[Seattle, USA. December 31, 2012] - Mixtapes by Seattle residents Jefferson Petrey (selections of ambient, left-field, and drone) and Kuri Kondrak (selections of house, techno, and left-field) to commemorate Made Like a Tree's "Best of 2012" selections. PART ONE - Jefferson Petrey's "Mind Mix." ♫ mlat76 - Jefferson Petrey.mp3  Play Let's lead off with the softball stuff. In 500 words or less, how has 2012 been to you and those around you? Difficult, challenging, it's definitely been a year of change and transition. Attempting to find new avenues and vehicles for both our artistic creation and cultural community skills. The digital, virtual world has so much to offer potentially, but expertise, true expertise, is lost amidst the inundation of 'informed gentlemen' with Twitter accounts, Social Networking and ubiquitous comments fields. This has made the institution of the Ye Olde Magazine (both print and digital) more valuable than ever. It's these vehicles who have maintain integrity through quality reportage in arts/news/culture that I've found even more valuable than in previous decades for parsing out the immensity of the global goings-on. So finding a home with those remaining institutions, or better yet, creating ones of our own have been the best part of this shift. Sadly there are fewer readers, since much of even the arts-consuming public are doing other things with their online time, but the end result of this slimming down has been qualitative I feel. A consolidation of sorts. Hopefully as we evolve through this transition, it'll be the best of the best left standing. You used to work for a local record shop in Seattle as their electronic music buyer. What have you been doing since, and how advantageous were these engagements (if any still remain) for you this year? This relates in a sense to the previous question. The physical record store as a community environment will never be matched by the digital/virtual. Though at the same time, it's time and relevance to most of the consuming public though has come and gone. The largest percentage of listeners as consumers are just as happy and find it more convenient of course to have a digital product. It's also rare that most listeners have invested in home playback systems to take advantage of the sonic richness of a physical LP, Blu-Ray audio, or even CD for that matter. For the remainder of us so lucky as to live in a metropolitan area that has local retail that caters to non-commercial cultures, be it music, film, visual art or the printed word, I feel it's time to participate where our mouth is, as it were. As once these small, locally owned and run labors of love are gone, they'll be gone for good I fear. I personally don't want to live in a city where it's character and even commercial opportunities differ less and less from that of the suburbs. So to answer your question, my year has been sent doing cultural writing online, copy writing for utterly mundane commercial interests to pay the bills, and spending my time and money on/at local businesses. Films in the theater, music at live venues, visual art at galleries and museums, retail at those few remaining businesses that sell the cultural products that are valuable to me. In-part it's the opportunities for participation in these things that define a place as a city. Sitting in front of a screen and not going out you can do just as well in a sprawling suburb of Kansas City or Orlando. How was the 2012 year in music? As a listener? As an employee? Scattered, seemingly less cohesive, not necessarily in a negative sense, it just necessitated doing more work to find all the gems around the fringes. As a consequence of the protracted recession and everyone tightening their belts (especially in the arts!) many of us have kind of retreated into our cultural cul-de-sacs as a means of ensuring we spend what time/monies we have on the art that's most significant to us. As a product, music sharing among friends with differing, divergent interests and tastes has become significantly more valuable. So community and dialog win out. In the end that's what it's really all about, so these spare times have kind of helped in that regard. As a listener it's been really phenomenal, especially live music. As an employee more difficult for the reasons we've already discussed. Where (in the world) were the more interesting movements happening in music culture and production in 2012? Oh man, where to begin? Again, the online world has given us this massive window into the global cultural happenings. Narrowing that down into something intelligible, and prioritization is the real work. Unsound festival Krakow continues to be phenomenal, the best curation of all post-20th Century genres out there in one week long festival. Jon Wozencroft's Touch label just celebrated their 30th anniversary with a series of showcases around world. Modern Classical had a great year with the American Mavericks series in San Francisco, Chicago and New York. Stephen O'Malley of SUNN O))) established an imprint for the rerelease of the holy grails of early electronic music, Recollections GRM. The undervalued ladies of early electronic music also had a explosive year of reintroductions to the world; archival releases by Daphne Oram, Pauline Oliveros, Delia Derbyshire, Laurie Spiegel and more releases by Eliane Radigue simultaneously available in print than any decade in my lifetime. Japan has been issuing phenomenal adventurers as diverse as Kouhei Matsunaga's post-Warp dance project NHK and the what's come after the ultra-minimalist Onkyo and Improv scenes. Germany is home to some real stunners; Raster-Noton as relevant and of-the-times as they were in 1998? No question! Scandinavia has been home to not only the best Jazz of the past three(?) four(?) decades but Metal is huge there as you know and now some of the finest abstract, electro-acoustic and electronic music is issuing from Northern Europe. Production wise, it's these crossroads where I'm finding the greatest richness of new sounds. Genre and scene bleeding together to created hybrids, mutations of form. Albums like Raime's "Quarter Turns Over A Living Line" as much speaking the language of early Autechre as it does the sound of Godspeed! You Black Emperor's home the Constellation label. KTL being as much Metal as it is neo-Classical and Electronic music, is another example. You're very important to Seattle's music culture. You've had varying involvement in a variety of offerings and initiatives both this year and in years past. As a listener and employee of music, how has it been remaining here? "Very"? Hyperbole I say. Seriously though; the post-September 11th cultural-economic landscape and it's effect on touring artists making appearances here in the Northwest has been genuinely inconsistent. I've found I've done more travel to attend festivals in other cities to ensure I'm not denied the opportunity to witness the art most important to me. This entails music shows, art exhibits and even films. It's nutty, but I'll travel to see a film in the theater. It's occasionally that important to me to participate and if I can't do it in my city, I'll do it in another. That said, Seattle is still a very much a high-value cultural environment. Less than other decades in some ways, but again is it too easy to blame the recession and those looking to exploit the real estate environment it's produced? Definitely at least a factor I'd say. The heightened difficulty in keeping cultural venues open and paying the rent has unquestionably figured in no small way to these changes. Festivals here have stepped up their game seemingly in response. With a few high-density, larger capacity days, they've been able to unsure paying the bills and luring artists that it otherwise wouldn't be practical to perform here. Not to be too self promoting; but Rafael Anton Irisarri's Substrata Festival that I have a small hand in has been a world class showcase of ambient, neoclassical, experimental and electronic sounds for a couple years now. Decibel Festival was really on top of their game this year. Their curation was on par with the best North America has to offer. Comparable with some of Mutek Montreal's now legendary years. Two showcases made the whole weeklong event for me; the Modern Love label showcase and the Raster-Noton. It's almost transparent how influential those nights were, I think it's pretty clearly reflected in my mix. What, for you, are the city's most valuable musical exports? Well, Metal plays a huge role here for me. Eagle Twin, all things related to SUNN O)))'s various offshoots and enterprises (though they're now spread out across the world), Earth and Great Falls have put on phenomenal shows. I'm expecting great things in the coming year from both Sublime Frequencies and Medical Records. I mentioned Substrata Festival's Rafael Irisarri, he's a big one, and I found myself compelled again and again on hearing Shabazz Palaces' newest. Which is a nice surprise, as my Hip Hop listening of this past decade has almost exclusievly been of UK origin, Grime and all things related online sessions; KISS and Rinse FM, Ruff Sqwad's reappearance... well there I go again. You ask me about local exports and I'm talking about the UK. 2012 is now closing up... any regrets? Few. Making the knowledge connect with the realization of happenings and events is a learning curve with seemingly no ceiling. Translating that into viable arts events and ensuring both the established and potentially interested new audiences are informed, is an ongoing, evolving organism. I'll say this; more travel needed to happen in 2012. There weren't enough cities seen, fantastic cultures experienced, creative/productive new peoples met, arts witnessed. That's going to be rectified in 2013. In light of evening thinking about regret, how about moving beyond it. What comes next for you in the new year? Figuring some alchemical process by which the above resolution becomes a Ouroboros, Möbius loop, perpetual motion engine, forming my life. 1. Right-click + save a copy of this podcast 2. Follow what we do via Facebook 3. Subscribe in iTunes / RSS 1. Thomas Köner - Novaya Zemlya 3 - Novaya Zemlya [Touch] 2. Kreng - Monkey (Part 1) - Works for Abattoir Fermé 2007 - 2011 [Miasmah] 3. Oren Ambarchi - Sagittarian Domain - Sagittarian Domain [Editions Mego] 4. Brian McBride - At A Loss - V/A Air Texture Volume II [Air Texture] 5. Sylvain Chauveau & Stephan Mathieu - Chosen One - Palimpsest [Schwebung] 6. KTL - Phill 2 w/ Johann Johannsson - V [Editions Mego] 7. Raime - The Last Foundry - Quarter Turns Over A Living Line [Blackest Ever Black] 8. Demdike Stare - Kommunion (Alternate Version) - Elemental [Modern Love] 8. Cut Hands - No Spare No Soul - Black Mamba [Very Friendly] 10. Cloaks - Rust On Metal (Justin Broadrick Mix) - Versions Grain [3by3] 11. Emptyset - Armature - Collapsed [Raster-Noton] 12. Shackleton - Music For The Quiet Hour Part 1 - Music For The Quiet Hour [Woe To The Septic Heart] 13. Vladislav Delay - Kulkee - Kuopio [Raster-Noton] 14. Sun Araw & M. Geddes Gengras Meet The Congos - Food, Clothing and Shelter - Icon Give Thank [RVNG] 15. Gultskra Artikler - Berezka - Abtu Anet [Miasmah] 16. Christoph Heemann - The Rings of Saturn Part 7 - The Rings of Saturn: Complete Edition [Robot] 17. Pinkcourtesyphone - Petraglyph (for Ranier) - Elegant & Detached [Room40] 18. The Caretaker - The Night Is Over And The Dawn Is About To Break - Patience [After Sebald] OST [History Always Favors The Winners] PART TWO - Kuri Kondrak's "Body Mix." ♫ mlat76 - Kuri Kondrak.mp3  Play Seattle has been a home to you, your family, and your profession for years now. Whereabouts did you grow up, and what about those circumstances have lead you to be so intimately involved with music? I grew up mainly in the city of Seattle and lived pretty extensively with my dad. He owned a small reggae record store that floated around the city and I would go hang out at the store on Saturdays looking at all of the crazy album covers (Lee Perry's Super Ape and Scientist's Scientist Rids The World Of The Evil Curse Of The Vampires were particularly awesome for an 8 year old) and soaking up the sounds blasting out of the speaker. Your father was a passionate listener himself. According to your accounts of him, he sounds like quite the guy to be passed the baton from. He took me record shopping all over town and when we went to visit family back east. He was really into all kinds of music and helped instill that appreciation by taking me to stores I wanted to hit when I started showing an interest. He would even pick up just crazy amounts of records from cut out distributors. I remember at one point coming home from college and had only just started to find out about Detroit techno and Chicago house and he had an acid house compilation lp that I'd never seen before. That was wild. Really he helped me understand how to analyze what I was hearing by explaining the different rhythms and studio techniques used by reggae engineers. Plus he exposed me to some great films and soundtracks that are an influence on me to this day. You have a son who is growing up pretty fast. Do you ever embrace the hope that he'll be picking up the baton from his father? Irregardless, what type of advice would you (or are you) giving him? I would rather him pick up on it himself, because he wants to not because I want him to. He definitely has an ear for music, but collecting records is like a religion, you should only come to it through your own path. I try to share tracks with him from an early age and he does like some of it. I used to play him Os Mutantes, Egyptian Lover and even some Kool Keith (until he started to picking up on the twisted nature of it-haha!) You've experienced a rather accomplished last couple of years as a music purveyor. Just to roll off a few, you've been an semi-active music writer, have shepherded several critically acclaimed releases through your label Night Gallery, and have been one of the more respected DJ/curators in Seattle. Of everything you've been involved with in 2012, what are you most proud of? Being involved with the Robo.Trash nights back in late 90s/early 00s was a very proud period. That night started out with a very broad musical palette that fit well with my growing interest in italo and the fucked up stuff coming out of the Hague (Viewlexx/Bunker/Creme). When electroclash hit later I felt like I lost the plot, so I'm glad I dialed it back and went back to ground zero. I am still writing for Little White Earbuds but that has taken a back seat to the label. I'd have to say that running Night Gallery with Shawn Kralicek feels like a major accomplishment. We are working with some stand out artists and releasing what we feel will have staying power. After we released that 2nd Dijkhuis record and I heard "Underground Persistence" being played out (shout out to David Siska!) I lost my shit. What is it like for you to operate as a musical entity in Seattle? Does the city afford you every opportunity to be both inspired by all the movements being made around you, as well as to succeed as your own? I've always had a tough time with this city. It's a great city to live in but doing music is tough as fuck. You have to really push and network and do that shit that I can't stand. Give me some real people, getting down to some dope music; letting themselves be open to new/old/whatever sounds and not just falling for whatever everyone else is telling them is cool. I'm glad people are still doing stuff here, but as far as inspiring me, I tend to find that fire from elsewhere. For the readers/listeners here, it should be known that you compiled and mixed your podcast - a retrospective of the entire year - in only a couple days. Could you talk a little about how you did so with such swiftness, and why you made the selections that you did? Well I think that working on my year end list for LWE gave me a leg up. I had already given it a lot of thought as to what some of my favorite tracks and albums where, but what I hadn't considered was how to put it into a cohesive whole that could be mixed. This year the picks weren't all so homogenous and easily thrown into a mix, either. They ran from trippy ambient electronics to raw/soulful boogie to vocal house and pumping techno. A couple late additions (the MFA and Moon B) helped me round it out at the midnight hour and I just went for it. I can't spend too much time on a mix, it just feels too defeating and worked over. Where in the world was your favorite music being produced this year? Any speculation on why that may be? I couldn't isolate it to just one geographical place. Obviously L.I.E.S. is helping to push a healthy scene in the Brooklyn area, but Ron's also pulling from artists that are all over the world. I really like what William Burnett is doing with his W.T. Records label, some of the most interesting records have found a home there. Chicago has seen some great talent spring up this year (Amir Alexander, Ike Velez, Alex Israel), but increasingly it's people working in their own worlds that are the most exciting to me. The notion of 'outstider' dance music an increasingly attractive proposition, getting us original sounding records. Hopefully that doesn't become a trap in itself. Your participation in this year's "Best Of" entry is very robustly helping to close out the year. Overall, how anxious are you to close up shop and usher in 2013? What is there to look forward to? I can't wait to end this crap ass year and jump into the next one with full abandon. On a professional front, this year will see the label continue with a great new EP from VernoN. On a personal one, I'm hoping to make a trip over to Europe for an overdue vacation. 1. Right-click + save a copy of this podcast 2. Follow what we do via Facebook 3. Subscribe in iTunes / RSS 1. Electric Street Orchestra – M.F.A. (Dogon Mix) [Dirty Tech] 2. Moon B – untitled [PPU] 3. Alan Hurst – Blood Brain Barrier [Emotional Response] 4. Transilvanian Galaxi – You Have Always Been The Caretaker [Acido] 5. J. T. Stewart – Krill [Indische Buurt] 6. Actress – Caves Of Paradise [Honest Jon’s] 7. Shawn O’Sullivan – At The Reservoir [W. T. Records] 8. Bookworms – African Rhythms [L.I.E.S.] 9. Alex Israel – She Is So Nice [Night Gallery] 10. Madteo – We Do…(DJ Sotofett’s NYC Dub Mix) [Wania] 11. Pepe Bradock – 12 Turn 13 [Atavisme] 12. Tr One – Living In, Now [Pogo] 14. Innerspace Halflife – Phazzled [M>O>S] 15. Infestus – Afterglow [Groovement] 16. October feat Borai – String Theory [Simple] 17. Aaron “Fit” Siegel – Tonite feat L’Renee [FXHE] 18. Andres – New For U [La Vida] 19. Amir Alexander – Gutter Flex [Argot] 20. Marquis Hawkes – Sealion Woman [Dixon Avenue Basement Jams] 21. Delroy Edwards – 4 Club Use Only [L.I.E.S.] 22. Unknown Artist – Echo Drugs [L.I.E.S.] 23. Huerco S. – Bypass [Wicked Bass] 24. Xian Orphic – Cross Modal Plasticity [Pre-Cert Home Entertainment] 25. Juju & Jordash – Way Of The Road [Dekmantel]

[Seattle, USA. January 11, 2013] - Accomplished modern classical and ethereal ambiance from Seattle residents Thomas Meluch and Rafael Anton Irisarri.♫ mlat77 - Orcas.mp3  Play Welcome to 2013... anything noteworthy about the way the year started off? Or are you more or less experiencing an uneventful transition? TM - I'm back in the states after a full year spent overseas - mostly in the UK - so I'm transitioning back in to more familiar territories and preparing for the release of my fourth album on Kranky, which is due out on March 4th. I made this one in almost total isolation on the southeast coast of England, in a room from which I could see the English Channel and the lights of France on a clear night. Tom has been based in Portland, and Rafael in Seattle for some time now. It seems as though "Orcas" is being called a Seattle based project. Where are either of you now, and how have those environments been to you socio-culturally and for artistic purposes? TM - I'm living in Seattle now, so it can be fully called a 'Seattle project' - I'm foreseeing the closer proximity as a boon to being able to work together more frequently, and more spontaneously, which will be great. Its been asked not "why the two of you are working together," but "what took you so long." While you've been friends for a good while, could you talk a little bit about what first marked the crossing of your paths and what eventually pushed you to work together as musicians? RAI - I originally met Tom in 2009 during Decibel Festival that year, and shortly afterwards he would be coming up to Seattle from PDX and we'd improvise in my studio, etc. From those improvisations a lot of the material developed. There wasn't so much of a plan back then, but things started to shape into form and we ended up making a record together. It was very casual, which probably explains the loose feel on the record. How has it been working together? Care to reflect on what it was like to produce your debut album? How do you feel about the way it has been received? RAI - It's been great - I really like and respect Tom's approach to composition (plus he's got a really fantastic voice). He's an amazingly gifted songwriter and that really inspires. Basically, he would come up from PDX for a weekend, we would have a song written and several other ideas done by the time he would head back, which is quite neat. Aside from been a gifted artist, he's a wonderful person and that'd as important: you really need to work with likeminded individuals and people who are just great to be around. I'm very happy with the reception to this project. A lot of our listeners have taken to like it with quite devotion. And of course, we got some amazing reviews on all the hip places and whatnot, although I reckon that getting a glowing Pitchfork review hasn't done much for us in terms of booking live shows: we've only played a handful so far and almost all of them were in Europe. I'd love to play in the US some more, perhaps we get some opportunities this year. What other things have you been working on (either together and/or in collaboration with others)? TM - As I mentioned above, there's a new Benoît Pioulard album (called Hymnal) coming out this spring, so I'll be touring North America in support of that - and in addition to more work on a new Orcas record I'm also collaborating closely with Kyle Bobby Dunn, whose solo work has been a fantastic and frequent companion during a lot of my traveling throughout 2012. RAI - I just finished a new solo album for Australian label Room40, which should come out sometime this year. I also started a new venture with Pantha Du Prince - you'll learn more about this later this year as things develop. What is the Orcas live experience like? The "Arrow Drawn" video comes off as an ever-so appropriate visual presentation of the aesthetic. Is this any indication of any live visuals and textures you use? RAI - Live we perform as a trio (piano, guitars, electronics, voice). And yes, you are right about this "Arrow Drawn" video - it was made by our friend Sean Patrick in Texas and he made all of our live video clips. Very similar style and cohesive. While I'm not so sure in the case of Rafael, Tom has previously identified as quite the cineaste. In a past interview, his admiration for film makers like Werner Herzog and Terrence Mallick were noted. Recently in the case of Mallick, critics see him as having developed an over indulgence in the expression of some of his recent work(s); that the ethereal voice and cinematic style once so celebrated has grown to be overly accentuated. How does that resonate? TM - I still see Malick's work as deeply meditative and ethereal, and regard The Tree of Life as a near-masterpiece (I still consider Badlands his crowning achievement) .. It's all in the moments and the movements he captures as naturally as breathing - the sorts of things that in my opinion are too often overlooked by other filmmakers in the service of plot or character arcs. I mean, certainly those elements are important as well, but as a visual painting of growth and the influence of nature on one's path through life, there's no one more accomplished - that I'm aware of. We've seen a lot of astonishing things play out in live acts, such as high profile projection mapping from Amon Tobin, resurrected Tupac holograms, and live 5.1 surround sound from Robert Henke. Any thoughts on the elevation of the live experience from your own vantage point? What cool things would their be to play with and develop? TM - That Amon Tobin thing was nuts, but it was also a total sensory overload that started to make my neurons misfire after about 10 minutes. Those things have their place, but as far as our own ambitions, I think we'd like the music to be able to stand on its own legs without needing anything too fancy or gimmicky to garner more attention.. Plus we're not exactly dealing with major-label funds here... RAI - I subscribe to less is more - for us a very simple abstract video of shapes and colours should suffice. As Tom said, I rather let the music capture your attention. Elevating the live experience aside, perhaps you have some other ambitious goals to seek out this year? TM - Maybe just finishing a new record; that's all that's on my docket really! RAI - I would like to play again in Australia, and perhaps finish a new The Sight Below album - that'd be really nice if I can make it happen! 1. Right-click + save a copy of this podcast 2. Follow what we do via Facebook 3. Subscribe in iTunes / RSS 1. The Fun Years - And They Think My Name Is Dequan [God Was Like, No] 2. Autechre - Yulquen [Amber] 3. Biosphere - The Things I Tell You [Substrata] 4. Kate Bush - Running Up That Hill [Hounds Of Love] 5. Arthur Russell - Let's Go Swimming [World Of Echo] 6. David Sylvian - Brilliant Trees [Brilliant Trees] 7. Oren Ambarchi - The Girl With The Silver Eyes [Grapes Of Estate] 8. Labradford - S [Mi Media Naranja] 9. Deaf Center - New Beginnings (Tidal Darkness) [Owl Splinters] 10. Arvo Pärt - I Fiamminghi, Rudolf Werthen – Fratres For String Quartet [Fratres]

[Seattle, USA. January 14, 2013] - Local indie-radio deejay and video store 'slanger envisions a melancholy dreamscape.♫ mlat78 - DJ D'Nelski.mp3  Play Let's get right into this mix. You're classifying this as a "night bus" mix. Could you explain what you're implying with that description? Yeah, so "night bus" is simply the type of music you ideally want to listen to on your headphones while riding a bus alone at night. It's not really genre-specific, as there's more of an emphasis on music that fits a particular environment and invokes a certain feeling/vibe. The term stemmed from a discussion on the Hipinion forum, seemingly referencing the Burial song "Night Bus" (which fits so perfectly) and then gained some more exposure through a pair of mixes that CFCF put together called "Do U Like Night Bus." Generally, it's music with a slower pace, more open space, contemplative, sexy, melancholy, strong emotional overtones. I'm a beat junkie with a longtime love for R&B, so this mix is heavy on new beats with a romantic, nostalgic influence that I feel fall into the "night bus" umbrella. Your label Hush Hush releases material much in the same aesthetic. Would you classify Hush Hush as a "night bus" imprint? Yep! Hush Hush -- both as a monthly DJ night and label -- is dedicated to curating and releasing "night bus" music. How did you record this podcast, and what drove you to choose these selections? I put together the set using my pair of CDJs and old school 2-channel Behringer mixer, then went to my homie Collin Andresen's to do it live and throw it through his mixing board to record into Logic. All the selections are a lot of my favorite new/forthcoming tracks that I've been spinning at the Hush Hush monthly and on my overnight KEXP show. I threw in an older R&B cut (Maxwell's "Drowndeep: Hula") for nostalgia :) There's also a couple forthcoming Hush Hush tracks with the Javier Escareno cut (his debut beat tape will most likely drop in February) and a Kid Smpl remix of Fjord Morrison from an EP that will be released digitally in March with a cassette tape release planned as well. Are you a melancholy sort of dude? In addition to working at a Seattle radio station, you have worked part time at a video store. You must consume a monumental amount of Indie music and film. Music and film have been an integral part of my life for the last decade for sure. I have the privilege of being able to view a lot of films, and I do watch a lot new ones, but I wouldn't consider myself much of a film buff. Music's definitely more my passion and what I'm more drawn towards consuming and sharing. I don't think I'm a melancholy sort of dude, actually way more upbeat and optimistic than that. But I'm certainly drawn heavily to both music and film with a strong emotional resonance. I've always found sad movies and sad music beautiful in its own way. Could you talk a little bit about your record label, what sort of things you have going on, and how you develop the relationships with your artists? Hush Hush was initially a monthly DJ night dedicated to showcasing "night bus" music that expanded into a label when I decided to release new music by Seattle-based artist Kid Smpl (aka Joey Butler), specifically his debut album ('Skylight' -- out now!). I had known Joey since late 2011 through his music on Car Crash Set, a fantastic future bass label run by DJ/producer Ill Cosby, and then eventually meeting him at Ill Cosby's 'Street Halo' monthly DJ night. So we've been friends for awhile now, which made the process of putting together his debut album, as well as the preceding 'Escape Pod' EP and 'Dope Pace SE' remix collection, a smooth, dialogue-heavy process. The next couple Hush Hush offerings will be a debut beat tape from Houston's Javier Escareno, a hip-hop-influenced producer that Kid Smpl discovered on Soundcloud. His style reminds me a lot of Clams Casino. And then an EP release from Fjord Morrison, an enigmatic bedroom producer, that will feature remixes from Kid Smpl (included in this podcast), Druid Cloak, and Seattle's Domokos. I'm also working with some emerging producers, most primarily based in Seattle, but those are still in development stages at this point. When you started the label, did you have any particular vision, or did it just sort of come together spontaneously? I feel the launch of the label was actually fairly organic, but with a more near-sighted vision than what it's become. I really wanted people to hear Kid Smpl's music, and when some other labels didn't pan out, it seemed like a natural progression to make it happen. Initially I thought I'd just work on putting out his album and then, naively, that would be it, but that's no longer the case. I'm really excited about the future of Hush Hush, building a catalog, and further sharing this type of music with the world. While it appears that you've established good momentrum with Hush Hush, what (if any) issues have you run into? Hmmmm maybe just figuring out how to balance my time and jobs with the new addition of running a label? And how is your release schedule looking for 2013? Anything exciting or ambitions on the schedule, wether it be for Hush Hush, your day gigs, or your DJ schedule? On top of the releases by Javier Escareno and Fjord Morrison, there's a massive remix collection of Kid Smpl's 'Skylight' album that's in the works with a balanced contribution from local artists and non-local/international artists. That will probably come out mid-Spring and will most likely be a multi-volume release. There's some exciting DJ gigs for me and live events involving Hush Hush artists lined up: I'm spinning an opening set at the FaltyDL show this Friday January 18th at Lo-Fi, Kid Smpl will be opening up for Andy Stott this Saturday January 19th at the Crocodile, Hush Hush will be at Lo-Fi on Saturday January 26th during this month's TRUST party. TRUST will also have Sean Horton and Carlos Ruiz from Decibel spinning in the backroom while me, Kid Smpl, DJAO, and Domokos will do DJ sets in the front room. Next month marks 1-year since starting the monthly Hush Hush night, so we're throwing an anniversary party at Vermillion on Friday February 15th. Stoked for that. Much more on the horizon too :) 1. Right-click + save a copy of this podcast 2. Follow what we do via Facebook 3. Subscribe in iTunes / RSS 1. How To Dress Well - Say My Name of Say Whatever (Intro) [Acéphale/Weird World] 2. Essáy & Stumbleine - Rhiannon (not on label) 3. Lapalux - Forgetting and Learning Again (feat. Kerry Leatham) [Brainfeeder] 4. Justin Timberlake - My Love (BEΛR//FVCE Remix) (not on label) 5. Solice - Never Know (not on label) 6. Friendzone - Chuch [self-released via Bandcamp] 7. Javier Escareno - Forevr [Hush Hush] 8. αtμ - Close (not on label) 9. Different Sleep - Want U 2 Know [Svengali] 10. Stumbleine - The Corner of Her Eye [Monotreme] 11. DFRNT - El Spirito (Beatless Version) [Echodub] 12. Shelter Point - Forever For Now [Hotflush Recordings] 13. Guerre - For Qwanisha [Yes Please] 14. Dalai Lama Renaissance - How Do You Do (Zack Christ Remix) [Dandelion Lotus] 15. Myth Syzer - Blue [Plug Research] 16. Robots Don't Sleep - So Bad (Synkro Dub Mix) [Four Music] 17. Futurewife - It Gets Better (Roma Remix) [Immersed Audio] 18. snacs - Relax Dude (Float) [not on label] 19. Maxwell - Drowndeep: Hula [Columbia] 20. Namine - One Day (Edit of Mariah Carey & Boyz II Men) [Egpytian Maraccas] 21. Fjord Morrison - Late After Dark (Kid Smpl Remix) [Hush Hush]

[Paris, France. January 30, 2013] - Two French brothers curate a sophisticated blend of sleek ephemera.♫ mlat79 - Baptiste & Pierre Colleu.mp3  Play How have have things been for you in 2013 so far? So far so good. Everything is cool for us. We continue to move forward and work on projects that we like more and more. You two are brothers, is that right? How did it come to be that you two began collaborating on music? Yes, indeed, we are brothers. We have always been really close. Even though we both have different influences, it has always been a pleasure working together, it feels natural and instinctive. It’s actually quite simple and fluid, there is no taboo between us. Plus, we have been making music ever since we were little kids. We spent a part of our childhood in Africa and it became a common inspiration naturally. You run the Pendejjjo blog, where you release a series of your own ethereal brand of podcasts. Could you talk a little bit about that project? Pendejjjo is Pierre’s blog. It’s a very personal blog, I can gather my influences and it’s a natural way to broadcast my podcasts to whoever wants to hear them. What do either of you do professionally? Besides curation and music, what (if any) other things that take up your time? Music is our full time job. We compose and select music, mainly for fashion. Regarding the rest of the time, Pierre loves fishing while smoking weed and Baptiste is going to be a dad to a baby-girl soon. Could you then talk a little bit about this podcast, how it was recorded, and what you were going for (if anything)? We recorded the podcast live on a turntable, a Pioneer CDJ and Ableton Live. It’s in-between each other influences. We love progressive music, the one that you can listen to in your car on a highway at night. We think that this podcast is really nice to listen to in a Mercedes Benz between Paris and Cancale. We often go to our family home in Bretagne and we especially like to listen to music during these trips. You've started to seed out some of your own productions. Can we look forward to anything from the two of you this year? We really want to release a record shortly. We are currently working on it. For 2013, Inch Allah ! 1. Right-click + save a copy of this podcast 2. Follow what we do via Facebook 3. Subscribe in iTunes / RSS 1. Unknown Artist - Trading Danger […] 2. Beak - Yatton [Differ-ant] 3. Michael Stearns - Sirens [Groove Unlimited] 4. Forward Strategy Group – Ident [Perc Trax] 5. Jimi Hendrix – Machine Gun [Capitol] 6. Hisato Higuchi – Ushi To Jujika [Apollolaan Recordings] 7. Mental - I Want to Know Where Dub Is [Primitive Copies] 8. Baptiste & Pierre Colleu – Dolphin Kid [Not on Label] 9. TR One - Living In, Now [POGO Recordings] 10. Maxmillion Dunbar – K [Future Times] [Hush Hush]

[Stockholm, Sweden. February 4, 2013] - A Swedish duo steps into the open for a live jam.♫ mlat80 - Tommy Awards.mp3  Play Could you talk a little bit about where you're based and how the two of you came together as a musical unit? We've known eachother for a long long time and we've always shared a big love for music. Tommy Awards however is more than just the two of us. At the moment we're about six friends working together on different projects. Alex and myself being the "spiritual leaders" of Tommy Awards. And yeah, we're all based in Stockholm, Sweden. How'd you come up with the name "Tommy Awards?" Haha, well I think we were just joking around about terrible sounding bandnames and the name just stuck so we went with it. To be honest, seven years has passed since and the memory is now vague at best. Why did you pick Magic Feet as the label to release your first record? How did you hook up with Craig Bratley to make that all happen? Craig contacted us through Soundcloud and and asked if we were willing to release a few tracks on his newly started label. He seemed to be a likeminded spirit and was very understanding of what we wanted to do, so we decided to go for it. How do you work the project into your lives? Is music a full-time gig? It's not a full-time gig, we all work daytime and we try to meet up in the studio as often as we can. Who did the artwork? Can you share how it came together? A friend of ours, Leolyxx made the artwork. He had an idea for a cover and we basically just gave him free hands because he is awesome and fully in contact with the Tommy spirit. We were very pleased with the result. You can check him out here. Could you talk a little bit about this mix and how it was recorded? When we were asked to do a mix it just felt natural to create everything from scratch the Tommy-way. Tommy is all about the creative process, we don't linger on forever on that one hi-hat that just isn't sounding right. It's a feeling of love before perfection, to catch an idea and ride that wave to see what happens. No plans, no rehearsals, no rules. Our only goal was to create an evolving entity rather than several different tracks. The mix is a result of three jamsessions in the studio and a few late nights piecing it all together. What's next on your plate? What's coming down the pipeline for you in 2013? We have a new EP coming out in March/April on Magic Feet. It's going to be all new unreleased material. Also there might be some great things ahead for one of our sister projects Farbror Resande Mac. Other than that we will just keep on dreaming up music. 1. Right-click + save a copy of this podcast 2. Follow what we do via Facebook 3. Subscribe in iTunes / RSS live jam - no tracklist available

[Leipzig, Germany. February 23, 2013] - A savvy curator mixes a blend of magnificent splendor.♫ mlat81 - Mix Mup.mp3  Play How's 2013 been treating you so far? You're on par for a US tour coming up soon, is that correct? I don't know yet. But I feel good so far. I'll be in the US soon for holidays. For any dates you have to check the internet in the next couple weeks. About when did you start producing music? Were you a DJ or producer first? Music became a passion for me as a child. I grew up with the extraordinary record collection of my parents, which was not usual to own back then in the gdr. After school I listened to a lot of funk and soul and experimental jazz. Records came from Poland, Chechnya, Hungary but also some from the "Western World" - which where presents from friends of my parents that lived in west Germany. My brother and I where recording a lot of stuff from the West-German-Radio - that was very exciting! I learned to play classical piano when I was 6 years old - but instead of doing my studies I was excessively plunking most of the time and pretending I was doing a free-jazz-concert in front of a delighted audience. In the early 90s I started to mix different soundsources together and doing a lot of experiments with cassettes. My main activity was to find ways to make things possible despite the fact that I had not much equipment. I always pretended to have a studio (called "Nursery Studio"), but in fact it was for years only a 4 track tape recorder, a record player and a yamaha mini-sequencer. But I always took my work very seriously! After I left my hometown I went through several creative periodes. DJing and producing is for me nearly the same thing. Its all based on a "soundmix" with various sources. And speaking of that - I thought it would be good to name myself after this action - so i called myself Mix Mup. I don't like to record DJ mixes that I play in a club and then put it out as a podcast (although I was a big fan of techno and house mixtapes in the 90s - but that's another story). A podcast gives me the opportunity to do something else. Something that resembles more to a story, a stand-alone production. There are old records and new ones in the mix... some appear for just a few seconds. I picked out some records that fit to my mood theese days and made a collage with it. Several of your 12" releases have been produced alongside Kassem Mosse. How did your relationship with him begin? I know Kassem for quiet a long time now. And we surprise each other again and again. We don't push things too much. Our releationship grew slowly. A while back you two shared in the "Chilling the Do" project. Does that no longer get much attention? CTD is our chillout project and it's a work in progress thing. In fact we are "Chilling the Do" a lot, mostly for private purposes. The project helped us a lot to get to know each other. Because it's a lot about what we see and what we hear and how we deal with it. Before CTD we produced a radioshow called "Wellen der Liebe." Maybe the MM/KM project is a result of CTD. But we're always up to do this live again! The two of you surely have similar approaches to conveying sound. Perhaps you have shared influences? A few days ago we shared a pomelo. It's a matter of fact that over the time Kassem influenced me and I think also vice versa. And sure there are some similarities in our listening habits and we share a passion for movies. We also talk a lot and discuss things. There are so many influences! It's the people that sourround you and the city you live in. I think that the way I produce music is also a lot influenced by my social surrounding. A very important point for my way of dealing with music where the illegal excessive underground techno parties in the 90s in East Germany. Everything sounded new and everything was moving and it was a feeling of total freedom! Is music a full time thing for you? Beside my interest in making music I like to stroll around a lot and to dig for stuff that people threw away (those things attract me: things that are degraded as garbage. I have a closer look and find them irresistible beautiful - sometimes its the same with records). I build sculptures, I paint and I make exhibitions and installations. What other things await you as you move through 2013? I'll share another pomelo with Kassem. I'll dig for records and stuff people threw away. I'll play in clubs and surprise people! Yes, that's it... I like to hear surprising music and I hope I can produce surprising music. And there'll be a Mix Mup release in April 2013 on Hinge Finger records. 1. Right-click + save a copy of this podcast 2. Follow what we do via Facebook 3. Subscribe in iTunes / RSS featuring material from the following sources: Noleian Reusse / Anthony Shake Shakir / Lil' Louis and the World / U (Make U) / Tase (Atelier Records) / Joe (Hemlock Recs) / Even Tuell / Pev & Kowton / Population One / Zorn / Trike feat. Audiomat / Joey Anderson / Dean Blunt & Inga Copeland / Keith Hudson / General Elektro / Kirlian / JP Buckle / Kirlian / Strafe / Willie Burns / Omar S / Ssaliva / Keith Hudson / Kirlian

[Sydney, Australia. February 28, 2013] - This young gun slabs together some chunky, left-field bangers.♫ mlat82 - Tuff Sherm.mp3  Play Where did you grow up, and what "scenes" did you find most influenced the things you are now doing with music? I grew up in Sydney. My family moved here from Perth when I was 2. There are plenty of active scenes as far as Sydney music, however, I really wasn't involved in any of them until after I was established as a producer. Basically, I'm one of those people Theo Parrish calls out, someone that failed to be a patron of a culture before becoming involved in it. But I was reclusive, anxious and depressed and my only way of finding out about dance music was the internet. So I learned about scenes that way. I listened to mixes, bought records online, read about producers and DJs - but seldom set foot in a club, up until getting interest from people about playing out myself. I still only own one turntable and no CD decks. I've learnt to mix on the fly. I've never been a big partier, or stayed out all night, or mixed with vinyl, or been dedicated to a particular scene... At the end of the day, all I can say is I believe in music. I believe in composing and I believe in sharing it with people, and seeing the energy in them. So even if I'm not a hardened DJ that came up in a culture, that graduated within a scene from participant to creator... if I do a show and the crowd moves to it for that hour, and people come up after and tell me how much they enjoyed it, then I am happy with that. I respect everyone that performs, regardless of whatever their entitlement may be to be there. You judge the set, in that moment, not the person or the methods. About how old are you? Is music a full-time gig? I'm 20. I turn 21 in a few months. Music has been a full-time gig for me for the last year or so, but this year I'm doing a course in Screen Music at AFTRS here in Sydney. There's also some other work I pursue, including creative writing, and I have one of my comic scripts being published later this year. Who is Dro Carey, and who is Tuff Sherm? Dro Carey makes hip-hop/UKG hybrids. Sherm makes techno and house. Is the Dro Carey moniker taking a back seat as you flesh the Sherm out, or are the two running side by side? Well yeah that did happen for a little while. Basically there needed to be a bit of a time-out on Dro Carey material, so I dedicated more time to Tuff Sherm. But, publicly it ended up seeming like a lot of time dedicated to Tuff Sherm - because, coincidentally, the Trilogy Tapes 'Pharmacy' 12" and the Bandcamp album Shrapnel Maestro came out at the same time and, also around that time, people found out about the two previous Tuff Sherm cassettes, even though they had been released some time before. So it looked like a very focused shift when really it was more coincidental. The popularity of that material has led to bookings for Tuff Sherm sets rather than Dro Carey sets, such as for the Boiler Room. However, that's always the decision of the booker, I haven't been pushing TS sets over DC sets. They will continue running side by side. Now that this period of Sherm focus is capping off, I have releases and downloads forthcoming to bring the focus back to Dro, ahead of the DC album release on RAMP. You played Boiler Room in Australia this month, with a gripload of people on your hip. How do you feel about that whole setup (a camera straight on with a crowd behind)? I like the setup of the crowd behind you. Obviously it comes with a great sound advantage, because you are hearing it from the same angle as the crowd. And yeah you have everyone squished against you and there's an awesome energy to that. I'm fairly indifferent to the act of video-recording a DJ set. No matter how incredible the DJ I would be content with an audio-recording. I have never had the patience to watch a video of a DJ set, I always just listen to them. How's the music circuit been? You've had a string of vinyl out across an array of noteworthy labels, with what appears to be a rather eventful booking schedule. Actually, I haven't really done that many shows. This is due to dealing with depression and migraines, but I've had great experiences at the shows I have done. I'm also getting those issues under control and am hoping to step it up in terms of my booking schedule, to the extent that my school commitment this year will allow. Plan to keep that all up? What's next on the itinerary as you move forward? I'm hoping to do a small European tour in June to coincide with the album release. 1. Right-click + save a copy of this podcast 2. Follow what we do via Facebook 3. Subscribe in iTunes / RSS 1. Hype Williams - London 2012 (excerpt) [self-released] 2. Virgo - Deep Blue [Rush Hour] 3. Tuff Sherm & PMM - Raymond Sees the Dog [Opal Tapes] 4. Tuff Sherm - Prime Engine [unreleased] 5. Tuff Sherm - Idle Engines [Forthcoming Clandestine] 6. DJ Spider & Marshallito - White Phosphorous [subBASS Sound System] 7. Jeff Mills - A2 (Untitled) (SITS002) [Something in the Sky] 8. Tuff Sherm - Concrete Branch [Forthcoming ANUS Records] 9. Tuff Sherm - Cleric [Forthcoming The Trilogy Tapes] 10. Tuff Sherm - Bled on Arrival [unreleased] 11. Tuff Sherm - Scope [Forthcoming Templar Sound] 12. Tuff Sherm - Sewer Chase [unreleased] 13. Tuff Sherm - Navigator & Hostage [Forthcoming ANUS Records] 14. Tuff Sherm - Pharmacy [The Trilogy Tapes] 15. Alice Coltrane - Yamuna Tira Vihari [Avatar Book Institute] 16. Tuff Sherm - Burglar Loops [Forthcoming The Trilogy Tapes] 17. Urban Tribe - Program 10 [Mahogani Music] 18. CXX - The Comfort Of Strangers (Rhythm Doctor Mix) (RS edit) [Strut] 19. Heiko Laux & Alexander Lukat - Bleak [Sinister] 20. Mike Dehnert - Klartext [Delsin] 21. Tuff Sherm - Armorine [Wire Magazine] 22. Storm Bugs - Hodge [Snatch Tapes] 23. Tuff Sherm - Action Eater [unreleased] 24. Tuff Sherm - Cryotuber [Forthcoming ANUS Records]

[London, England. March 11, 2013] - Sublime otherworldliness from one of London's brightest shining cosmonauts.♫ mlat83 - Timothy J. Fairplay.mp3  Play You've come out strong with a string of consecutive releases since your debut Timothy J Fairplay EP in 2011, and you continue to put out jams. How are you feeling about the way things have been going? Yeah things are all cool, I seem to be getting busier and busier, I'm pleased with all the releases which have come out so far and there's lots more coming up this year. There is a lot of faster tempo material coming out this year, I am looking forward to ditching the slow disco tag a little. Its obvious that you're influenced by a variety of styles and romanticize the history of electronic music. Is there anything in particular you grew up around to encourage this approach to music, or have you just simply always been explorative? I just always had a pretty wide taste in music and I suppose wanted to emulate the records I liked. I never rip off a track directly, thats just boring. I suppose I enjoy making homages to genres - 'Cleopatra Loves the Acid' being a New Beat kinda track, my 'Parallel Sensations' Remix being an illusion to records like 'Cosmic Cars' or 'Allys of your mind'. I don't plan what a track will sound like before I start making it, thats not a good way to work, its too contrived. I suppose there are 'themes' I return to, 70s/80s film music, early electro and Detroit Electrofunk, 80s Chicago house, Italo, German Cosmic music, but when I write I just mash at the keys and see what comes out. You've said that "otherworldliness" is very important to you in your music. What happens when this sound comes back to earth and becomes the big new thing? When I say 'otherworldliness' I don't mean Cosmic, what I mean is something that you cannot place to a particular space or time. That should be there in all music - Acid, Dub, even good Pop music. I couldn't give a toss really about if this sound - what ever it is, is the 'next big thing' or not. Everything you've put out is most certainly fresh, or at least "refreshing," but virtually all of it is seasoned with a certain degree of nostalgia. Funny how the warmth of analog virtually always opens up the door to the funk of the past. Can we technology obsessed humanoids be funky in the future, adopting tools and philosophies that aren't anchored a time now past us? I don't know why everyone is so bothered about if music is 'new' or 'retro'. Much 'new' Techno sounds exactly like old Techno but made with laptops, any difference in the sound are nothing to do with the content or intentions of the artist. Before mass media folk musicians played the same 'standards' for hundreds - thousands of years without worrying about being 'cutting edge' or if what they were doing had been 'done before'. Could you talk a little bit about the World Unknown parties in London (how they came together, how they go off, etc.)? I think Andy and Joe have been doing them for around five years now. Its basically a very hot and sweaty railway arch in Brixton. Partly 'cos it so dark the parties are a bit anything goes. The crowds cool but not scared to more than let their hair down and are generally into the music. Its one of the few clubs which sometimes genuinely feels a bit scar. Forward at Plastic People used to be like that too. WU is great, but there is a strong Warehouse party scene again in London at the moment, partly 'cos so many clubs have been closing down in the last 5/10 years. Besides your own productions, you've worked as a production assistant to Andrew Weatherall. What other day to day capacities do you work in with music when you're not generating your own sounds? There's about to be an EP on AstroLab some of which was done with Matilda of the Bodyhammer parties. She's a great keyboardist, its fun working with her. And later this year there will be at least one EP done with Andy Blake, most of its pretty straight up Techno, partly done in Andy's studio and partly in mine. And then what comes next? You apparently have a bunch of new releases and collaborations forthcoming. Planning any upcoming travels? The next two releases are on Horn Wax and Rothmans, and then the AstroLab one, they are out quite soon. Later there's a couple of EPs on Fortified Audio... there's gonna be quite a lot this year. With The Asphodells there's a remix 12" for Record Store day with Daniel Avery and Wooden Shjips remix followed by a remix version of the whole album. Scott and I are doing a 'Crimes of the Future' set at the 'Unknown' festival in Croatia this summer. 1. Right-click + save a copy of this podcast 2. Follow what we do via Facebook 3. Subscribe in iTunes / RSS 1. Prof. Genius - Assassins (Steve Moore's In the Time of Assassins Remix) [L.I.E.S.] 2. Timothy J. Fairplay - Eject Sequence [Not on Label] 3. Two Dogs In a House - Eliminator [L.I.E.S.] 4. Duyster - Nis (Timothy J. Fairplay Remix) [AmateurMusic] 5. Catalepsia 'Conducting the Band' (Scott Fraser Remix) [Days of Being Wild] 6. Timothy J. Fairplay - The Truce [Not on Label] 7. Legowelt - DX Days [Clone] 8. Timothy J. Fairplay - The Search for Jessica [Fortified Audio] 9. Sneak Thief - On Tigris I Thirst [Crème Organization] 10. Chicago Shags - Poke Inferno [Bunker Records] 11. Willie Burns - Overlord [Trilogy Tapes] 12. D.I.E. - Burn it Down [M.A.P.] 13. C10 - Expand [Crème Organization]

[Hong Kong, China. March 21, 2013] - Slick biz cuz... check out this Swedish dude Hong Kong bound.♫ mlat84 - Samo DJ.mp3  Play You came out of no where with your Tai Po Kau EP on L.I.E.S. What sort of history do you have with music? Well I started with Rap music, making beats and so on. I Rememeber my first DJ-gig ever was at a basketball tournament with some people from the neighborhood, Sebastian Ingrosso and Steve Angello who later formed the Swedish House Mafia, Steve was pretty much the illest hip-hop DJ back then! I guess you can say I kind of peaked my career on my first gig and everything went downhill from there hehe. Anyway, later, around 2004-2005 I released some hip-hop remix 12"s and at that time I was also making beats for some local rap-groups in Stockholm. Then for years I mainly was playing records in the local bars, shabby places and doing weddings and shit like that too. Hopefully I won't have to do anymore wedding-gigs, things can get so weird at that type of events!! I was still producing a little bit, but more sporadic, one of the projects was the ethno-techno group called "Over The Hill," it was me and Daniel Savio aka Kool DJ Dust. How'd you put the EP in front of Ron Morelli? The L.I.E.S. imprint is such a superb fit for the left-field techno jams you've been producing. I met Ron thru a friend around 5 years ago and I ended up staying on his couch for three months in New York, it was him and three other guys in a big space. We had good polish food, good mexican food, went to listen to the great DJ Porkchop and Traxx, played some parties, made some tracks, it was good times and Ron is a good dude! Then we just stayed in touch, he liked the tracks and wanted to release them. There is a soundtrack thing called KWC 92 I did with my friend Max who is also coming out on L.I.E.S. later this year. "Tai Po Kau..." what's going on in that part of Hong Hong? Tai Po Kau is an area with a nice country-park. There are a lot of country-parks here in Hong Kong, and sometimes I like to escape all the people on the island. The city is very densely populated. I usually go with a friend who has a car, we bring the dogs and they can run around and chase the monkeys. A couple of months ago, one of the dogs called Leggo was attacked by a wild boar, pretty intense hehe. You're currently based in Hong Kong, but originally are from Stockholm. What was behind the move to the new locale? My girlfriend was offered a job here, and wanted me to come along. The company pays the rent, so that made things easier. It´s a weird place man, but I like it, most locals are cool, food is cheap and weather is warm. Sometimes I find some records for cheap that I can flip on Discogs. Recently me and two dudes, Tokyomatt and Johnny Hiller started playing records together, we usually play in a small gay-bar, it's funny, the crowd definently would prefer Beyonce or Britney over Carl Bean or Sylvester but the owner keeps inviting us back to play. Could you talk a little bit about the "Sling and Samo" project that you have running with your bud Daniel? Is that still a thing? You also run a record label called "Born Free" with him and have another dope track out with him on L.I.E.S. Yes, me and Daniel go a long way back. We have been playing records together since we were old enough to be in a club or bar. For a couple of years we ran the small labels High Feelings, Body To Body and Peekaboo Records. Born Free is the label that we do now, and we have put out three maxi-singles so far this year. The singles from this year are 150 copies, vinyl only. The label is still kind of new, but hopefully people will discover it soon and enjoy the music. The Sling & Samo project is basically me and Daniel making music. Me and Daniel also have another musical-project called Hound Love, besides that I occasionally make tracks with a Parisian guy under the name Bernadott, and recently I've been working a bit with a young Hong Kong Chinese called Scott. What's it like operating this series of projects while being displaced from your partner? It´s alright, we send stuff back and forth via email and so on. Daniel is the booker or something like that at a big night-club in Stockholm, so he is quite busy. Therefore we have a very cryptic communication, it´s like "yes", "no", "this shiit is fucking wack", "this is ok", "ok let´s do it". Could you then talk a little bit about this slick "Made Like a G" podcast you put together? Yeah, I made a mix of house and techno stuff first but wasn´t feeling it. Then i just decided to put together a selection of what I'm listening to mostly, westcoast rap and soul ballads. Not really mixed, more "Mancuso-mixed." Something you can bump in your Impala! Thank you for having me! 1. Right-click + save a copy of this podcast 2. Follow what we do via Facebook 3. Subscribe in iTunes / RSS 1. Bill Cosby - A Simple Love Affair [Capitol] 2. Gena Cide - Da Citi ( Cliché Records ) 3.Lenny Williams - People Make The World Go Round [ATCO] 4. Poppa LQ - Everybody Wants 2 B A G [Rap-A-Lot Records] 5. Sherman Willis With The Soul Superiors - Darling I Love You [Soul Beat] 6. C.R.I.S.I.S. feat. Dubb Sak - What That Sacramento Like [N-Season] 7. Antonio Castro - W.E.L.F.A.R.E. [Universal International] 8. AL-D - Welcome 2 Tha Jungle (Screwed) [Jam Down Entertainment] 9. Hi-Five - Let´s Go All The Way [Titlewave] 10.Who Am I? - Brain On Kane [Sony] 11. Ganksta C - Life Of A Thug [Profile] 12. 2nd II None - Kant Wait To Do This [Death Row] 13. The Dove Shack - Freestyle [Rush Associated] 14. Donnie & Joe Emerson - Baby [Enterprise & Co]

[Seattle, USA. March 25, 2013] - Alan Bishop of Sun City Girls and Sublime Frequencies projects a vision of his many involvements.♫ mlat85 - Sublime Frequencies.mp3  Play You’ve been prolifically making music for over 30 years and have been running—with Hisham Mayet—the Sublime Frequencies label for a decade. Obviously, you’ve created and curated an immense storehouse of music. How did you narrow down all of that work into the tracks you submitted for this podcast? What were the factors that led you to these decisions? It was a spontaneous selection of tracks at the moment. I get asked to create playlists constantly and like to spread things around, from the Arab world to Southeast Asia to psychedelic music or Italian soundtracks from the 1960s. What are three Sublime Frequencies releases you’d recommend to somebody who’s never explored the label’s output? 1. Princess Nicotine: Folk & Pop Music from Myanmar(Burma) (SF006) 2. Group Doueh: Guitars of the Western Sahara Vol 1 (SF030) 3. Omar Khorshid: Guitar El Chark (SF052) Of course that list would change every day. We have 80 releases, there are many to choose from, and none of them are catered to a general audience. In 2005, you told The Stranger in an interview that “[Sublime Frequencies is] looking for more of a combination of things in terms of traditional and modern, as opposed to just trying to do pure traditional recordings or trying to document a specific tribe or group of people. We don’t mind mixing cultures together on releases or mixing modern with older material. Nobody’s ever done the radio collages before. We’ve released field recordings from places that aren’t much different from labels that have done things in the past. But the compilations of popular folk music from the countries we’ve released focus more on pop and modern hybrid music.” Has Sublime Frequencies’ mission changed in any way since then? Do you think your efforts have improved the world’s sonic ecology in any substantive way? I really have no idea. It’s not my desire to attempt defining what we do. I’m too busy creating things to be in a “hey let’s look back at our legacy” type of thought process, especially when I’m still firing on all cylinders and refusing to die. Ask me the same question if I make it to 100 years old in a wheelchair. Then I’ll drool over your microphone and answer that question in the language of before birth and after death. Do you view yourself as an evangelist for obscure non-Western music and strive to enlighten as many people as possible with your releases? Or do you have a more realistic perspective and figure that audiences for what you’re doing are probably always going to be fairly small? SF’s limited-edition release policy appears to acknowledge the latter, but maybe you have more grandiose ambitions? I don’t view myself this way - it’s a scary vision being an “evangelist” for anything, the word being a demonizing type of term, how it’s been utilized by the media. But I suppose I am very excited about many things in this world, non-western music being only one of them - and I tend to obsess over dozens of my interests on a daily basis. The audience for the type of music SF releases is much larger in the countries of origin than it is in the west. Western export culture is a one-way highway shoving itself down the throats of the entire world. The developing nations do not have a reciprocal avenue to fire back at the west, to promote their culture. Hopefully the SF releases can provide a stray bullet seeping through the holes in reverse to inspire others to create larger weaponry to make greater inroads in the future. Sublime Frequencies has helped Omar Souleyman and Bombino to become relatively popular in the West. Are there any other artists with whom SF has been working recently that you think could achieve similar success? Working with contemporary artists has never been what we intended to involve ourselves with, it simply happened by accident. By going through the experiences the past few years managing Group Doueh, Group Inerane, Omar Souleyman, etc. we’ve realized it was time consuming and distracted us from what we love to do. Perhaps there will be others coming yet it is not the focus of the label. What regions of the world have you yet to explore that you’re hoping to visit eventually? South America What challenges do you and your cohorts face in seeking new music to document? Has it gotten easier or harder to do this sort of work? It is not hard because there is more music to document than a million labels could ever cover. Yet running a label is so much work, especially a label like ours that doesn’t try to market itself and make profits. We are artists ourselves and have to balance our own creations with producing SF releases and this is the hardest thing to do. Have you ever come away from a trip disillusioned with the quality of music you encountered during it? Never. But I usually stay for a long period of time. If I only had 2 weeks, it would be much more difficult. Does anything surprise you anymore with regard to music? If so, please list some examples. Sure, there are surprises in modern music and from history. There are melodies that are highly unique, production styles and effects, great instrumentalists, and unbelievable vocalists. The list never ends. Do you find that it’s becoming increasingly difficult for you to be impressed by any culture’s music? If the modern music doesn’t work for me (and often it fails me), I simply turn to the music of the past. Older music provides me with more relevant and progressive ideas about what the future of music could and should be anyway. Can you describe the origins and creation of your Uncle Jim alter ego? Is he just an exaggerated extension of your personality or a hybrid persona made up of people you’ve known? Or is he the REAL Alan Bishop? The real Uncle Jim was married to my mother’s sister. He finally passed away in 2001. The character is based on him entirely. A few quotes over the years were his verbatim but I write most of the material based on his personality and inspiration. He was an amazing human being. What’s the most important lesson you’ve learned from your travels in search of new/old music? It is impossible to say that one important lesson trumps the others. There have been many. If one does not love what they do, why do it? I know you prefer to keep your cards close to your vest, but can you reveal the nature of some of Sublime Frequencies’ upcoming projects? We’ve just released two 78 rpm compilations (from Korea and Burma) and will continue to explore this path. The new film by Olivia Wyatt (The pierced heart & the machete) has also just come out on DVD and it is a document not to be missed. * interview conducted by Dave Segal. 1. Right-click + save a copy of this podcast 2. Follow what we do via Facebook 3. Subscribe in iTunes / RSS 1. Alvarius B - Dirty Angels [Abduction] 2. Jo & The Magnificent - Sunshine [Silent] 3. Boutaiba Sghir - Malgre Tout [Sublime Frequencies] 4. Artie Barsamin and his Orchestra - Nene Aman [Ilissoss/Kathreftis] 5. Group Doueh - Zayna Jumma [Sublime Frequencies] 6. Omar Khorshid - Raksat El Kheyl [Sublime Frequencies] 7. Group Inerane - Kuni Majagani [Sublime Frequencies] 8. Neung Phak - Beng Touyib [Abduction] 9. Omar Souleyman - Shift Al Mani (I Saw Her) [Sublime Frequencies] 10. Sun City Girls - Ruby Soul Lao [Abduction] 11. Sun City Girls - Nights of Malta (Live 1992) [Nashazphone] 12. Sun City Girls - The Imam [Abduction] 13. Sun City Girls - Blue Mamba [Majora] 14. Sun City Girls - Sev Acher [Abduction] 15. Sun City Girls - Cruel and Thin [Abduction] 16. Umni Nadra - Senjah Indah [Sublime Frequencies] 17. Uncle Jim's Superstars of Greenwich Meantime - Graduation Day [Black Velvet Fuckere Recordings]

[London, UK. May 21, 2013] - A primary school teacher secretly creating some of the most emotional instrumental acid ever known.♫ mlat86 - Tagwell Woods.mp3  Play You're a primary school teacher based in Hackney (East London). How and when did you get into electronic music production? I’ve always been self-taught without having a peer to feed from. Playing, repairing and selling machine’s for the past eight years. Learning the hard way. Exploring the possibilities of synthesizers, while fine-tuning my individual sound. What subjects at your school do you teach? For how long have you been a teacher? I am a learning mentor. I am not restrained by the restrictions that are set within a class. I advise teachers and have more freedom to create and teach programs to help children that have various barriers that effect their learning. Radio, animation, video, music and D&T are all tools that I use. Generally, what's your production workflow like? My girlfriend describes it as a never-ending loop. I am obsessed with each particular sound, I over listen; it takes over and drains me. I’ve worked hard to create something new instead of mimicking others. Could you talk a little bit about this podcast? How was it recorded, under what circumstances, etc? I never look back and always create something new. I have got hundreds of tracks recorded but that was then. I look to now. I’ve spent the last month focused on this. It was recorded straight from the machines in one take. What is the "Tagwell Woods" moniker referencing? Do you produce under any other alias or conceptual framework? It was the name of the local BMX trails where I spent most of my adolescent youth. Do you now, or do you see yourself in the future, collaborating on music with anyone down the line? Maybe, I enjoy the process of playing with others. Pretty much the only two things the world has heard from you - 1) your release on WT Records and 2) this podcast, are both especially moving. So, great start. What is the rest of 2013 looking like for you? To continue what I have been doing, I try and play my machines every day. Hopefully a couple of new releases and if I can be arsed, play some gigs. 1. Right-click + save a copy of this podcast 2. Follow what we do via Facebook 3. Subscribe in iTunes / RSS No tracklist available.

[Melbourne, Australia. May 25, 2013] - A little taste of surrealism from way out in Melbourne.♫ mlat87 - Michael Ozone.mp3  Play You operate under a rather elusive guise. Could you briefly relay the World of Ozone and the domain from which it emanates? The of World of Ozone, is an evolving ephemeral collection of universal sounds and ideas. Its difficult to catalogue and hard to explain... I find other people's interpretations more interesting. To be honest I don't even know its domain is... it just happens. It kinda came from nothing... or somthing. Your solo EP has excited quite of a few. You happy with how it turned out? How did you get in touch with Lovefingers who put it out? I met Lovefingers when he visited Melbourne... I used to run a night called MIND FRACTALS, every Thursday at a venue in the city. I got tired of playing the same records every week... so I would play my own tracks to pass the time. Andrew (Lovefingers) asked me what track I was playing... Ozone - "I dont know, I just made it today, doesn't have a name." Andrew - "You made this?" Ozone - "Yeah" Andrew - "Sounds wild... send me some tracks, I'm starting a record label... you should do a 12" Ozone - "Really... shit, okay" Thinking that it would never happen, Andrew chased me up and we continued a dialogue and the record happend! Perfect Systems turned out perfect, but the version of Hetrotopia wasn't the one I wanted on the release... turned out to be an old demo version that I bounced a while back... so I try to forget about that one.... Who created/directed the video, "Perfect Systems" your EP's title track? What is it about the sarcastic "video mulch" style of production that you found appropriate for the execution? I created/directed the video for perfect systems and my buddy Pat did the 3d animated hands. "Sarcastic"? The video is a collage of Ozone ideas.... in a way it functions as a trailer to the world of Ozone. I didn't story board anything, I just had a rough plan and it just kinda happened and the clips just morphed into each other. Could you talk a little but about Home Loan Records? That seems to be your deal. Home Loan Records, is a label I started in November of 2012, the premise of the label is to push underground Australia productions which you list to at home or play in the club... No remixs no CDs... but every now a then you'll here an Ozone dub or club mix done in partnership with the artist. Next release is ANDRAS FOX's Erskine "Falls EP," its out first week of June. There will be a video clip for one of the tracks, which Andras shot the footage for and I edited and pieced it together. Future Releases include: HOLY BALM (Syndey) Zanzibar Chanel (Melbourne) No Zu (Melbourne) Arvo (Syndey) Care to talk at all about the podcast you put together here? This if of the Ozone essence, right? The mix is mostly woody (Made Like a Tree)... it is built around the idea of rhythm and percussion... no bass lines. Just a journey that explores sounds and atmospheres I'm into at the moment, so light some incense and relax. 1. Right-click + save a copy of this podcast 2. Follow what we do via Facebook 3. Subscribe in iTunes / RSS 1. Ryuichi Sakamoto - Adelic Penguins [MIDI INC] 2. Zaka Percusion - Thü [Le Chant du Monde] 3. Sheila Chandra - Quiet 4 [Indipop] 4. Ralf and Florian - Tanzmusik [Vertigo] 5. ???? Japanesse Unknown 6. Impressions - Tower of Sirens []KPM] 7. Augustus Pablo - Chapter 2 [Walboomers] 8. Manu Dibango - Dakar Streets [London] 9. Das Ding Makimono [Minimal Wave] 10. Sound Music Album 45 - Lichtspiel [Golden Ring Recordings] 11. Patrick O'Hean - 87 Dreams of a Lifetime [Private music] 12. Reggie Dokes - Black Children of the Ghetto [Philpot]

Oporto, Portugal. June 4, 2013] - Dope balearic house vibes from Portugal.♫ mlat88 - Rompante.mp3  Play You're Swiss born, raised in Oporto, Portugal. What's the dance music scene like around where you live, and how do you stay inspired and elevate yourself? True, my parents were immigrants at that time and I was born in Aarburg, on the German side, and I lived there until my 6 years old. But my parents wanted me to start school in Portugal, so we came to Portugal to a small village near Oporto. At 20 I moved to Oporto with my girlfriend (Katso) because we were both studying there. At that time I was already playing in some clubs and parties in town but living there was an opportunity to be more close to the clubbing scene. I started to meet the djs, the producers, the clubs owners, the promoters... and one day I was invited to play at a party called “We Love Sundays”. This event took place at Zoo Club: a float, if you may say so, anchored on the side of the river, a quite amazing place to go at that time… Sundays afternoons over the Douro river, with the sun shining over us… the kids diving into the river, swimming by the side of the club to see us, the boats passing by, waving to a bunch of people dancing to the music... unfortunately it no longer exists… Anyway, I played there and Ruben Dominguez, creator and manager of RDZ Music Agency, who was organizing the WLS event, liked my live act and overall performance. A few days later he called me and invited me to join the agency! Great news! I now had agency support, and a group of people, dj’s and producers to share ideas and projects with, in a common effort to make a difference and grow in the scene…Just like that, I started to play more regularly, with international DJs, entering into the underground scene of House and Techno of Oporto. It was a step up in my career. About the dance music scene in Oporto, you may say is very small and moved by few… you see, Portugal has only 10 million habitants and Oporto, on the north of Portugal, 230 thousand habitants and it is the second biggest city of Portugal. But we have some big club references: Indústria Club, a club with a long history in town, more than 20 years, now more dedicated to house music, and Gare Club, much more recent and more inspired by the techno sounds. For me this two clubs are the responsible for the underground dance music scene in this town nowadays. We have a lot of international Djs from all over the world playing in these clubs, from legends to aspirants, and I think we are a great crowd! Another reference for me was Trintaeum Club and the owner, Rui Trintaeum. It was a really small club, 150 people at most! But it had a really great vibe, from the people working on the bar to the owner, Rui, you could feel it all over the place! You had no flash lights, strobe or moving lights, only a little mirror ball on the center of the dance floor, the lights were low, the floor was made of wood and it had a wallpaper, that later became the image of the club… it was a really warm place to people who really understood and enjoyed all kind of music, start and spend a night… from jazz to disco, house and techno! Unfortunately for all of us, after 15 years, the club was shut down, after receiving names like Carl Craig, Moodymann, Theo Parrish, Recloose, Jonh Tejada, Pepe Bradock, Âme, Dixon, Henrik Schwarz, Morgan Geist, Lindstrom, Faze Action, Pete Herbert, Gilb'r, Jazzanova, Rainer Truby, Dimitri from Paris and so on. Rui is a huge example of the underground dance music here and deserves all my respect. Nowadays he is the manager of the clubbing area on Casa da Música, a major concert hall space in Oporto with a clubbing area which is highly recommendable for its program. Besides that you have Pitch club, Plano B, Passos Manuel, and I’m sure I’m forgetting 1 or 2 clubs (sorry!) that are interesting in town. About my inspiration, well, I get a lot of my inspiration from this city. I’m not just talking about the nightlife but from the city itself. We have a river, we have the sea, and a city full of history and wonderful places to go: take a tour on the electric from Ribeira to Foz, go for a walk on the parks or in the gardens of palaces like Palácio de Cristal and Palácio do Freixo or go to the old part of the city, with narrow streets, dark grey old buildings, some of them falling apart, along with the old industrial factories that drives you to other times… We have a little bit of everything and that’s the magic of this city. And of course, its amazing wines and restaurants! I love this city, I released an ep on Liebe Detail records dedicated to Oporto: Porto Shades. I’m also inspired by the history of electronic music, dance music in particularly. I like to see documentaries about it to learn and understand what has been done so I can go forward. Sometimes, more important than the technical work on the studio, is the concept and the idea, that must be the center of what you are doing as far as it goes the creative and artistic work. Talking about old time favorites, mine is “Pump Up The Volume”, I saw it like 20 times, yet still, whenever I’m “lost”, I see it to get inspired…and it Works! The soundtrack of House and Techno, Detroit and Chicago...and all it represents for what I do now... I know these cities are very different from my own, but when I look to the city listening to those Detroit or Chicago tracks, fits perfectly! Do you feel that you're able to be the type of artist you aspire to where you live? What, if anything, is holding you back? That’s a really difficult question…a question that I made myself many times without a straight conclusion… On one hand, today we can think of us as free to be whatever we want, wherever we want,. The technology allows us to do it and communicate it worldwide, and be part of a house and techno community that is no longer defined by space, but by interest… with global artists, from many different backgrounds, acting continentally…But on other hand, the underground circuit it's very small here and breathes from parties with international Djs that attract the people to the clubs… you see, Portugal is in a deep economic and political crisis for a few years now…which means less people in the clubs and less opportunities to the local djs and producers to show their work… just a few can make it… But I think that there is true talent and true supporters of the scene to find here, and maybe If we try harder together to export our “product”, the whole experience of how we see, make, and express our music, we can be in the map of Europe electronic dance music in a few years, just like Barcelona, Ibiza, or Madrid, right beside us… I truly believe that this city could be the next big thing but we have to be the firsts to believe in it and support it, so others would like to come… But in the end, I don’t know how everything will go and I might be waiting for nothing! Meanwhile I do my thing… not knowing if : “ should I stay or should I go? You're an all vinyl DJ. How about your production set-up? What type of equipment do you like to use, and how (generally) does your music come together? I try to play vinyl as much as I can... I don’t have anything against digital mixing (I’m from digital generation!), please, that is a silly battle, you can mix with whatever you want. We are in 2013 right? The music selection and how to drive a dancefloor is up to the Dj, who can choose how to conduct it, the result is what matters, the vinyl or digital mixes are just different ways off approaching the Dj’ing, just that. For me is not important the total sync perfection on mixing, more important is if the music is good and you are enjoying it. If so go for it! In fact, I think some imperfections make the experience more real, more human like. We’re not robots and dancing is a ritual thing... Besides that, a Dj starts where and how he searches, where he buys... and sometimes it’s worthy get out of the studio and go to a local record store. Its a way to get together with local Djs, know each other and share our knowledge That’s one of the main reasons why I try to go to record stores as much as I can, and of course, you can’t leave them without a record or two... I also play digital tracks, promos, and so on...I started with digital, but over the years, along with my search of history of house and techno, the vinyl approach started to grow in me, suddenly I was hooked... About my set-up in the studio, I have a few analog stuff: an analog drum machine Vermona, a Nord Lead Rack 1, X-Station, an old Yamaha PSR 36... I have a guitar!... A Drumstation borrowed to get that classic 909 and 808 sound... and I’m trying to get another drum machine, the MFB 503. I confess I’m quite obsessed with drum machines. I was a drummer back in the days... When I start a new track, I create a totally new project on Ableton Live, all from the beginning, even synchronizing all the analog machines. Obviously I have my own method of doing things. I use group tracks, a lot of sends... I just work with a few vst effects, reverbs, delays, that mainly are emulations to digital of analog gear that I unfortunately don’t have money to buy. But my creative process is always changing a little bit over the time to try new things and to explore, but with the machines I have... The truth is that limitations force you to get the right amount of creativeness to get where you want. If you have unlimited resources, you will be lost with too much information and your track will reflect that. Thus, if you limit yourself to just work with what you really need you will have to be really creative to tell the history you want and make the track interesting all the time. That’s why I start from blank... sometimes with a beat, a sampling, a melody, and I’m the luckiest guy because my girlfriend (katso) sings very well, so we write something and use a good tube condenser mic I bought to record the vocals, so I just have to put the metronome and play record and a whole track starts from there… Your "How Long Can You Dance EP" on Is It Balearic is a pretty exciting first step for you as an artist. How did you hook up with the Coyote guys to have that released? All happened with the precious help of Humberto Matias ( Social Disco Club ). I had the track done 2 or 3 years before its release, one day Humberto listened to the track and couldn’t believe it wasn’t yet on any label, so he helped me by sending it to the Coyote guys. Sometimes you need help and a little bit of luck to get your work to the right hands...Just like reaching Liebe Detail, the right message in the right time to the right person... that was another huge step for me. You're now endeavoring to make more Detroit/Chicago influenced analog house and techno these days. Where do you see yourself positioned as a producer 5 years down the line? Well, I produce music since 2004, I started to do live acts in 2005 and djing a few years later, and while I started doing psytrance tracks (true!), influenced by what my friends were listening at the time, over the years, I changed a lot, used a few pseudonyms and started to build my own personality as a producer. I found myself on the house/techno style, strongly influenced by Chicago, Detroit, and also Berlin and London references. For now I think that is my natural “home” but you know, future is unpredictable and I like change. So I chosen my last name, instead of any other pseudonym because wherever life takes me, it will be me producing, me on a track, a personal life Project. I don’t have any idea of what I’ll be doing 5 years from now, I just hope to be successful enough to keep doing what I like most. And then, what's next for you? Are you looking forward to anything through the rest of the year? Yes, I’m searching for a home for some new tracks and there’s is a possibility of a new ep on Liebe Detail. At the same time, I’m always trying to expand my work beyond Portugal, through my music, sets and podcasts, get to further people…The next step is do some international gigs... I dream on playing on those amazing clubs and parties on Berlin or London... I even think on moving there! But for now I’ll stay in Oporto, where I love to live and work, I can’t deny… but sure I’ll keep the battle to achieve what I want which is making music and travel around the world playing it… 1. Right-click + save a copy of this podcast 2. Follow what we do via Facebook 3. Subscribe in iTunes / RSS 1. Roy Davis Jr. - Symphonic Days [Chord44] 2. Coastal Commission - On The Rocks [Seductive] 3. Spencer Parker - Show Him You're The One (ItaloJohnson Remix) [Tsuba Limited] 4. Murat Tepeli - Workinstrugglin (Soulphiction Remix) [Philpot] 5. Manuel Keyz - Orange Love [Vibes & Pepper] 6. Glenn Underground - Detroitism [ Cajual ] 7. Disco-D ( Larry Heard ) - High Noon [Alleviated] 8. ItaloJohnson - Untitled [ItaloJohnson] 9. BLM - Chemistry [ Secretsundaze] 10. Rubinskee - Talk [Liebe Detail] 11. Rick Wade - Night Addiction [Hold Youth]

Florence, Italy. June 7, 2013] - Deep analog from outer Florence.♫ mlat89 - Herva.mp3  Play You currently live in the south of Florence, is that correct? Is that where you're from? How does the city nurture your ambitions as a musician and DJ? Yes, I currently live in Florence, a little out of the center of the city. The town where I live is quite small and a bit boring at times, but full of greenery and pretty quiet. I was born here from Italian father and an Ivorian mother, I'm one of the more unlikely mestizos around the world ahaah. Here, the interest in electronic music in most people comes down to the dj / star and little more... there is no interest in its musical research, in a few words "miss the curiosity." Lately the situation is changing, but very slowly, the road is still long... The city itself more than feeding my ambitions, isolates me, this has its positive aspects, I think that having too many inputs and influences, in my opinion, makes more difficult to create their own style. Your music is infused with a variety of styles, laden with a vibrant , shuffled delivery of energy. What have been the most important influences for you? Surely, the most important thing was to have studied music since childhood. In addition to producer/dj I'm also drummer since a lot of years, it was my first real passion. Musically speaking, belonging to the bigs of electronic scene, I get the most important influences from my friends with whom I share this passion... Nicola Corti (my father), Marco D'aquino/Dukwa (with whom I share Life's Track), Mass Prod, Rufus, Fabio (Bosconi Boss), Emanuele, Bakerboy... In general, the most significant influences for me come from where I live, from my environment and from the situations that I live. Every time I start doing music is because I need to vent a state of mind... infati step often very long periods without producing anything... Let's say if I have nothing to say, I prefer to shut up. Could you talk a little bit about how your "What I Feel EP" on Delsin came together? Was one of the most beautiful things that have happened to me. Delsin has always been one of my favorites labels, but I never dared to send anything. I was convinced that, being virtually unknown, they would have ignored my music. When I decided to send something, I was living in a period a little 'sad in my life... problems of womens... you know... is at that time that I've started the EP. More I listened to tracks and more I became convinced to try Delsin. Luckily I was not ignored, when I knew that I would printed the EP with them, did not know whether to cry or scream of joy! And how about this podcast? How did you record it, and what was going on around you that inspired you to put it together? Well, the courier had brought me quite a lot of new records from Discogs... what better way to celebrate, than to play a little? At that point, I decided to record the whole thing... As for the set up is very simple, I use 2 turntables and a mixer... despite my age I'm an oldschool DJ. Besides music, what do you do with your day-to-day? What other involvements inform your output? Taken away the music, it remains only eat and sleep hahaha. Belonging jokes, I study electrical engineering at the University of Florence, with the music is my main commitment. I've also practiced a lot of sports, I did boxing for some years, but bring together the three things was really stressful, so I decided to quit. What are you hoping to do next? When can we expect your next release? As Herva it will be release a track on a series of varius (Bosconi Stallions) signed obviously Bosconi Rec. As for Delsin will be released also a track in one of Delsin 100 EP's, in addition to this we're also working for an EP after the summer. How Life's track, Marco and I have a lot of things in the pipeline but for now I prefer not to anticipate anything. Anything else to look forward through the remainder of the year? Later this year, will come out also an EP Tru West of Marmo Music, ranging from the more experimental electronics to the freejazz, plus 2 amazing remixes by DJ Sotofett. In short, the project "Tru West" has as permanent members besides me, Mass Prod, Rufus and Amsphere (Sefano Meucci from The Clover). Everything is born by chance, as the most beautiful things! But the interesting thing is that the project is open to anyone willing to participate, those who want to jam with us is welcome! 1. Right-click + save a copy of this podcast 2. Follow what we do via Facebook 3. Subscribe in iTunes / RSS No tracklist available.

Stockholm, Sweden. June 11, 2013] - Continental disco from a deep international digger.♫ mlat90 - Albion.mp3  Play So who is this "Albion?" Where does he come from, and why does he dig so deeply? Shall we start with my name? When the Romans conquered England, they first saw the white cliffs of Dover and named it 'The White Country', which is Albion in Latin. My great ancestor, Gilbert de Venable, was on the boat with Wilhelm the Conqueror in 1066, when the Normands fought against the Saxons and conquered England. I descend from a noble family in England. But my grandmother got pregnant with an american bomber during WW2 and got excluded. She got her son, and that's my father. So I'm literally a son of a bastard in England, even though my name means that I conquered the country twice. My parents were hippies, but I grew up with my music obsessed step father, who was always standing in the living room with his headphones, listening to records. I just realized very recently that it must be part of the reason why I'm doing what I do. I dig so deeply because there is so much stuff to be found. I have always been very thankful over the fact that I'm in a generation that still has so much greatness left to discover. Could you talk a little bit about the Robot DJ collective that you've submitted mixes to? I started sending over my mixes to be broadcasted on Intergalactic FM, it's simply the best radio station in the galaxy and right from the beginning it had a huge impact on me. Through IFM I've also had the chance to meet many friends, since a big network over the world has grown up around it and naturally we started to connect. How would you describe your aesthetic and/or sought after sound? Archetypical, esoteric and sophisticated. So familiar, but yet completely unheard of. You also do your own series called Mixtura. What are the workings of that? I was starting out as a bar and club DJ but soon felt that the job description was too stereotype and shallow for me. I felt there could be more room for personal expression. So I started to make home mixes. Everyone that has made a DJ demo knows that it can be a bit hard to recreate peak hour in your bedroom. I wouldn't be lining up my fav tunes, like if I would do a mix tape, but something between crowdpleasing and personal, that would be equally rewarding for me as a DJ as the most broadminded listeners I imagined to be out there. The balance had to be kept the whole mix, if I wander off in my own direction or go too far to please someone else's taste, then I'd start over again. I've been there many times, with a blank sheet of paper, and it's when it's most intriguing for me, when I'm outlining the mix. It's like walking into a room with 20 strangers and you are the only one who could figure out what these people have in common. Everyone would at least have one thing that pairs him or her with someone else. Now that I have made some mixes, I feel that I have gained some more trust from the listeners. That allows me to be some more challenging in the beginning of my mixes. Once it's overwon, it can sometimes create an emotional bond between me and the listener. You're a bit of an adventurous music surveyor. Where are you currently based? What's the most notable digging spot you've found yourself at in 2013? I was hanging out in a record shop in Budapest last month. While I was digging and listening to records, I spoke a lot with the owners about music (what else) and they were getting what I was into. In the evening I was in back room on the upper floor when I suddenly heard this track that sounded so familiar. I thought: "on which album is this hit by Giorgio Moroder?" Once I came downstairs they said: "A little souvenir from Hungary!" Turns out it was something I never had seen and even if I would, I probably wouldn't have thought of picking it up. And from that point, they started to show me their stuff that I would never have found otherwise. Could you talk a little bit about the mix you put together for MLAT? What's going on and how did it come about? This time I wanted to do something personal and make a mix for people who don't know my sound. I've always dreamed up dance floors, this time the dream is the manifesto, a sound odyssey through the continental state of mind. What are you plans through the next couple months? The end of the year? Pretty soon, my vinyl compilation 'Mixtura 2' will be released and I got some more releases lined up. I might show up here and there in Europe this summer. Maybe even in the U.S. Oh, and in August I'm coarranging the disco festival 'Camp Cosmic', somewhere in the forests south of my hometown Stockholm. 1. Right-click + save a copy of this podcast 2. Follow what we do via Facebook 3. Subscribe in iTunes / RSS No tracklist available.

[Seattle, USA. June 14, 2013] - A label devoted to reissues of classics from the late 70s and early 80s showcases its catalog.♫ mlat91 - Medical Records.mp3  Play Can you discuss your early musical enthusiasms and what led you to get so heavily into ’70s and ’80s synth music? What forces led to this point? My earliest memories of listening to music was really popular radio music in the early ’80s. I would set my little cassette recorder next to my little FM radio. I would push "record" and "pause" at the same time and (im)patiently wait for my favorite songs to come on the radio so I could record them. ’80s pop really resonated with me and I loved the hits by Men Without Hats, Billy Idol, Talking Heads, etc. Later in elementary school, I was pretty obsessed with Prince for many years. In fact, I remember sneaking in to see Purple Rain with some friends! An odd transformation happened around 5th grade where I went on a metal and glam rock tangent that got heavier/faster until I was listening to full-on "thrash" until about 9th grade, when I discovered Sonic Youth, The Cure, and the like and gave up the metal for "alternative" music (or so it was called at the time). That evolved into shoegaze, noise, electronica, etc. in college. Somewhere around 1997 or so, I was "re-introduced" to ’80s synth pop, and I pretty much plunged in head first. Starting with Gary Numan's The Pleasure Principle and going deeper and deeper, I eventually ended up where I am today. That is the shortest summary I can come up with! Given that you have a demanding day job as a hematologist/oncologist, do you view Medical Records as a hobby or is it an evangelical mission? Obviously, you’re super-serious about it, because you’ve had to dig deep to find this music and then put your own money behind it. But in the scheme of your life, is it a hobby, a fun thing, or are you on some sort of mission to promote this unjustly obscure music? If it was just a hobby, I wouldn't have to pay taxes to the IRS on it (joke). But seriously, I am very dedicated to this endeavor. I think you hit the nail on the head describing it as an evangelical mission. It is increasingly frustrating for vinyl collectors to obtain so many great records due to astronomical prices that have resulted due to eBay, Discogs, etc. Also, with some of my favorite records, it is disappointing to shell out $50 and end up with a beaten-up, poor original pressing chockfull of surface noise. It is my pleasure to present these lost gems in nice packaging with superior sound quality for a very reasonable price (I believe, at least). What are the criteria you look for in Medical releases? Is it purely aesthetics or do you think, “I know I can sell 600 copies of this”? Is it a combination of business sense and aesthetic worth? What qualities make you think, “I have to release this”? Number one, I have to hear it and get shivers up my spine. It has to be THAT good. It would be boring to release records just because they would sell out fast. That would be fairly easy to do, but I might be embarrassed by such a move. I want to feel confident that I am releasing a quality recording that I personally love and have no qualms or regrets about. This topic came up recently when I was visiting friends in Dallas. I was talking about the idea of reissuing a rare record (I won't name it here), as it is very expensive and sought after. I have mixed feelings on this precise LP, so I wasn't sure. My friend asked, "Would I like it?" I said, "No, probably not," and it got me thinking that I don't ever want to compromise my standards. I commend you on your ability to find great records that are way under the radar. What are the methods you use to discover these buried treasures? I assume you have some favorite blogs and trusted sources in the industry that yield revelations. Certainly, a lot of them early on were records I had bumped into over the years. Many of them I had owned the originals (Der Plan, Alexander Robotnick, Chrisma, OGI, Dalek I, etc.). I must admit, some of them were recent discoveries, but they were so exciting to me that I fast-tracked them into the queue for reissue. At this point I actually have a number of people all over the world constantly throwing ideas my way. The upcoming I Signori Della Galassia reissue was brought to my attention by a new friend in Italy who is kind enough to email YouTube clips during the week. He keeps me on my toes! I am also grateful for my two friends in Portland, Oregon, and their great record stores. I have found several great records there that I was not aware of that will now be added to the catalog. I actually don't read that many blogs (no time anymore), but certainly I do read Crispy Nuggets, as I am releasing a series of records in collaboration with them by bands who had approached Nick Mariano from CN and provided unreleased tunes and other treasures. What three albums would be your ultimate fantasy releases? I know your catalog already contains some of those, but talk about the ones still out there, running loose in the world without a Medical logo attached to them. Well, phase 1 of this project was to release 5 of my all time favorite wave records. Those were OGI, Dalek I, Chrisma, Drinking Electricity, and BEF. Mission accomplished (BEF is coming out in November this year). The next phase will be to expand to farther reaches and broaden the palette a bit more. Expect to hear some new styles thrown into the repertoire such as EBM, shoegaze, and experimental while of course doing what we do best: obscure wave, synth, leftfield disco, and the like. We are also reissuing the holy grail IKO '83, hopefully by the end of this year or beginning of next year. That will be an accomplishment that I am very proud of. Much work involved, but the end result will be dazzling. There are probably too many other records to name that I would like to get my logo on. I hesitate to name names, as I don't want to jinx it!! What are some of the biggest challenges to running a label like Medical—besides balancing your professional and personal lives? Everyone is busy. The artists are busy. They are living their lives now 30 years after some of these records were introduced to the world. Sometimes getting all the materials organized in a timely fashion is a challenge (which is completely understandable). The logistics such as mailing items, organization, storage, etc. have become more complicated, as well, just with the sheer growth of the label. It is still a blast, though, and I wouldn't trade it for anything. Please discuss the reasoning behind the selections you made for this podcast. (By the way, you excluded two of my favorites: Axxess and Deutsche Wertarbeit!) To be honest, I didn't plan it out! I sat down with the digital mixing software and let the mood hit me. I wanted it to be a nice, flowing representation of what we have accomplished so far. I ran out of time, so I couldn't include it all, though... Given the grim state of the music industry, do you feel optimistic about Medical Records’ prospects for survival? I realize that your releases are limited and you probably don’t have the grandest ambitions for Medical at the moment, but are you worried about its survival? Is it doing well? No concerns there (at least for now). The releases are selling out [at a] faster [rate]. The pressings are going up (often to 1000 copies of selected releases). The distribution is getting farther and wider. I was recently in Japan and was delighted to see Medicals all over the place in at least 10 stores around Tokyo, Osaka, and Kyoto. That was really fun to see. I am not worried in the least. If the market and fans get tired of what I am doing, then things will naturally decline. I will be thankful for the run that we had. We just had our third anniversary since the first release (Deutsche Wertarbeit). A lot of happened since then. Please inform us about what’s on Medical Records’ horizon—say, through the rest of 2013 and 2014, if possible. Is there a common thread running through your next batch of releases? Might we see Medical broaden its reach into other styles it hasn’t yet championed? Possibly issuing music by current artists? Why, yes, I can. 2013 is gearing up to be a full-force release schedule. There are about two records coming out every two months at least through mid 2014. The newest release, by Near Paris, is the first in many collaborations with the Crispy Nuggets blog (another one, Laugh Clown Laugh, is coming out this year, as well). Expect to see two amazing German records in July with Body 11(rare "Mind" 7" + unreleased demos) and Die Gesunden (originally released on Klaus Schulze's Innovative Communication imprint). Also, the series I am doing with Survival Records continues this year with the reissue of the PLAY LP (featuring David Rome from Drinking Electricity). One of the records I am very excited about is by the German artist Aloa, which was a recent discovery for me but is sure to blow some minds. Think Neue Deutsche Welle with a more synthed-out leftfield angle. The iconic BEF (British Electric Foundation) first instrumental LP, Music For Listening To, will be released this year which was Martyn Ware and Ian Craig Marsh of the early Human League before they went on to become Heaven 17. It is culled from the master tapes in the EMI/Virgin vaults. I am always working on more surprises and have some intriguing leads for 2014, as well. I would also expect to see some new artists be released on Medical this year. Too early to discuss, but I am moving forward on searching for the right fit to take Medical in that direction. 2013 and early 2014 will also see the expansion into rare and out-of-print ’90s shoegaze and shoegaze crossover reissues. This style is my other true passion, and I have a couple of releases slated that will make heads turn for sure! One last thing is that I have been putting together Medical's first compilation LP. It will be comprised of A + B sides of some very rare wave 7"s, as well as a few odds and ends that only appeared on comps in the early ’80s (and are now $100 a copy). I think that will be a great release, too. * interview conducted by Dave Segal. 1. Right-click + save a copy of this podcast 2. Follow what we do via Facebook 3. Subscribe in iTunes / RSS 1. Der Plan - Gefährliche Clowns [Medical Records] 2. Tony Carey (Explorer) - Enjaw J [Medical Records] 3. Near Paris - Visions [Medical Records] 4. Guyer's Connection - Ar Isch Schon [Medical Records] 5. Dalek I - Eight [Medical Records] 6. Alexander Robotnick - Dance Boy Dance [Medical Records] 7. Die Gesunden - Baby Love [Medical Records] 8. OGI - Nukeclear Time [Medical Records] 9. Lou Champagne System - Machine Muzik [Medical Records] 10. I Signori Della Galassia - Proxima Centauri [Medical Records] 11. Gay Cat Park - Bit Of Charm [Medical Records] 12. Disco Volante - No Motion [Medical Records] 13. Body 11 - Attack [Medical Records] 14. Chrisma - Mandoia [Medical Records] 15. Mathematiques Modernes - A + B = C [Medical Records] 16. Christof Glowalla - Science Fiction [Medical Records] 17. Gina X Performance - Black Sheep [Medical Records]

London, UK. July 15, 2013] - The majestic, passionate sounds of analog wizardry. Visit to Black Merlin's Soundcloud.♫ mlat92 - Black Merlin.mp3  Play So, what's good these days? How have things progressed for you since the days of Spectral Empire? Spectral Empire is still alive and well but Me and Kyle Martin have taken a break While Kyle and Jonny concentrate on there Land of Light project. Kyle taught me so much while we spent years together in that room... We'd end up going on some really great journeys together and there's a lot of works that have never seen the light of day.. Funnily enough there should be a Spectral Empire remix of Brainmachine coming out soon... We'd long forgot about it. You and Kyle engineered a fabulous mentality with the Spectral Empire project. Are there any facets of that project that still remain, or better still do you two collaborate on any projects that are now formulating? Me and Kyle always projected our sound with a real visual expect... I Definitely find it easier to make music with a scene in mind..I need to see that happenings in my head to translate it to sound. We've never collaborated with anyone else but a few months back Jonny and Kyle asked if I'd be interested in doing a one off event with the three of us joining to play Live under the name "Chameleon Analog Ensemble." The whole concept is to use only analog gear no computers everything sync'd to 2 step sequencers... drum machines, Synths and Fx's.. the whole live set will be recorded on the Night and released on LN-CC Recordings later in the year. How did the name "Black Merlin" come about? Currently, is this your main musical prowess? In a Plume of Smoke I think? Black Merlin is the one you know you'll have to work out the rest. Further to that I've spent the last 3 years on and off in Düsseldorf working on an Album with Gordon Pohl from (musiccargo)... The album will be seeing the light of day soon. Which is super exciting. How are things at home? What things taking place around you keep you excited and inspired to engineer your sound? Things are fine at Home thanks for asking. Things that keep me inspired when you lose yourself in a track for weeks and it spits you out at the other end... Wondering how it all came together... I often get this feeling... It almost feels like someone else made it sometimes. Machine Take Over Syndrome. Could you talk a little bit about the mix that you've provided here? Well I recently bought quite a few Japanese records and had the idea to only include Japanese artists... so few of those in there are from that dig and a few I had already... it came together very quickly... as the music is so inspiring. What are you looking to for inspiration these days? Production wise, what/who is generating the sensibilities that move you? A lot of the 80s sound am into things that people miss like drum programming in the back as the vocals are the message and most upfront, I mean some of the Blancmange records are insanely addictive... So the drum machines they used back then I'm interested in... why would you want to program drums in your computer when something like a Linndrum, 808, 727, Dmx will nail the job for you as that's what they where made for... Its great to experiment with these kind of machine... makes you feel like you've worked fog it... instead of hitting magic buttons, everything seams to be disappearing in the future... Computers will do everything and Humans will be obsolete... What are you looking forward to throughout the rest of the year? What does everyone else have to look forward to? Release wise got quite a bit coming out..just finished a Black Merlin EP for LN-CC Recordings that should be out Sept... I have a couple more EP's out later in the year so excited for that to happen too... remix wise just finished a remix for "InHalt" a amazing band from San Francisco that'll be out on Dark Entries and a further black merlin remix of The Asphodells aka Andrew Weatherall and Tim Fairplay project... both will get full vinyl release... in next few months... 1. Right-click + save a copy of this podcast 2. Follow what we do via Facebook 3. Subscribe in iTunes / RSS No tracklist available.

[Tilburg, Netherlands. July 22, 2013] - A powerful Dutch take on the nudisco side of dance.♫ mlat93 - Drvg Cvltvre.mp3  Play So far, very little is publicly known about you as an artist, despite your various aliases. What "musical scene(s)" did you grow up in or around? I grew up in a small town near the industrial city of Tilburg, but growing up there, there was no electronic music around. So I played in punk bands from the age of 14. That all kinda changed when I got the opportunity to start playing records at a local youth centre. Normally I played alternative music there, hits of the time, and slowly we started getting more acid and new beat records in our tiny record store. But not enough for my taste, cause I was blown away by this abstract stuff, so I started hanging out at a record shop in Tilburg, where the guys of PWOG (Psychic Warriors Ov Gaia) used to work. These guys had everything first! I picked up the first Aphex Twin records there, on unmarked white labels… So I bought a small drum computer, a casio keyboard and just started recording tracks on a cassette deck. So I grew up with one foot in electronic music and one foot in punk rock and that attitude is still something that I dig a lot. Most of your Discography seems to be housed in your darker electro "Ra-X" project - the track "Kontrol" even appeared on Dave Clarke's World Service mixtape a while back. How comfortable do you now feel in a darker, experimental disco project as Drvg Cvlvre? Drvg Cvltvre only started a couple of years ago, because I was so bored with the electro stuff I was making and the scene I had gotten involved in with RA-X live sets etc. The big problem with RA-X was that one of my former record labels, KK Records, just continued to release records with my name on it of DAT's I had sent them as a demo. So there was a whole bunch of really hard nosebleed techno with my name on it. A lot of gigs I played where big halls with thousands of kids all fucked up on drugs, with me playing heavy shit there at 4 in the morning. That was really bad man and I didn't want anything to do with it anymore. Hence the name DRVG CVLTVRE as well. I wanted to take my freedom and wanted to just produce music I like. So I turned down the bpm's and just started sampling whatever. Everything from disco to Dio in the mix. With DC I'll only do what I want to do, and if someone happens to like it thats great, but if not. Thats also cool. How would you describe your past two years of production in this new mode? The freedom to just do whatever I feel is great. When I start work on a track its always triggered by an idea. That can be anything from a quote or sentence somebody says on TV to any soundbite in any genre. My neighbour listens to a lot of classic rock and my girlfriend listens to a lot of Abba and Hanson, so even stuff like that is in there. A good kick is a good kick. Whether it's from a Boston break or a 909 :-) You have the next release coming out on Pornwax. How did that relationship come about? Its nice how stylistically varied the releases on that imprint have been. Yeah there's a nice 10" coming up on that label, and like almost all releases that came about really easy. I put a couple of tracks on my soundcloud and they sent me a message they wanted to release them. All my releases just went like that. There have been two big labels that reached out and asked me if I had any tracks that i kept offline… I was like… uuhh… no… There are 120 tracks on my sound cloud man, now, if you want me to create something for you from scratch, that's possible, but if we do it that way want complete artistic freedom and I will supply you with a master, no veto for you. But they can't do it. They need control. And I'm not giving that away anymore. EVER! Can you talk a little bit about your MLAT podcast, the tracks you chose for it, and how it was recorded? I recorded this set at a friends place, he does live podcasts from his design studio. Kinda like the boiler room, but with local guys and with local friends hanging out and drinking local beer. It's called The New Tilburg Jet Set and can be found here. The tracks I choose are mostly songs I like right now, and of course everything is slowed down to a crawl :-) I like the narcotic feel or slowing records down. I'm like the DJ Screw of Techno hahahahaha. Except I don't drink that purple stuff… Any future plans for a full length album or the presence of a live set this year or next? Yes I'm working on a new full length album, but there's so much going on right now that I rarely have time to actually work on it with the concentration needed. For a full length, I tend to work on the concept as a whole, so it's not just tracks in a row, but a complete vision, or story, created in audio. I think I will be releasing this myself, just to avoid getting shit from a label on this. That is, unless there's a label out there that wants to surrender my artistic freedom to me! I've been playing live again since this year, and have been playing all analogue hardware sets since a couple of months, which is really fun to do. I like the control I have over every aspect of the sound that way, and enjoy playing live again. There are plans to do some US shows with Sir Stephen (100% Silk), but nothing solid yet. Anything else forthcoming that you're excited about? Right now, there's a bunch of stuff coming up. There's two tapes coming out soon, one on Samling and one on my own imprint Snug Life. Besides that I've contributed tracks to a new 12" on Rothmans which should be out right about now and a track on a 2x 12" comp for 030303. There's a digital Ep coming next week on RKR and another slab of vinyl I'm working on is a 4-way split 12" with some of my fav producers: Hieroglyphic Being, Pete Swanson and Terrence Dixon!! Very psyched about that one. 1. Right-click + save a copy of this podcast 2. Follow what we do via Facebook 3. Subscribe in iTunes / RSS 1. Junior Boys - Work (Marcel Dettmann Remix) [Philomena] 2. Genius Of Time - Tuffa Trummor Med Röst [Aniara Recordings] 3. Raffaele Attanasio - Envlp [Non Series] 4. Chris Moss Acid - Jak Jak Raw [Unknown] 5. Truss - Buckholt [Inner Surface Music ] 6. Markus Gibb - Broken (Drvg Cvltvre Remix) [Clouded Vision] 7. H8R - CRS 2.0 [Curse] 8. Drvg Cvltvre - Essex Decay (Part 2) [Snug Life] 9. Drvg Cvltvre - Essex Decay (Part 1) [Snug Life] 10. Matt Whitehead - A Is For Acid (Perc Mod Remix) [Perc Trax Limited] 11. Drvg Cvltvre - Oblivion [Erikoisdance] 12. Mike Dehnert - Charger [Fachwerk] 13. Psyk - Arcade [Mote-Evolver] 14. Drvg Cvltvre - Atom By Atom [Unreleased]

[Toronto, Canada. September 9, 2013] - The good vibin', Good Timin' Records boss throws a few out into the ether, radio DJ style.♫ mlat94 - Jex Opolis.mp3  Play Jex, thanks for taking the time to project some rays. How's it going out there in the world? Life is going very well these days. I've been fortunate lately, because I've been feeling creative and productive: two killer things. The Senses/Sharing single has been bending the right ears and the response has been wonderful. You describe yourself "a multi-instrumentalist living in Toronto" having "a long and painful music history." Did you grow up in Toronto? What have been the most definitive musical involvements on your pathway so far? Bands, production, radio? I was born in Ft. McMurray, Alta., but I've lived in Toronto for a decade or so. Ft. McMurray is great if you're into oil, but my interest in petroleum begins and ends with vinyl records. The only cars I'm interested in are the ones produced by Rick Ocasek. I played in bands throughout my teens and 20s and played with the group DVAS for about a decade. How has Toronto been as an incubator for the things you want to explore musically? There is some great record shopping here, and there's a huge range of influences: European dance music, American R&B and Jamaican flavors. You can hear soca, trance and hip hop at any given time. Definitely the Caribbean influence has been a big one. Could you talk a little bit about your Good Timin' imprint? How and since when did you come about deciding to run your own label? In December 2010, I started a monthly club night here focused on weird AOR (stuff like Paul Davis), odd-ball disco and super deep cuts, and I called it Good Timin', which is a rad Beach Boys song off L.A. The night was started at a very low time in my musical life as way to blow off steam and just party with all-vinyl mixes and my pals. Over 2.5 years, it turned into a real showcase for friends and for collectors to come and spin with me, and it just seemed like a natural progression to turn it into a label. Do you see the label being a vehicle exclusively for your own explorations, or given the right demos could you see yourself hosting offerings from other artists? For now, it's Jex-focused on the imprint side, but we did some great outdoor parties this summer, in just insane locations where nobody knew about it 'till the last minute. I'll see how it goes but I'm in no rush to be the next Richard Branson. And how about this podcast... just a few tunes that you had around ready to be heard? A few that your wife likes? My wife is the ultimate BS detector. She calls it the way it is. I'll go crate digging and bring home a bunch of records and she's the ultimate "yay" or "nay" on a lot of stuff. The aforementioned Paul Davis got a "fail" from her, but she digs all the world stuff because her mom is Burmese-Indian-Canadian-via-Ethiopia. Anything to look forward in your own life or from Good Timin' specifically through the rest of the year? Yeah, my plan is to do some releases and see how people respond. I have nothing to lose (except thousands and thousands of my own hard-earned cash!) 1. Right-click + save a copy of this podcast 2. Follow what we do via Facebook 3. Subscribe in iTunes / RSS 1. Steve Kekana - In The Desert [Steve Records] 2. African Image - War Cry [Gramavision] 3. King Sunny Ade - Synchro System [Island] 4. Shadow - Let's Get It Together [Shadow Records] 5. Squirrell and Robbin - Sweet Sex [Flynn & Flynn] 6. Wally Badarou - The Feet of Fouta [Island] 7. Hudson Ford - As Hours Go By [A&M] 8. Double - Devil's Ball [Metronome] 9. Herb Alpert - Kamali [A&M] 10. Tony Esposito - Pagaia [Bubble] 11. Dale Jacobs and Cobra - Almost Home [Epic] 12. Andras Fox ft. Oscar S. Thorn - What They Say [Dopeness Galore] 13. Jex Opolis - Senses [Good Timin']

[Oslo, Norway. September 24, 2013] - The wonderfully illustrative duo bestow a little fairytale unto the world.♫ mlat95 - Mungolian Jetset.mp3  Play "The God almighty came down from the sky and revealed to us a miracle..." this was the title of the email that bestowed us this mix. Very much par for the course of how you so illustratively present yourselves. The Mungolian Jetset narrative is a vast, elaborate one. What are its origins? Pål: Maan, God only knows :) But as he comes down from the sky and they say that space is boundless, one can sense it's an origin from an origin of an origin from another boundless origin... Knut: Also it's a true miracle since this is the second ever mixtape/podcast in the whole of Mungolian Jetset's 10 year existence. They don't come often. Why pull inspiration from Mongolia? Paul: The Mongolian part to it is not that important, but I guess it's one of those countries that seems kinda mysterious, unknown and hidden to our world. At the same time, 1 in 200 is a direct descent of Genghis Khan so the relation is a lot closer than we think. However, we are all about the Mungo, and the name is more of a nod to the tradition of Exotica, with their musical fantasies about the "Shangri La" and other utopian mythological worlds. But the Mungo can be found in various forms. It is the name of an Australian lake and national park, a pre-historic human from Wales, a group of people from Cameroon, a variation of the Mongoose animal, and as a term used by NYC sanitation workers to salvage things from the trash. You've said previously that you (Pål in particular) were inspired by various facets of earlier prog rock, particularly by the cosmic visual language that bands like Pink Floyd used to convey their own narrative(s). What, for example, are some of the album covers (or other miscellaneous artist renderings) that you particularly treasure? Pål: There is a lot of really great artwork from the seventies, from Hipgnosis to the Abba sleeves, and I love the imaginative mash-up of the era. It was fantasy and surrealism mixed up with kitsch and excess. Sometimes creating the best of the best artwork, as well as totally over the top, hilarious imagery. I don't really have specific favorites, however, the most powerful sleeve from that era must be Miles Davis "Live Evil," with its beautiful african scenery on the "Live" side, and the white man portrayed as an ugly-looking rooster on the "Evil" side. In a previous interview, you noted that there were other writers that you work with who you considered particularly important to your efforts. Whether this be with your song lyrics, or with other peripheral narratives like (your sidebar commentator) "The Homunculus," all of this quite robustly help you establish your mythology as you produce your sonic array. How often do you incorporate these valued partners into Mungolian Jetset, whether it be in your linear notes, postings or your website, or beyond...? Paul : We kind of let it live its own life, so there`s no specific structure to it. The Homunculus, he exists as a kind of pecking bird on our side, a weasel from the feasel (whatever that means). Knut : Our 3rd Mungolian member Dave Mullan is also an Irish writer, and God knows what comes out of those whiskey bottles. Definitely cask strength stuff. Its of course obvious, and stated repeatedly, that Norway births the world's most treasured contemporary disco luminaries. Could you speculate as to what is in the water over there that you and your brethren have developed such a profound aptitude for future/cosmic/etc disco? Pål: I guess it's the influence between certain friends and colleagues, as the so-called Norwegian disco scene consists of 10-20 people, so it's not really a big thing. But I think it goes back to the fantasy aspect. For my part, I first heard disco and early synthesizer based dance music in the surroundings of cows, woods, fields and even more cows, so it felt more like a radio transmission from a passing UFO than something actually being made for The Garage. I was so far away from urban culture, so it could only trigger and alter the imagination. I think that goes for most of the norse luminaries as we`re pretty all much cowboys who only experienced the heydays of disco and dance culture in our own minds. You've referred to this podcast as, "Mungolian Jetset`s Warm-Up At The Speedhall Awards," one episode in a three-part session. What are we to expect from the series and its scope? Knut: 2 more mixtapes within the next 10 years. No, hopefully in the next months... in different genres. What other things do you have coming down the pipe through the end of the year? You're currently working on a 5th album, is that correct? Pål: There will be a fifth album sometime, but it`s not gonna happen now. Knut is pretty much committed to other projects, and myself is also doing general work, outside the music business. We do have plenty of sketches, ideas and demos, but they may also be worked into other projects. There is a new single coming out on Smalltown Supersound. It`s called "Sanfrisco Speedhall" and will be in the shops around November. And there will be another EP quite shortly after that. And we do have a remix of fellow-Norwegian Nils Noa coming up too. Knut: It's a hell of a job to make albums. We will focus more on EP's, 12", collaborations and playing live for a while now. 1. Right-click + save a copy of this podcast 2. Follow what we do via Facebook 3. Subscribe in iTunes / RSS 1. Matthew E. White - Big Love (Hot Chip Remix) [Domino] 2. Chilled By Nature - Otherness (Windsurf`s Golden Bear Dub) [Lo Recordings] 3. Toro Y Moi - Still Sound (Voodoo Bear Remix) [Amazing Sounds] 4. Andrew Allsgood - (Disco) Pigs In Space (Extended Original) [Truffle Music] 5. Roberto Rodriguez feat. Max C - Lies (Arttu Dub) [Serenades] 6. Sinkane - Warm Spell (Larry Gus Remix) [DFA] 7. Matthew Dear - Fighting Is Futile (Kink Remix) [Spectral Sound] 8. Faux Métier - Why Did You Leave? [Faux Métier] 9. The Bank - Radio Cash [Mad On The Moon] 10. Eelke Kleijn - Ein Tag Am Strand (Instrumental) [Spinnin' Records] 11. Matias Aguayo - El Camaron [Cómeme] 12. Francis Bebey - Forrest Whistle (Daphni Edit) [Born Bad]