The final mix for the EDWIN Music Channel for 2021 welcomes Paris-based composer and producer Dang-Khoa Chau aka @d-k-music, globally famed for his multidimensional releases on labels such as @antinote-records, @melodyastruth, @goodmorningtapes, @12th-isle, and Abstrakte Records.

Read the full interview and tracklist online at https://edwin-europe.com

№ 104 - D.K.

"sometimes music can't be reduced to words. at the time, we were dancing between voids of uncertainty. omicron placed alot of doubts around inviting friends from overseas. right now it is amazing to think all these gifts are slowly becoming taken for granted once more. but then, the implications of such risks were something at the forefront of everyone's mind. this party was the release. the first in a small series of events. the mix here captures a two hour segment of music from an extended set by DJ Sundae - a sincere and sensitive dj with totally unique selections. on the night he soundtracked the front room, while Dali and schwet led the trip out back. it was amazing to connect with so many people and explore the possibilities of dancing together after those long nights alone. thank you to everyone who came, played, and helped. I hope you enjoy this memory".

Words by David McKeown (O.S.T.)

Live recording of @djsundae

DJ Sundae - O.S.T. - 4th Dec 21

Delighted to host @goodmorningtapes Influence mix on Oddity Radio.

Turn on, tune in and don't drop out!

@moonrocksblog : This is a strictly vinyl mix of records from my shelf at home that I feel captures the spirit of Good Morning Tapes & the cosmic energy we wish to transmit...

For regular updates please follow : www.instagram.com/oddityradio.fm/

Oddity Radio Mix - Good Morning Tapes

Biscuit  - Oddity Influence Mix

Up next in our mix series is Berlin based Dutch-Italian recording and performing artist Grand River (@grandriver). Interview (excerpt) down below.

www.musicfrommemory.com
 
MFM: Hi Aimée. In the musical landscape nowadays it often seems to be all about the final result (or product even) rather than the process and path before it. With your music it feels that it's more about the process of making rather than the final outcome. Where does your profound interest for experimenting with audio and composing come from?
 
GR: Nice to hear that you see it that way and to know that it may be perceived like this from the outside as well. The work itself and how we experience the process is what matters most. It’s not always easy to be mindful about how everything is created along the way. The end result or end product is important, but if you don’t enjoy the process of how you get there, I don’t think it makes much sense to even undertake the journey. And of course this applies to many aspects of life.
 
MFM: You've got a rich experience in doing technical work for and at radio stations and with other kinds of media. Did you have someone to teach you all the ins & outs of audio and technical production?
 
GR: Most of the technical work I learned directly through working as I did not go to any audio school to study sound design or audio engineering. When I started to work as an audio engineer for radio stations and other media outlets 13-14 years ago, there were not many audio schools like there are now. Back then, the people I worked with were mainly composers that had learned audio engineering on their own, just as I had. However, as a child, I was formally taught music theory and musical instruments. That, of course, came long before the technical work.
 
MFM: Your first official release dates are from 2017 but you had been active with experimenting, composing, and recording for a much longer time already. At what point did you find yourself confident and pleased enough to share your productions with the outside world?
 
GR: When I moved to Berlin in 2015 I took the first few years to research and study the sound I wanted to express and felt a connection to. Long before that, I was building and playing other genres. It takes time to find your sound and style, and the interesting part is that it continues to evolve over time. Even when you think you’ve found it, it still changes slightly.
 
MFM: Do you go to the studio religiously, regardless of whether you feel inspired or motivated? Do you have a certain routine when working in the studio?  
 
GR: I don’t go to the studio religiously, at least not to make music. 
I do work every day, but often I am just sitting in my studio listening to music, writing emails, or having meetings. Many people don’t know how much work is behind a project. From the outside, what you see is just the tip of the iceberg. I mostly compose in phases; I might compose a lot for two months and then the next month I will be focused on researching, or preparing a live show, recording a mix like I did for you, or creating a sound installation. I need time to absorb what I compose and let it rest, and then get back to it.
 
MFM: Are there any new projects that you're working on and can share with us? 
 
GR: I am working on several beautiful projects at the moment. This year I am working on different collaborations of which the releases will follow in the near future. I have a new album coming out either at the end of the year or beginning of 2023. I am currently working on an immersive installation and I will also be premiering a new AV show with the visual artist Marco Ciceri this summer.

MFM Mix 041: Grand River

Pretty Sneaky is a project shrouded in mystery.

On their Crack Mix, they manage to sneak in a little bit of everything – no pun intended. Pulling from a clearly far-reaching knowledge of electronic music, we’re presented with a generous and unpredictable blend of nocturnal ambient, classic rub-a-dub, synth pop and stacks more.

Check out the tracklist on crackaud.io: crackm.ag/3d9jPEx
Still Independent. Help us keep it that way: crackmagazine.net/subscriptions

Crack Mix 460: Pretty Sneaky

https://www.nts.live/shows/orpheu-the-wizard/episodes/orpheu-the-wizard-16th-september-2022

Orpheu The Wizard 160922

Satoshi Yamamura b2b Steele Bonus - HEAT x South of North

The recording of what was heard the morning of October 22nd 2022 at Have A Nice Day, Berlin.
Much love and respect to @the-nation for making this possible.

H.A.N.D. Have A Nice Day - TRAXX (Nation) live recording Oct 2022 (part1)

Optimo is JG Wilkes & JD Twitch; record label, and longstanding Glaswegian party. You can expect a lot from their new monthly slot, sure to dig up some obscurities from post-punk, new wave, EBM, house and techno. Bags of unreleased stuff, too.

https://www.nts.live/shows/optimo/episodes/optimo-16th-may-2023

Optimo 160523

Thanks to Xavier from DDD Records in Paris we have what may be one of the only interviews ever conducted with cult engineer and producer from the infamous Head Studios in Chicago L.I.A.M.

Alongside with his partner Marcus Mixx they produced what are now some of the most sought after records in the history of Chicago House music on labels like Missing Dog, Saber, Get Wet and Sweat, Under Dog, Percision, and Streetfire among others.

We now find L.I.A.M. living here in Paris, Xavier tracked him down to tell his story...so sit back relax and check out two hours of amazing stories about MIDI, programming beats and PARTYING in the studio.

Words from Xavier DDD Records, Paris:
Friday Feb 5th 2016
I met L.I.A.M. in 2012 thanks to a Marcus Mixx post stating that he was living in Paris. We had a drink together and he told me his story about his journey in the world of House music. Later I invited him to La Source Record shop to conduct an official interview with hopes of eventually sharing it with the public in some form. 
Alot of time went by since the initial interview and I felt a transription to paper would really miss the sound and energy of L.I.A.M.'s unique voice. 
Thus, we finally set up this interview on Rinse France with myself, L.I.A.M. and Chicago House obsessive, Jean Nipon there in support to further help conduct the interview. 

We thank L.I.A.M. greatly for sharing his story, granting us this interview and painting a picture of a magical time in the history of Chicago House music.

L.I.E.S. podcast-36 DDD and Jean Nipon present L.I.A.M. (exclusive interview on Rinse France)

When the culture of hip-hop first began to take shape in the 1970s, 
it consisted of at least four fundamental elements: 
deejaying, emceeing, graffiti, and breaking.

Breaking, popularly known as breakdancing today, was created 
in the Bronx in New York City. The term breakdancing as it’s used 
in the media often mixes New York’s b-boying and West Coast–developed dance styles like popping, locking, and the electric boogaloo. B-boy dance moves are influenced by a number of cultural sources, including African-American and Afro-Caribbean music, kung fu, and capoeira.

Breaking reached peak popularity in the mid-1980s, when a 
number of films showcased the moves and the youth who created it. 
Breaking began as a mode of self-expression; it was a part of a larger culture that reflected the social, economic, and political conditions of the youth at that time. Now, decades later, as the style and moves of breaking have changed, so have some of its traditions.

have a listen to this mini selection of vintage grooves from its humble beginnings.

Traxx Presents 80s Streetbeat Protodance

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Optimo 160523

NTS Tuesday

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