Made Like a Tree

<rss version="2.0"
	xmlns:content="http://purl.org/rss/1.0/modules/content/"
	xmlns:wfw="http://wellformedweb.org/CommentAPI/"
	xmlns:dc="http://purl.org/dc/elements/1.1/"
	xmlns:media="http://search.yahoo.com/mrss/"
	>

<channel>
	<title>Made Like a Tree - Podcast Series</title>
	<link>http://madelikeatree.com</link>
	<description>Made Like a Tree - Podcast Series</description>
	<pubDate>Tue, 21 May 2013 23:17:40 +0000</pubDate>
	<generator>http://madelikeatree.com</generator>
	<language>en</language>
	
		
	<item>
		<title>mlat86: Tagwell Woods</title>
				
		<link>http://madelikeatree.com/mlat86-Tagwell-Woods</link>

		<comments>http://madelikeatree.com/following/madelikeatree.com/mlat86-Tagwell-Woods</comments>

		<pubDate>Tue, 21 May 2013 23:17:40 +0000</pubDate>

		<dc:creator>Made Like a Tree - Podcast Series</dc:creator>
		
		<category><![CDATA[house, acid, ethereal]]></category>

		<guid isPermaLink="false">5654567</guid>

		<description>[London, UK. May 21, 2013] - A primary school teacher secretly creating some of the most emotional instrumental acid ever known.

&#60;img src="http://payload167.cargocollective.com/1/3/122604/5654567/Tagwell-Woods.jpg" width="500" height="500" width_o="500" height_o="500" src_o="http://payload167.cargocollective.com/1/3/122604/5654567/Tagwell-Woods_o.jpg" data-mid="30524040"  border="0" align="left"/&#62;   
      
      
         
         
         
            
            
				
					
				
			
			&#38;#9835; mlat86 - Tagwell Woods.mp3
            
            
               
                  
               
            
         
         
         
            
            
         
         &#38;nbsp;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&#38;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.
</description>
		
		<excerpt>[London, UK. May 21, 2013] - A primary school teacher secretly creating some of the most emotional instrumental acid ever known.     You're a primary school teacher...</excerpt>

		<!--<wfw:commentRss></wfw:commentRss>-->

		<media:thumbnail url="http://payload167.cargocollective.com/1/3/122604/5654567/prt_1369094501.jpg" />

	</item>
		
		
	<item>
		<title>mlat85: Sublime Frequencies</title>
				
		<link>http://madelikeatree.com/mlat85-Sublime-Frequencies</link>

		<comments>http://madelikeatree.com/following/madelikeatree.com/mlat85-Sublime-Frequencies</comments>

		<pubDate>Mon, 25 Mar 2013 21:45:19 +0000</pubDate>

		<dc:creator>Made Like a Tree - Podcast Series</dc:creator>
		
		<category><![CDATA[rock, world, left-field]]></category>

		<guid isPermaLink="false">5262229</guid>

		<description>[Seattle, USA. March 25, 2013] - Alan Bishop of Sun City Girls and Sublime Frequencies projects a vision of his many involvements.

&#60;img src="http://payload148.cargocollective.com/1/3/122604/5262229/Sublime-Frequencies.jpg" width="500" height="500" width_o="500" height_o="500" src_o="http://payload148.cargocollective.com/1/3/122604/5262229/Sublime-Frequencies_o.jpg" data-mid="28310408"  border="0" align="left"/&#62;   
      
      
         
         
         
            
            
				
					
				
			
			&#38;#9835; mlat85 - Sublime Frequencies.mp3
            
            
               
                  
               
            
         
         
         
            
            
         
         &#38;nbsp;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 &#38; 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 &#38; 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 &#38; 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]
</description>
		
		<excerpt>[Seattle, USA. March 25, 2013] - Alan Bishop of Sun City Girls and Sublime Frequencies projects a vision of his many involvements.     You’ve been prolifically...</excerpt>

		<!--<wfw:commentRss></wfw:commentRss>-->

		<media:thumbnail url="http://payload148.cargocollective.com/1/3/122604/5262229/prt_1364264831.jpg" />

	</item>
		
		
	<item>
		<title>mlat84: Samo DJ</title>
				
		<link>http://madelikeatree.com/mlat84-Samo-DJ</link>

		<comments>http://madelikeatree.com/following/madelikeatree.com/mlat84-Samo-DJ</comments>

		<pubDate>Fri, 22 Mar 2013 00:28:40 +0000</pubDate>

		<dc:creator>Made Like a Tree - Podcast Series</dc:creator>
		
		<category><![CDATA[funk, rap, soul]]></category>

		<guid isPermaLink="false">5232393</guid>

		<description>[Hong Kong, China. March 21, 2013] - Slick biz cuz... check out this Swedish dude Hong Kong bound.

&#60;img src="http://payload146.cargocollective.com/1/3/122604/5232393/Samo-DJ.jpg" width="500" height="500" width_o="500" height_o="500" src_o="http://payload146.cargocollective.com/1/3/122604/5232393/Samo-DJ_o.jpg" data-mid="28159978"  border="0" align="left"/&#62;   
      
      
         
         
         
            
            
				
					
				
			
			&#38;#9835; mlat84 - Samo DJ.mp3
            
            
               
                  
               
            
         
         
         
            
            
         
         &#38;nbsp;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 &#38; 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 &#38; Joe Emerson - Baby [Enterprise &#38; Co]
</description>
		
		<excerpt>[Hong Kong, China. March 21, 2013] - Slick biz cuz... check out this Swedish dude Hong Kong bound.     You came out of no where with your Tai Po Kau EP on L.I.E.S....</excerpt>

		<!--<wfw:commentRss></wfw:commentRss>-->

		<media:thumbnail url="http://payload146.cargocollective.com/1/3/122604/5232393/prt_1363890758.png" />

	</item>
		
		
	<item>
		<title>mlat83: Timothy J. Fairplay</title>
				
		<link>http://madelikeatree.com/mlat83-Timothy-J-Fairplay</link>

		<comments>http://madelikeatree.com/following/madelikeatree.com/mlat83-Timothy-J-Fairplay</comments>

		<pubDate>Mon, 11 Mar 2013 19:03:25 +0000</pubDate>

		<dc:creator>Made Like a Tree - Podcast Series</dc:creator>
		
		<category><![CDATA[spook juke, dutch masters, modern sitar]]></category>

		<guid isPermaLink="false">5155572</guid>

		<description>[London, England. March 11, 2013] - Sublime otherworldliness from one of London's brightest shining cosmonauts.

&#60;img src="http://payload142.cargocollective.com/1/3/122604/5155572/Timothy-J-Fairplay.jpg" width="500" height="500" width_o="500" height_o="500" src_o="http://payload142.cargocollective.com/1/3/122604/5155572/Timothy-J-Fairplay_o.jpg" data-mid="27722648"  border="0" align="left"/&#62;   
      
      
         
         
         
            
            
				
					
				
			
			&#38;#9835; mlat83 - Timothy J. Fairplay.mp3
            
            
               
                  
               
            
         
         
         
            
            
         
         &#38;nbsp;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]
</description>
		
		<excerpt>[London, England. March 11, 2013] - Sublime otherworldliness from one of London's brightest shining cosmonauts.     You've come out strong with a string of...</excerpt>

		<!--<wfw:commentRss></wfw:commentRss>-->

		<media:thumbnail url="http://payload142.cargocollective.com/1/3/122604/5155572/prt_1363021408.JPG" />

	</item>
		
		
	<item>
		<title>mlat82: Tuff Sherm</title>
				
		<link>http://madelikeatree.com/mlat82-Tuff-Sherm</link>

		<comments>http://madelikeatree.com/following/madelikeatree.com/mlat82-Tuff-Sherm</comments>

		<pubDate>Thu, 28 Feb 2013 15:31:32 +0000</pubDate>

		<dc:creator>Made Like a Tree - Podcast Series</dc:creator>
		
		<category><![CDATA[left-field, techno]]></category>

		<guid isPermaLink="false">5066090</guid>

		<description>[Sydney, Australia. February 28, 2013] - This young gun slabs together some chunky, left-field bangers.

&#60;img src="http://payload138.cargocollective.com/1/3/122604/5066090/Tuff-Sherm.jpg" width="500" height="500" width_o="500" height_o="500" src_o="http://payload138.cargocollective.com/1/3/122604/5066090/Tuff-Sherm_o.jpg" data-mid="27170429"  border="0" align="left"/&#62;   
      
      
         
         
         
            
            
				
					
				
			
			&#38;#9835; mlat82 - Tuff Sherm.mp3
            
            
               
                  
               
            
         
         
         
            
            
         
         &#38;nbsp;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 &#38; PMM - Raymond Sees the Dog [Opal Tapes]
4. Tuff Sherm - Prime Engine [unreleased]
5. Tuff Sherm - Idle Engines [Forthcoming Clandestine]
6. DJ Spider &#38; 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 &#38; 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 &#38; 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]
</description>
		
		<excerpt>[Sydney, Australia. February 28, 2013] - This young gun slabs together some chunky, left-field bangers.     Where did you grow up, and what "scenes" did you find...</excerpt>

		<!--<wfw:commentRss></wfw:commentRss>-->

		<media:thumbnail url="http://payload138.cargocollective.com/1/3/122604/5066090/prt_1361896934.JPG" />

	</item>
		
		
	<item>
		<title>mlat81: Mix Mup</title>
				
		<link>http://madelikeatree.com/mlat81-Mix-Mup</link>

		<comments>http://madelikeatree.com/following/madelikeatree.com/mlat81-Mix-Mup</comments>

		<pubDate>Mon, 25 Feb 2013 10:45:40 +0000</pubDate>

		<dc:creator>Made Like a Tree - Podcast Series</dc:creator>
		
		<category><![CDATA[house, techno, classics]]></category>

		<guid isPermaLink="false">5049266</guid>

		<description>[Leipzig, Germany. February 23, 2013] - A savvy curator mixes a blend of magnificent splendor.

&#60;img src="http://payload137.cargocollective.com/1/3/122604/5049266/Mix-Mup2.jpg" width="500" height="500" width_o="500" height_o="500" src_o="http://payload137.cargocollective.com/1/3/122604/5049266/Mix-Mup2_o.jpg" data-mid="27103583"  border="0" align="left"/&#62;   
      
      
         
         
         
            
            
				
					
				
			
			&#38;#9835; mlat81 - Mix Mup.mp3
            
            
               
                  
               
            
         
         
         
            
            
         
         &#38;nbsp;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 &#38; Kowton / Population One / Zorn / Trike feat. Audiomat / Joey Anderson / Dean Blunt &#38; Inga Copeland / Keith Hudson / General Elektro / Kirlian / JP Buckle / Kirlian / Strafe / Willie Burns / Omar S / Ssaliva / Keith Hudson / Kirlian
</description>
		
		<excerpt>[Leipzig, Germany. February 23, 2013] - A savvy curator mixes a blend of magnificent splendor.     How's 2013 been treating you so far? You're on par for a US tour...</excerpt>

		<!--<wfw:commentRss></wfw:commentRss>-->

		<media:thumbnail url="http://payload137.cargocollective.com/1/3/122604/5049266/prt_1361679904.jpg" />

	</item>
		
		
	<item>
		<title>mlat80: Tommy Awards</title>
				
		<link>http://madelikeatree.com/mlat80-Tommy-Awards</link>

		<comments>http://madelikeatree.com/following/madelikeatree.com/mlat80-Tommy-Awards</comments>

		<pubDate>Sun, 24 Feb 2013 13:15:34 +0000</pubDate>

		<dc:creator>Made Like a Tree - Podcast Series</dc:creator>
		
		<category><![CDATA[balearic, nu disco, ethereal]]></category>

		<guid isPermaLink="false">4908264</guid>

		<description>[Stockholm, Sweden. February 4, 2013] - A Swedish duo steps into the open for a live jam.

&#60;img src="http://payload130.cargocollective.com/1/3/122604/4908264/Tommy-Awards.jpg" width="500" height="500" width_o="500" height_o="500" src_o="http://payload130.cargocollective.com/1/3/122604/4908264/Tommy-Awards_o.jpg" data-mid="26254299"  border="0" align="left"/&#62;   
      
      
         
         
         
            
            
				
					
				
			
			&#38;#9835; mlat80 - Tommy Awards.mp3
            
            
               
                  
               
            
         
         
         
            
            
         
         &#38;nbsp;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
</description>
		
		<excerpt>[Stockholm, Sweden. February 4, 2013] - A Swedish duo steps into the open for a live jam.     Could you talk a little bit about where you're based and how the two...</excerpt>

		<!--<wfw:commentRss></wfw:commentRss>-->

		<media:thumbnail url="http://payload130.cargocollective.com/1/3/122604/4908264/prt_1359944739.jpg" />

	</item>
		
		
	<item>
		<title>mlat79: Baptiste &#38; Pierre Colleu</title>
				
		<link>http://madelikeatree.com/mlat79-Baptiste-Pierre-Colleu</link>

		<comments>http://madelikeatree.com/following/madelikeatree.com/mlat79-Baptiste-Pierre-Colleu</comments>

		<pubDate>Wed, 30 Jan 2013 09:40:18 +0000</pubDate>

		<dc:creator>Made Like a Tree - Podcast Series</dc:creator>
		
		<category><![CDATA[electronica, ambient, left-field]]></category>

		<guid isPermaLink="false">4858097</guid>

		<description>[Paris, France. January 30, 2013] - Two French brothers curate a sophisticated blend of sleek ephemera.

&#60;img src="http://payload127.cargocollective.com/1/3/122604/4858097/Baptiste---Pierre-Colleu.jpg" width="500" height="500" width_o="500" height_o="500" src_o="http://payload127.cargocollective.com/1/3/122604/4858097/Baptiste---Pierre-Colleu_o.jpg" data-mid="26086061"  border="0" align="left"/&#62;   
      
      
         
         
         
            
            
				
					
				
			
			&#38;#9835; mlat79 - Baptiste &#38; Pierre Colleu.mp3
            
            
               
                  
               
            
         
         
         
            
            
         
         &#38;nbsp;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 &#38; Pierre Colleu – Dolphin Kid [Not on Label]  
9. TR One - Living In, Now [POGO Recordings] 
10. Maxmillion Dunbar – K [Future Times] [Hush Hush]
</description>
		
		<excerpt>[Paris, France. January 30, 2013] - Two French brothers curate a sophisticated blend of sleek ephemera.     How have have things been for you in 2013 so far?  So...</excerpt>

		<!--<wfw:commentRss></wfw:commentRss>-->

		<media:thumbnail url="http://payload127.cargocollective.com/1/3/122604/4858097/prt_1359559319.jpeg" />

	</item>
		
		
	<item>
		<title>mlat78: DJ D'Nelski</title>
				
		<link>http://madelikeatree.com/mlat78-DJ-D-Nelski</link>

		<comments>http://madelikeatree.com/following/madelikeatree.com/mlat78-DJ-D-Nelski</comments>

		<pubDate>Tue, 15 Jan 2013 11:01:28 +0000</pubDate>

		<dc:creator>Made Like a Tree - Podcast Series</dc:creator>
		
		<category><![CDATA[night bus, electronica, ethereal]]></category>

		<guid isPermaLink="false">4766741</guid>

		<description>[Seattle, USA. January 14, 2013] - Local indie-radio deejay and video store 'slanger envisions a melancholy dreamscape.

&#60;img src="http://payload123.cargocollective.com/1/3/122604/4766741/DJDNelski.jpg" width="500" height="500" width_o="500" height_o="500" src_o="http://payload123.cargocollective.com/1/3/122604/4766741/DJDNelski_o.jpg" data-mid="25459762"  border="0" align="left"/&#62;   
      
      
         
         
         
            
            
				
					
				
			
			&#38;#9835; mlat78 - DJ D'Nelski.mp3
            
            
               
                  
               
            
         
         
         
            
            
         
         &#38;nbsp;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&#38;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&#38;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 &#38; 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 &#38; Boyz II Men) [Egpytian Maraccas]
21. Fjord Morrison - Late After Dark (Kid Smpl Remix) [Hush Hush]
</description>
		
		<excerpt>[Seattle, USA. January 14, 2013] - Local indie-radio deejay and video store 'slanger envisions a melancholy dreamscape.     Let's get right into this mix. You're...</excerpt>

		<!--<wfw:commentRss></wfw:commentRss>-->

		<media:thumbnail url="http://payload123.cargocollective.com/1/3/122604/4766741/prt_1358202227.jpg" />

	</item>
		
		
	<item>
		<title>mlat77: Orcas</title>
				
		<link>http://madelikeatree.com/mlat77-Orcas</link>

		<comments>http://madelikeatree.com/following/madelikeatree.com/mlat77-Orcas</comments>

		<pubDate>Fri, 11 Jan 2013 11:42:17 +0000</pubDate>

		<dc:creator>Made Like a Tree - Podcast Series</dc:creator>
		
		<category><![CDATA[electronica, ambient, classics]]></category>

		<guid isPermaLink="false">4743475</guid>

		<description>[Seattle, USA. January 11, 2013] - Accomplished modern classical and ethereal ambiance from Seattle residents Thomas Meluch and Rafael Anton Irisarri.

&#60;img src="http://payload122.cargocollective.com/1/3/122604/4743475/Orcas.jpg" width="500" height="500" width_o="500" height_o="500" src_o="http://payload122.cargocollective.com/1/3/122604/4743475/Orcas_o.jpg" data-mid="25335371"  border="0" align="left"/&#62;   
      
      
         
         
         
            
            
				
					
				
			
			&#38;#9835; mlat77 - Orcas.mp3
            
            
               
                  
               
            
         
         
         
            
            
         
         &#38;nbsp;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]
</description>
		
		<excerpt>[Seattle, USA. January 11, 2013] - Accomplished modern classical and ethereal ambiance from Seattle residents Thomas Meluch and Rafael Anton Irisarri.     Welcome...</excerpt>

		<!--<wfw:commentRss></wfw:commentRss>-->

		<media:thumbnail url="http://payload122.cargocollective.com/1/3/122604/4743475/prt_1357862485.png" />

	</item>
		
	</channel>
</rss>