You’re back with your show !!!! Top Cool j’adore !!!

To guide us through the next simulated experience; Passing Notes Radio boss and 1/2 of the great new label ‘Companion', Pjenné [Melbourne, AUS], shows us what a utopian existence can sound, feel and look like.

Follow on as she glides through the stratosphere, looking down on the lush greenery and crystal water that our earth effortlessly inhabits... occasionally looking up into the vast display of distant stars and planets, glittering across the stillness of outer space.

Pjenné beautifully illustrates the phenomenology of nature through tracks which touch on each element, whether that be the ethereality of air, the intricacy of water, the depth of earth, or just the pure warmth flowing through this immaculately thought-out audible narrative.

We couldn’t help but think this would be the perfect soundtrack for the day peace on earth is declared, where humanity sits back and appreciates a new world— where collectively, we love what grows, exists and dies.

This small blue dot is our home… our balanced oasis in the desert of space. Perhaps we need the ability to fly to see a different perspective - and we’re sure this will help.

Close your eyes and drift into your own self.

Enjoy, and thankyou Pjenné 

“SAHASRARA” - The Thousand Petal Lotus

Virtual Utopia 03: Pjenné

my dj set recorded live on a radio station that I have now pulled ties with due to their failure to stand up for Palestine and for censoring pro-palestine artists.
you can't find the youtube streams or recordings of these online anywhere else.

free Palestine, from the river to the sea <3 

recorded live 30/08/22

hope you enjoy 

<3

Kia (live dj set @ ? ) 30/08/22

@melquiadesmusic
Good friend and constant source of inspiration Alex Albrecht, joined me to celebrate my 300th episode of Passing Notes.

Few artists channel a consistent stream of creativity like Alex Albrecht. With over a decade of music-making under his belt, Alex has cultivated a distinct and frankly iconic musical identity. Effortlessly shapeshifting between experimental jazz, ambient, atmospheric house, and deep techno, Alex’s compositions are marked by an environmental undertone that imbues them with a uniquely “Alex Albrecht” earthly sense of place. Simultaneously anchoring and weightless, the common thread between it all is Alex’s ability to leave listeners safely ensconced in a swell of emotional resonance.

Improvisation and exploration are at the heart of Albrecht’s craft. His constantly evolving and captivating live performances have taken him to far corners of the globe, with appearances at iconic venues like Bassiani in Georgia, Monument in Norway, and Vent in Tokyo just to name a few. Each journey fuels his exploratory nature, offering new opportunities to immerse himself in the world around him. Field recordings serve as an auditory journal—postcards sent home to evoke memories of space and place that form the ever-important foundation of his creative process. These recordings provide a naturalistic canvas upon which Alex layers syncopated rhythmic subtleties and soaring, colorful synthetic brushstrokes.

With a rich discography amassing on celebrated labels such as A Strangely Isolated Place, Constellation Tatsu, Apollo, Scissor & Thread, and his own Analogue Attic Recordings—also celebrating its 10th anniversary this year—Albrecht’s work reflects a steadfast commitment to artistic authenticity and a depth of accrued knowledge now expressed through a craft so refined that oft feels effortless.

It was an honour to have Alex performing LIVE in the studio to celebrate this milestone together and share in his music that will continue to inspire us all.

Alex Albrecht [LIVE] - PN 300

Flying away from the Typhoon Kong-rey with the last plane from Shanghai, arriving straight to Miki Abe, his inaugural wonderful Picnic People Panic to the DJ booth at Womb Tokyo to take over from the superb Alien Sex Friends.

Here is the live recording.

Ryosuke Tsuchiya, who also served as PA, mastered this mix. He used a unique approach, including IR reverb, to simulate the environment of the day with an immersive feel.
WOMB is a club with a very high ceiling and wooden floor. The subwoofer, with its large horn, gives the kick a rich ambience.

Enjoy!

Vladimir Ivkovic Live at PICNIC PEOPLE PANIC - November 1st 2024 at Womb Tokyo

An episode that feels well overdue yet thoroughly worth the wait! A titan of the Naarm underground music scene, Pjenné has been a kindred spirit and longtime pal since the early days of MDC, and it's no surprise that her contribution is packed full of gloriously deep and immersive feels, bassy and driving in parts and light as a feather in others, speaking to a palette that has been meticulously explored and continues to evolve along with her incredible weekly radio show on PBS, Passing Notes. 

@pjenne

Q. What sounds of feelings did you draw upon when gathering inspiration for this mix, and what listening environments could you imagine it being best enjoyed in?

A. For this mix, I wanted to channel the energy and sounds that I associate with Melbourne Deepcast rather than drawing on the darker side of my sound palette that has been at the fore of my radio and club sets of late. MDC means so many things to me, but there’s definitely an energetic, grooviness that comes to mind and this is what inspired the mix. Although the mix does showcase parts of me (heavily atmospheric, emotive and a few downtempo tracks for good measure), I’d say this is more of a mix for you. :) I imagine this mix being listened to outside, on a sunny day, but when you might also need a little extra pep in your step. 

Q. Are there any songs in the mix that are especially close to your heart, and what is it about these tracks that resonate with you so much?

A. The first that came to mind is a track by Sean Cusick and Medway (Jesse Skeens) - It is an incredibly beautiful and emotive breakbeat track from 2002 on Saw recordings, there’s just something about how the vocals and the pads wash over you - although its upbeat there's also a sombreness to it and I just think its the whole package. 

Towards the end of the mix there’s also a very very classic ambient trance number, Lazer Worshippers by Damon Wild & Tim Taylor from 1993 - Not the most deeply dug track but it's a classic for a reason.

Q. You have been lovingly broadcasting your weekly radio show Passing Notes on PBS for six years running, which is a serious achievement! Tell us what you did for your sixth anniversary on International Women's Day, and what keeps you inspired to broadcast the show week in week out?

A. It’s been a wild ride that’s for sure! I really appreciate that International Women’s Day marks each yearly anniversary of Passing Notes - it reminds me to stop and reflect on each year as an achievement that I would probably otherwise forget in the chaos of life. This year I enlisted the help of Syrian DJ and Harmony Rec affiliate Zeynep, who provided an excellent, playful and sassy celebratory guest mix. 

As for my inspiration to keep going, I’d say that I draw from the collective power of electronic artists locally as well as internationally. There’s just so much good music to share, and Passing Notes enables me to provide a crucial connection between ‘underground’ electronic music and the wider music community. I'm also inspired by live radio as a format - it provides a sanctuary for me from the highly curated nature of music today and allows me to be more playful in the way that I explore different sounds. To me it is a place free of judgement.

MDC.308 Pjenné

Jules & Will of Hybrid Man are back to present 'Hearing Things' live from Skylab HQ

| HEARING THINGS | w/ Hybrid Man | E5

We are all children of the sun, the same sun, and we feel its warmth on our skin.
The same warmth that has fed the olive trees for centuries—the immortal tree that would endure, if not uprooted.

And the older we get, the more uprootings we witness.
And you may be told that even what you see with your own eyes, did not really happen so, even when it happens in the plain light of day.
And sometimes, we try to scream, or sing,
but the world fails to listen.

So we write,
we express ourselves.
We turn to the sun,
offering our words like prayers,
not to persuade, not to explain,
but simply to exist.

It may seem futile, but what are words if not seeds—scattered, carried by the wind,
feeding what has been torn from the earth,
so that perhaps, one day,
like seeds, we can regrow
what was cut down, buried, and burned.

"Look at the fruit as it sweetens and ripens.
There are indeed signs in that for a people who have faith."
—Al-Qur’ān 6:99

2 hours of musicopoetic lamentation with contributions by Adelaida, Asifeh, Bassem Breish, Drew McDowall, Drumloop, fatalism, Faten Kanaan, Fatma Al Jabari, Firas Shehadeh, Israa Shalaby, Jad Atoui, Jude Sajdi, Kareem Lotfy, Luke Elliott, Mayss, Nadine Makarem, Nicolás Jaar & Rama Alcoutlabi.

artwork by Ilham Shahrour

Letters To The Sun - Waking Life & Dreaming Live - Radio Alhara

The MFM Mix series continues with Istanbul-born, Amsterdam-based multidisciplinary artist Deniz Omeroglu (@loradeniz), who released her debut album 'SUN SHONE' with us earlier this year. Interview (excerpt) down below.

www.musicfrommemory.com

MFM: Welcome to the series Deniz. Being from Turkey originally, what did your musical upbringing look like? 

LD: There was always music playing in our house - we even had speakers in the bathroom. My dad really enjoyed listening to music; he had an open mind and a great collection of CDs and records. It brought together Western influences, world music, and local sounds. That diversity really shaped my ears and sense of sound from early on. My brother played the piano, so classical music was also part of the atmosphere. I guess I grew up listening to almost everything except electronic dance music. That came into my life later - after graduating from the conservatory and going through my own personal rebellion. 

MFM: Comparing to West-Europe, where you live now, do you feel there's difference in how music plays a role culturally? 

LD: Totally. I think we, as a culture, tend to experience and express emotions more intensely - both internally and outwardly - compared to Northern European countries. So you can often feel that emotional depth and variation in our melodies and rhythmic forms. Just the other day, I found myself wondering... what kind of music would I be making now if I had grown up listening to Chicago house at home?

MFM: You've produced the whole album yourself. Being a classically trained pianist probably helps a lot when creating and writing new music, right? How did you go about writing the songs?

LD: In the past, my creative process was often fueled by pain and drama. But now, I don’t need those emotions to create anymore. Maybe that used to be what made my music distinctive, but now everything feels a lot more free and in flow. Coming from a classical background actually caused years of writer’s block - I often had no idea what to do next. Being classically trained means you're expected to perform everything perfectly. It took a lot of unlearning to let go of that mindset and teach myself that there’s actually more comfort in imperfection. So, rather than being a pianist specifically, it’s more about having music theory to fall back on when I feel stuck - that’s what really helps. But honestly, the most important part of writing new music for me is taking care of myself. All the self work - that’s what keeps my creativity alive.

MFM: When does a song determine if it needs your voice incorporated? And how do you then decide whether its going to be in Turkish or English?

LD: When it comes to language, it’s not really a conscious choice - it just happens naturally. I dream in both Turkish and English, and even while answering these questions, I find myself thinking in both. Sometimes it’s just easier to express something in Turkish, and other times it flows better in English. As for when I decide to use my voice in a song, it really depends. Sometimes melodies come to me while I’m just humming, and other times I feel the need to actually say something. I think of my voice as a human oscillator - just another unique textural element. I use my voice to create percussive or synth-like sounds, layering it in the same way I would with instruments, to add something personal and distinctive.

MFM: Please can you tell us a bit about your mix? 

LD: I think this mix gives off a sense of melancholia but not too much, intimacy, and cerebral energy. It’s not really representative of what I’d play out at clubs, but it’s full of tracks I love listening to, my all time and latest favorites. There’s a lot of slow burners, ghostly sensuality, and a touch of leftfield sass. my intention was to record something as much for the body as for the head in the most mfm way possible. Something light, something fun and something genuine.

MFM Mix 053: Loradeniz

Twice does not lead to a tradition - but it feels like playing for @swimsupply 🏊 . Whenever the community organisation focusing on lysergic sounds calls, I am more than happy to meet beloved Ellen, Mark Lando and Tesdorpf and to play for their fine events.

So here is a 2h recording from my gig at Wurm in Basel / Switzerland a few months ago where I met and played with fantastic @sellyourmania and @sprtsmanship and its a rare past forward 🦦💃.

15.03.25 Philipp Otterbach @Swim, Basel / Switzerland

Earth Dog Records label boss Jek with 1 hour of tech-y proggy goods.

https://www.instagram.com/jek.media 
https://www.instagram.com/earthdogrec

https://soundcloud.com/earthdogbk 
https://soundcloud.com/earthdog_jek


VERSATILE/GILB'R REDLIGHT RADIO #2

Versatile Records

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