Melbourne Deepcast

LA’s Juan Izguerra raids the dusty end of the bag for the latest MDC mix, pulling together summery 90s UK house, early-2000s West Coast nugs and a couple of records with serious mileage on them. Chuck it on for a run, a road trip, or an extended period staring out the window. @juanizguerra MDC: What sounds, places or feelings did you draw upon when gathering inspiration for this mix, and what listening environments could you imagine it being thoroughly enjoyed in? Juan Izguerra: Hi Myles : ) I’d say my trip this year to Melbourne definitely motivated the direction I’ve been heading in. The people, energy, sound systems, parties, and even the weather really drew up inspiration for me when making this mix. I’ve also been collecting and listening to a lot of 90s UK house and techno, as well as some early 2000s west coast house which I discovered from digging through Tweekin Records' catalog. Where can I imagine this mix thoroughly enjoyed…on a solo drive, road trip, or run! If ya need some stamina and want to get lost just a bit, this is it. MDC: Are there any records or recent digs in the mix that you were especially excited to share, and what is it about these tunes that resonate with you so much? JI: Definitely! I’d say the first track that kicks things off, “Double-Fraise” by Steve Check (s/o to Alonso aka summer league aka DJ flirt for letting me digitize his copy jeje). I actually featured two tracks off that EP in this mix. It’s classy, has that “Remind Me” by Patrice Rushen sample that is timeless, and overall just a tasteful french house EP with a lovely cover as well. Lastly, Ultimate love (Microman’s club mix) by Neresa Maye. An absolutely dusty and scratched-up purchase in my collection but still has some miles on it. It’s a euphoric, high energy UK house/garage track that I just never had an opportunity to play out, so I thought I'd share it here :). MDC: Tell us a bit about your current involvement in the underground scene in LA, what or who in the local scene is keeping you inspired musically at the minute, and what’s the latest with your DJ Flirt and Homage Brewing collabs? JI: In short, I’d say my involvement is by bridging the underground to the ground by giving underground promoters and DJ’s a place to play without all the rental fees, BS, and risk. But to be truthful, It’s a complicated relationship with the nightlife/underground scene in Los Angeles. That said, I do want to give flowers to all the underground promoters here in L.A., including capes aka Ray Barragan, who throws a small intimate warehouse party called Surface. My friend Joseph (Pollensource) also organizes great parties with his friends called Wellness Check. There are also parties such as Auntie, Fast at Work, and of course Canary, which is a gallery that hosts the best fog filled room with amazing sound. s/o Hood Rave as well! All keeping me musically inspired. Can’t forget Jarren, Summer League, and Bianca Lexis as well. DJ Flirt is working on a mixtape which hopefully will exist on tape/CD, and of course here on Soundcloud. Showcasing 90s archival house tracks that are more suited for mixes and not really for clubs. But still keeping it fun, sexy and cheeky! And for Homage collabs, we’re aiming to work with audio freaks to revamp our sound system and lighting. As well as working with some new designers to whip up some new merch!

Holding it down from sunny Madrid, Tombolo party starter and notorious tastemaker OG Juan treats us to two full hours of tripped-out bliss, guiding us from beachside chill through to hypnotic house, with sprinkles of synth-pop, Italo and UKG for the ultimate summer seasoning! @therealogjuan Q. What sounds, places or feelings did you draw upon when gathering inspiration for this mix, and what listening environments could you imagine it being thoroughly enjoyed in? A. When the engine of the bus (that takes me to work) starts roaring I put my headphones on and try to travel with my mind. Sometimes I envision myself taking an astral trip over the stars, riding a multicolor snake rollercoaster or surfing a giant perfect glassy wave in the sunny coasts of Namibia. Gathering music for this mix I imagined somebody driving a Cadillac Impala around a breezy San Diego in the early 90’s… Q. Are there any records or recent digs in the mix that you were especially excited to share, and what is it about these tunes that resonate with you so much? Some of the digs that I would point out would definitely be “Celestial Ocean (In Between The Seven Seas)” by Astralasia or “Chamber Music” by Rory Philipps. Even though they are from different periods of time they both seem to have beautiful acid energetic baselines that gives you a “hands-in-the-air” feeling. I’m feeling a bit trippy and wonky at the moment so I guess that is why they sound good with me! Q. Tell us about the evolution of your Tombolo party series, you’ve been frequently hosting a range of house and techno’s heavy hitters over recent times, with a particularly stacked weekly run earlier this year with PAL_co and Club Magno, tell us about how that all came about, and what’s next for Tombolo? A. I created Tombolo in 2018 and have been running it since with the goal of helping the culture of my city whilst sharing music and having a good time. So far it has played marvellously. Met incredible people in the journey, did super fun parties, and had a sick time. Pal_co is a club night that I started with a friend a couple months ago in an old theatre. I would lie if I said it was a success. We had an opportunity with this venue that ended up being quite weird and even though we had amazing artists coming by (Legowelt, Tama Sumo, Daniele Baldelli…), it wasn’t selling enough. I guess sometimes you just have to try! The future of Tombolo is uncertain as the energy and time to organize events is not the same as before but I intend on keeping it up with passion! For now I have a party coming up in September, I want to push my label in different directions and who knows what else is on the road! Thank you so much for having me.

Oakland renegade royalty in the place for the latest transmission! Humble legends of the Bay Area underground, Kate & Miro aka Very Much Romance offer a special live recording from a foggy rave by the ocean on the outskirts of SF last summer. Plenty of nods to the iconic 90s & 00s West Coast house sounds, with some delightful dips and trips along the way. @verymuchromance Q. What sounds /places /feelings did you draw upon when gathering inspiration for this set, and what environments do you feel might be best suited for listening back? A. The spirit of this particular renegade spot is so special, where the big trees and the ocean collide, and you never know if some misty fog will come through or the most beautiful sunrise. We wanted to play dance music that feels pure but has an overall feeling of spatial-ness, so you can dig your heels into the sandy bluff and dive freely into the long night/morning ahead. We were already in great spirits before this party, having just returned from our bests’ small festival in Berlin called Rambazamba, feeling grateful for many years of connecting to music with beloveds. Then even more blessed to come back home and host you and Maria for the second time. We remember sharing some delicious tagines beforehand and then hauling all the equipment out to the spot with a big group, trying to not laugh too loudly and wake up the horses nearby. Listening back, this set feels 100% summer. It says, all bets are off! Maybe you listen when you have some patience to not skip around but also want to have some fun, like if you are going to a party in the middle of nowhere with a very long drive ahead. Q. Are there any records in the mix that you were especially excited to share that night, and what is it about those records that resonate with you? A. Kate: Knew I had to play 3 Brotherstrong’s Feel The Beat for this one. For me it encapsulates elements of the Bay Area renegade sound: a big stripped down beat, guitar rips, a little bongo, loops coming and in out… sort of ominous and tough but circular and goofy. Also played this Kaskade song which was my summer anthem. It sounds like it belongs only on a CD, which is such a particular moment in time that I think we’re all dreaming of, before the internet swallowed us.. Miro: I had bought one silly tech-y/tribal-y record by Meat Katie and Justin Drake with a voice sample that goes something like “Damn, I’m still here”…but it sounds like they are saying the name Dan, I’m still here…we thought it was super funny because of our best Dan Dix…and were joking that the track was referring to him so wanted to play it that night. Q. Being there at the party myself while this was recorded, it felt like you guys were totally in sync with your selections that night, with one groove flowing synergistically to the next. After playing records together for so long, is there much discussion or prep taking place at home before a b2b, and are you generally just freestyling / flowing with what’s in your respective bags on the night? A. Even after a decade playing as a duo, we always, at the least, discuss what type of arc we want to create. Thinking through the “feeling” together helps us ground the set and pack our record bags accordingly, so we can then freestyle with intention and think about each other. With the particulars of planning, it can go either way. Sometimes we prepare a skeleton of a set if we want to create a fairly tight intentional journey. Other times, like for this set, we just discuss the very very beginning. This is especially nice when it’s familiar equipment, and there’s been care in tuning the system so you can really hear what you’re doing and take more risks…really needed when playing records in darkness and wet fog! For this one, it felt right to just build off of each other’s energy and follow the little trails. That’s the best for us, it feels like everyone is in on it together, and it gets you even more excited for what’s to come.

Berlin house music authority Mandel lifts the lid on some scrumptious recent digs, blending up a delightfully groovin' 90 minutes of deep n dusty goodies to keep your spirits well and truly elevated! @mandel Q: What sounds, places, or feelings did you draw upon when gathering inspiration for this mix, and what listening environments could you imagine it being thoroughly enjoyed in? A: I went for a deeper sound, whichI think is always representative of me. I wanted to explore different shades of "deep" that I've enjoyed over the years, as well as e reminiscing about the first MDC mixes I discovered back in '09–'12. I could picture people listening to this at night while biking, walking, or driving through the city. That's one of my favourite ways to experience music. There's just something special about the depth of the night and the city. Q: Are there any special records or recent digs in the mix that you were especially excited to share, and what is it about these songs that resonate with you so much? A: I’ve been collecting Pete Moss for a while, and lately, I’ve been obsessively trying to finalize collecting the last pieces of his discography. I included his track "Changing Wave," which perfectly defines my idea of a deep sound. The second Loop Stew, is by my homie Snad, from his latest release on his own imprint, Spandrel (04). When he sent me the files last year, I told him we had to cut a couple of dubplates because I needed to play them at Panorama Bar. I’ve been spinning them every chance I get. The whole release is great! Q: I’ve loved getting some insight into your digging methods around Berlin with your ‘hunting for records cheaper than your snack’ series on IG! What have you enjoyed about the process of making that little series, and what potential strategies or tips have you picked up along the way while digging for these slept-on house burners? A: I started the series because I kept hearing people say they'd love to buy vinyl but found it too expensive. While it can be, there’s also so much great, affordable music out there. My budget limit is 7 euros, the average price of a döner in Berlin. You can either get a snack or a record, depends on your priorities. A record is much healthier. I love sharing my weekly routine of biking to different shops, alongside tips on labels and producers for anyone just starting out. If I've learned anything over the years, it's that consistency is key. Sometimes you find a a lot of gems, sometimes nothing, and you never know which shop will deliver. The positive feedback from people definitely keeps me doing them.

A crate of sunrise treasure on full display from Berlin's E-Talking! Two joyous hours of finely fashioned tech house groovers and cosmic progressive nuggets, channeling the spirit of the Aussie bush doof. @e_talking Q. What sounds, places or feelings did you draw upon when gathering inspiration for this mix, and what listening environments could you imagine it being most enjoyed in?

 A. I recorded this mix in the heart of Berlin winter and I had one place in mind while doing it: the Australian bush. My perception of it might be skewed since it’s already been a few years since I last visited down under but I would easily imagine this mix being played at the end of the night or at sunrise. It oscillates between tech-house and progressive which are two styles that I assimilate with beach/bush parties. I have very fond memories of these and this mix was probably my way of returning to them mentally, if not physically. 
 Q. Are there any records in the mix that you were especially excited to share, and what is it about these songs that resonate with you so much?

 A. Definitely, “George Sarah - Drag Ass (Swayzak Filter Dub)” which comes in towards the end of the mix is one of these dubby oddballs that you cannot play in every context. It’s a 13 minute long remix which showcases Swayzak’s mastery at the peak of their career (imo). It’s so lush yet minimal and the production hits exactly where it should. I can’t get enough of this one. 
 Q. I loved your New Yesterday EP last year on Nummer Music, and I can hear you’ve drawn on a wide range of influences there finding this energy filled hypnotic blend of progressive trance and groovy housey-techno. Have you been recording music on a similar tip of late, or is there another direction you’ve been leaning further into? A. All of these tracks were recorded in the year preceding my son’s birth, about two and a half years ago. Since then, a lot has happened and I’ve found myself gravitating toward slightly slower, more organic grooves, which is now translating into my productions. As BPMs kept creeping higher and higher a couple of years ago, I realised I’d reached a certain threshold and it felt logical to slow things down a bit. In the meantime, I rediscovered a lot of old UK tech-house gems (I was a bit late to that train, I know..!). I found a sound that I’d been looking for for many years. The energy, groove, and wonkiness of some of these tracks is unrivalled. Only a handful of producers today manage to match that vibe (Liquid Earth does it wonderfully, for example). So I suppose this is where I’m headed in the coming weeks and months, but knowing myself, I might decide to switch things up entirely without notice..haha.

Deep in the archives of the late 90s and early 00s Dutch underground, Piepotelli threads together some sublime progressive house and deep techno. @piepotelli Q. What sounds / feelings did you draw upon when gathering inspiration for this mix? A. I wanted to be in sync with MDC but also compile something personal. The sounds that emerge have inspired me a lot lately. They relate to a variety of styles, but also to emotions and energy. I truly feel related to the sometimes abstract form of expression music can be. I tried to be expressive in the progression, as only then the mix would make sense to me. The cohesion is noticeable through deepness all over, fused with wavy coatings, mysterious tints, and progressive elements, highlighted by synth, groove, and syndicate electronic magic. Somewhere late afternoon landing into the night would be the ideal time for a whirl, as it takes time to build but would be too much for my morning peace – I prefer worldy stuff to wake up the mind (s/o John Gomez on NTS!). I guess before going out for a dance suits well, since it’s quite club-ready towards the end. Q. Are there any records in the mix that you were especially excited to share? what is it about these songs that resonate with you? Very much so! One that has been in my head for ages is The Hug Club – Round I Go (Morning Mix). Honestly, the whole EP kicks ass, but the B2 is on another level. I like several things about it. One, it’s subtle. It smoothly builds and gently brings some beautiful chord/synth layers to take the lead and make it flow. Two, it’s sensual, but not demanding. That elegance is exactly what sets this alleviating mood. Three, it’s a B2. The track that doesn’t scream for a listen. It’s there for the curious. Four, have you seen this cover? We were talking artistic expression right? That’s it right there. Take these 4 points together, and you see why it’s such a standout. Q. Tell us about the evolution of your YT channel, where you’ve been uncovering hidden gems from the 90s / early 00s, largely from obscure NL house, techno and tribal / progressive producers and labels. Had you always suspected there might be a trove of deeper cuts hidden amongst the more popular Dutch hardstyle, trance and techno records of the time? It’s funny that you mention that, because some of the quality deeper cuts originate from producers that came a long way from Trance, Hardcore and Gabber. If we take a step back, late 80s house music flew over by local DJs that felt inspired by what was going on in the US. That was for both the parties and the sound. The paradigm changed in Amsterdam as well. It had to withstand serious commotion by the crowd, but the driving forces around Club Roxy and Club iT eventually obtained their recognition. The local embracement paved the way for the evolution of many subgenres that followed. Of course music evolves globally, but it is the combination with local appreciation, local hubs, and local initiatives that gave it cultural body. It really deepened and refined what artists were able to produce. Such history gives so much color to when you are going through archives like record bins. To relate it to the YT channel, essentially what it does is making finds from the past available for listening. I think on there, you have a unique combination of archiving and curation. Archiving in the sense that it’s not as polluted as other platforms, it is straight to the point and less ego-centric. Curation in the sense that you can post something unique and commit something that was not there yet, and bring it together on a channel. Now from history we can tell that the mid-late 90s and early 00s you mention were indeed fruitful in the region. That’s how it doesn’t surprise I come along the quality cuts you’re referring to. There is still a lot to discover. Also a lot of garbage, but dig deep enough and you’ll run into hidden treasures. Along the way you learn a lot about your musical taste. That’s the fun part.

Rolling waves of smooth sun soaked house with Naarm's own DAWS soundtracking her lifelong affinity for the deep blue. Techy offshore groovers and silky soulful burners making for the ultimate sunset serenade. Feel the breeze! @dawsdj Q. What sounds, places or feelings did you draw upon when gathering inspiration for this mix, and what listening environments could you imagine it being most enjoyed in? A. I recently returned from a trip to South America where we spent most days talking about music, and specifically the sounds that got us inspired to start DJing. Enjoying time away in nature while driving long winding roads to the beach, between snow tipped mountains, and sunrise bus ride through the vast desert gave me plenty of time to reflect. This year marks 10 years since I started, and this mix is a trip down memory lane where we revisit the archive of tracks and moods that stood out to me. So I guess you could say it came from a pretty sentimental place. I imagine it would be nice for a drive to the beach or while sat somewhere beautiful. Q. Are there any records in the mix that you were especially excited to share, and what is it about these songs that resonate with you so much? A. Heaps! But in particular the last track ‘Homepage’ by Brittany is a special one that takes me straight to my favourite place - in the ocean. A lot of my sound (and music I consume) is influenced by proximity to a body of water: coming, going, and spending time by it. Q. We loved your Touch Of Sapphic EP from last year, it felt like potentially the beginnings of a new direction with your sound.. cheeky and club focussed but with a really groovy, breezy feel to it all. Can you tell us about any new projects in the works, and what sounds have you been drawn to explore further? A. It’s been a balancing act to blend more club and late night tracks with the sounds that I’m more familiar with making. Lately, I’ve been really into ‘patient house’ as Ricky Nord calls it, which can be characterised by taking a less predictable and more laidback approach to arrangement, while giving more time for each element in the track to breathe. I still love tracks that use a big snare roll to build energy, but I’ve been enjoying new ways to mix tracks in sets that shy away from the classic energy signifiers. You can expect another EP from me soon with a good bit of breezy groovy stuff, and perhaps a bit of patient house???

Mad Habitat’s Greville guides us on a mysterious wander through deeply tangled woods, navigating his signature minimal wobblers and dubbed-out delusions amid strange voices hiding in the fog. @grevillegreville

Captured in the woods at last year’s Dripping festival, Bay Area legend Primo Pitino treats us to a wildly transcendental ride through 20+ years of deep crate excavation, swerving between dizzy acid freakouts and deep progressive melters from the late ’90s. @primo-pitino Q. What sounds/feelings did you draw upon when gathering inspiration for this set? Describe the setting + vibe out there while you were playing.. A. Dripping was wild, spaced out & transcendental, but also a moment to connect with friends, community, & even the earth tbqh. It was otherworldly but also felt very much like a family affair. I wanted to play a set that would bring us down to some oceanic depths, out into space, but also ultimately bring the dancers together. Dripping takes place on a lovely mid sized campground in New Jersey with a lake, lots of foliage, & also many left over accoutrements of Ren Faire type events which take place during other times of the year. There are dance and art performances in various parts of the campground downtempo music on the lake, a big sound system in a large field, and in two indoor venues, the Inn (expansive, feels like a club but opens out to to the air) and the barn (bouncy wood floor, jam packed, hot and sweaty) I closed out the first night in the Barn, it was exciting, the energy was euphoric and infectious, at that point (3am) people had been dancing for hours but they fully seemed like they could easily go until dawn, the first record I played “No Command - Keim”, was meant as a sort of trippers clarion call, to answer their energy and bring it forward. When I started to play people really started to fizz, and it just felt like the best house party I had ever been to, so tripped out, silly, and also friendly. Q. Are there any records in the mix that you were especially excited to share? What is it about these that resonate with you so much? A. One of the tracks I was most excited to play that night was “Smiling in San Antonio” by Ed2000, it sounds so much like a 1992 UK hardcore piano rave “second summer of love” type tune but it was recorded in 2001 & has this crazy heavy bass, and almost post modern restructuring of that style, that I felt would make it go along with these heavier techy and acidic things I had chosen for the rest of the set, and at the same time bring that feeling of euphoria & togetherness that, for me anyhow, only raving has truly been able to bring out. "The fight against oppression" - Pure Science 1997 ~I think I’ve been playing it for at least 9 years. It has a super heavy kick combined with some watery vibration & depth, the Dr Martin Luther King sample is played over itself again and again, also creating a tension build, so that when it is taken out again, the heavy beat of this deep track is brought into sharper focus. Definitely Two Billion Year Journey with the whale songs as synths, Reese type bass, and voice over suggesting whales as space traveling entities, is a big favorite. Also Analogue Bounce by Freak and Swank really stands out for me, very unique, and Bay Area, which I love. Q. You made the big move from SF over to NYC a couple of years back, leaving after a 20 year long stint of running parties (including co-founding the iconic Club Lonely nights) and DJing around the Bay, tell us about how the transition has been + what new projects you’re excited about? A. It was terrifying! I had lived in the same house for 14 years, and DJ’ed in some of the same clubs for 16/18 years. But I'm very happy to be here, I'm excited to connect with the Brooklyn dance community, and to make paintings again as well. Project wise, I just completed a fun painting on Mansions, & have been playing sets with my friend Kiyoshi909 which for me have been a few of the best sets I’ve played in all my 22+ years of djing, we both seem to bring out the freakiest possible tracks when we play together, so if you’re in Brooklyn this summer keep an eye out for us :)

Shanghai tastemaker Yu Yang pulls us into her twilight zone, navigating deep hypnotic house, synthy techno and tracky minimal groovers for the after hours inclined. @yuyang11 Q. As a music lover that has lived across multiple corners of the globe, bouncing between London, Shanghai and Bali and having spent time living in NYC, what sounds or feelings did you draw upon when gathering inspiration for this mix, and what listening environments could you imagine it being best enjoyed? A. All the life experiences in different places exposed me to different sounds & communities and helped me discover the core element of sound that I am attracted to - synth, groove and flow; and myself as a person of what experiences I am looking for on the dancefloor, which is feeling emotions and being introspective on the dancefloor. Sometimes it’s fun, sometimes it’s overwhelming, sometimes it’s even unpleasant, but it’s all part of the journey. This set goes a bit deep and trippy so I think it could be listened to at after parties, taking a walk or going for a run in the evening, or any time when you feel like being on a music journey. Q. Are there any records in the mix that you were especially excited to share, and what is it about these songs that resonate with you so much? So many but if I have to choose: Bullet Proof by Hd Substance Synth-driven. Smooth groove. Rolling waves that go deep. Wata Igarashi & Polygonia - Cross Passage The most techno track on the whole set. Love a rolling bassline pushing deeper and deeper. Keplrr – 4DRK Been playing a lot of Keplrr lately. This one drifts on the calmer side, while others dive deeper, more emotional. A constant balance of techno and breaks, weaving feelings into every layer. Q. You’re spending more and more time playing in the UK and Europe these days, where do you feel your uniquely global sound has been well received of late? A. Japan and the United Kingdom both really champion this sound—through festivals like Rural and Houghton, and artists such as Powder, DJ Nobu, Wata Igarashi, Craig Richards, Jane Fitz and many more. Feeling inspired—and lucky—to move between Asia and the UK within this scene.