows he has a very high moral towards music. About how it should BE…

Nowadays, radical categorization of music seems to be more important than ever. Artists are becoming afraid of diverting from a well-known stylistic path. It seems the style dictates the track, not the maker.
Traxx is a totally different story. 
although a lot of people appreciate it, we do not understand Traxx' approach to music. It’s been labelled diverse and eclectic. 
This does describe aspects of his style, but still doesn’t grasp his attitude. Traxx calls himself 'an ambassador of truth'. 
This has nothing to do with arrogance. It merely shows how significant 
it is for him to follow the innovative footsteps of his heroes. 
Nowadays, revolutionary tunes from artists such as Ron Hardy, 
Larry Levan and Larry Heard have been analyzed and classified aesthetically and that’s exactly where it goes wrong. 
It was never about the sound of jack, it was the way they used 
tracks in order to tell a musical story through their sets. 
Traxx understands that as no other. 
His truth is sometimes dramatic, sometimes euphoric, sometimes high energy, sometimes deep, sometimes easy and sometimes esoteric but always unpredictable!



Knekelhuis Presents Traxx LIVE at Doka April 2014

K404 at Mitsuki 10PM Nov 2, 2023

TRACKLIST AND MORE INFO: https://www.instagram.com/p/C4DQMJ6oMTe/?img_index=1

NOMAD MIXTAPE W/ @xyw7rirl1lyy

"I live in Kumamoto, Kyushu, Japan. Japan tends to focus on its capital city, Tokyo, but there is also a great music scene in Kyushu.
And in my hometown, Kumamoto, there is an alternative rock band called "YET". This mix includes a number of sound sources produced by YET's member YUE. He is a musician I respect, has a lot of musical advice, and has very interesting stories that make me smile" - Iwakiri. 

AUTOR INST: https://www.instagram.com/zzz.zzz.kkk.222/

MIXTAPE ON YOUTUBE: https://www.youtube.com/watch?v=4yQtlMlMHuk&ab_channel=MangataAquiveraMixtapes

Ambient, idm and experimental electronic music in a new mix from Iwakiri for Mangata Aquivera.

💃 Thank you for listening and have a good time here.
Please subscribe and support our work:
🌌https://linktr.ee/mangata_aquivera

NOMAD W/ IWAKIRI

PTEMIX005 x BBCB Seoul: Haemi Park B2B Noidman 
(Opening DJ set for Marcel Fengler @ Beton Brut Seoul, lively recorded)

- Haemi Park (@hmpark) 
Haemi Park(Atdge, Seoul) is a DJ who plays music based on minimal. She aims for a groove that naturally spreads the unique air that is formed through a certain flow. Through it, she makes an attractive and mysterious mood on the floor.

- Noidman (@noidman999)
Based on techno, Noidman builds up with a delicate mix of minimal and electronic sounds to create a three-dimensional flow. She aims for a spacey and dynamic play that is felt in the long flow.

PTEMIX005 x BBCB Seoul: Haemi Park B2B Noidman (Opening DJ set for Marcel Fengler)

-0.1

ZEFR is a DJ unit of DJ Monolith and TAPS.
This sound is a record of ZEFR's performance at "TAO VOL.9" held at MILK in Tokyo in January 2004.
Monolith is the main MIXer, while TAPS scratches records, mixes sequences and sampled sounds. Their roles are intertwined.

ZEFR@20040130

ZEFR(Monolith and TAPS) - "TAO VOL.9" 1-30-2004

Free Download:
https://hypeddit.com/camelphatelderbrook/colalimetraremix

Telegram:
https://t.me/jos_label

Spotify Playlist:
https://open.spotify.com/playlist/4Z0dYs38DR9ukS5qltvpCD?si=9b7fd5e404434ae7

Yandex Music Playlist:
https://music.yandex.ru/playlists/b1e68be3-9663-6db7-b7b6-2ed8edfb2001

VK Music Playlist:
https://vk.com/music/playlist/602051198_72_1392723e232c7e1c78

Free Download

Free Download: CamelPhat, Elderbrook - Cola (Limetra Remix)

Gio Vandal emotional, inspiring music was never unnoticed for us. Since his debut EP summer 2024, every single release has proved the evolution on his sound and skillset, without losing his essence.

In this case, the Brazilian producer presents a 2-track EP called 'Combinations' - consisting on two vocal Deep House tracks driven by warm basslines and fragile, beautiful melodies.  Hope you like it as much as we do!

Combinations

Stream / Buy

Gio Vandal - Circles (Original Mix)

Eternal Blue Sky

Mix 17 is a summery trip of over 2 hours that comes from Grizzly Bear member Christopher Bear, who released his first solo album as Fools with us last month. Interview (excerpt) down below.

www.musicfrommemory.com

MFM: Hi Chris, welcome to the series. How have you been lately, LA too must have felt and looked different the past couple weeks? Did the recent events influence your view of music, culture and society in some way?

CB: Heya! Happy to be a part of it. I’m doing pretty well, all things considered... Yeah, absolutely. It’s being felt around the world, as it should be. Obviously, a serious excavation of the systemic racism that pervades our country is long overdue and perhaps the more pronounced collective consciousness from pandemic conditions in tandem with all of the police brutality, pushed things over the edge enough to get a real movement happening. There is much sadness, grief, and anger wrapped up in it, but the bit of progress that has been made so far feels very positive and I hope that the momentum continues and more change will come. All of the motion towards defunding the police is very exciting as it is such a corrupt and broken system.

MFM: So, congratulations with your very solo album. Were the choices to limit yourself in time and to record during summer made intentionally?

CB: Thanks! It kind of just developed out of the circumstances of life at that moment. I had finished up some scoring work a couple months prior and was feeling a bit unfocused and confused with what to do around the beginning of June, but also had a family trip to the east coast planned for the middle of July. So rather than let those weeks fizzle into more meandering, I set the intention to finish something long enough that I could throw on a tape and listen to on my trip. I didn’t have a clear idea at all what that would be, but that was the fun of it. There were some textures and sounds that I had been messing around with that I figured would shape some of the aesthetic, but really just following whatever ideas started coming thru day to day.

MFM: Most of the songs have this very serene and calm vibe to it, rather meditating or even spiritual. Can you describe the surroundings of the place where you did the recordings?

CB: That’s good to hear. I would treat each morning getting started in the studio a bit like a meditation. I’d bring down my coffee and just start playing Wurlitzer or whatever synth was calling for about an hour and see what happened, often fairly drone-y or raga-esque. The studio itself has a good energy, it’s not huge, but certainly enough room for me as long as I don’t find anymore synths ; ) It’s got a window, so the natural light is a real bonus and I keep some plants in there, which gives it some nice life as well.

MFM: In Grizzly Bear you do vocals as well. How come are there no vocals on this record?

CB: Alongside removing the parameter of traditional song form for this collection, I told myself not to worry about vocals. It’s often the part I’d get stuck on in past recordings, so in the spirit of trying to finish something, that freedom helped keep things moving. Also my listening often gravitates towards instrumental music, so it definitely felt like more of my wheelhouse. At some point, I’d love to figure out a way to incorporate voice into my own music, but it will just take some time.

MFM: Thanks for contributing to the mix series. What was your approach to making it?

CB: I used to DJ more frequently years ago and it’s something I really enjoy doing. I’ve always had a passion for digging, collecting, and connecting the dots between different music. This mix has a handful of tunes that I’ve been listening to more over the past year as well as some things I’ve held close to my heart for a long time. A lot of it feels somehow related to the palette or energy of Fools’ Harp and some of it is maybe a place I’d like to head with whatever I do next.

Ice'n Techno Mix #6 : Shinsuke Goto

Ice'n Techno

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