Here's a description and setlist for the hourlong mix; please click on over to Allez-Allez to download the goods.

"a few weeks ago, there was snow falling in portland, oregon—not enough to stick, but enough to make you wonder if the winter, or even just the ubiquitous northwest grey, would ever break. Then, last saturday, kapow: tulips opened, a snowy mount hood gleamed against a robin's-egg sky, and temperatures soared to 75 degrees—the perfect conditions for an impromptu backyard barbecue. (visiting home, meanwhile, has provided the perfect conditions for pulling out old favorites that had fallen by the wayside, like H3ÖH's astonishing "mind loss" — how could I have forgotten about that track?). the results, more or less "deep" or "house" (or even, sure, "deep house") in nature, are mildly schizophrenic, mixing the bleak and streamlined with the lush and overgrown. call it seasonal dissonance."

newworldromantic - spirit (delsin, 2002)
H3ÖH - mind loss (ash international, 1993)
newworldaquariuum - trespassers (delsin, 2000)
brendon moeller - jazz (third ear, 2007)
sasse - soul sounds (dirt crew solid diamond remix) (moodmusic, 2005)
session victim - no friends (no power) (real soon, 2008)
justin martin - the sad piano (charles webster remix) (buzzin fly, 2004)
furry phreaks - tearful (miso, 2004)
pepe bradock - 4 (atavisme, 2003)
i:cube - tunnel vision (versatile, 2003)
jamie lloyd - what we have (…is a zwicker remix) (future classic, 2007)

I edited and cleaned up my portion of the recent Beta Lounge session described below; for a limited time it's available for download as a 192kbps MP3. Two full hours of music!

No tracklist as of yet, but the set includes cuts from Quietpoint, DJ Koze, dOP, Kalabrese, Andy Stott, Thomas Melchior, dOP, Jackmate, Rhadoo, Moodymann, Polder, Clé, Sebastien San, Roland Appel, Kassem Mosse, Closer Musik (more or less in that order, with a few extra tracks I'm spacing on)... Varying degrees of deep, in other words. Enjoy!

Long overdue, I'm back at the blog--and back, for that matter, in Portland, Oregon while I deal with some immigration issues. Word to the wise: never watch Alejandro González Iñárritu's Babel late at night, alone, while feeling melancholic about the concept of national borders. While I'm dusting off the jetlag, here are a few recent projects:

* Gudrun Gut feature in The Wire (April 2008)

* Interview with William Basinski to launch later this week at eMusic

* Brazil's rraurl.com spoke to me about Pitchfork, techno, and bringing Villalobos to the rock kids (the article's in Portuguese -- and no, I don't speak it; thanks to Jade Augusto Gola for the translation efforts)

Finally, here's an April Top 10... Click on the links for label pages, MySpaces and the like; you'll generally find an audio sample at one or more of those.

Kassem Mosse, Untitled (A) (Workshop)
Strange, shuddering, melancholic electro with a deep house underpinning (or vice versa). Featured on Ellen Allien's new Boogeybytes Vol. 04 and, come to think of it, my recent Betalounge mix. An instant classic.

Jackmate, "Buccaneer" (Phil E)
Another shudderer, with a steamroller of an 808 set to cruise control and one of the lushest arrangements of the year.

dOP, "Foly feat. Sibiri Samaké" (Milnor Modern)
My new favorite Frenchmen flesh out organic minimal house with vocals by their collaborator Foly, recorded in Senegal—this ain't no sample-pack bullshit.

Daniel Bortz, "Südwind" (Pastamusik)
Ravy but understated; old-school but definitely new. I can't quite figure out what it is about this cut that grabs me so, but since when was techno reasonable?

Daniel Meteo, "Beautiful (Junction SM Remix)" (Kalk Pets)
More 808 action, featuring a melody as delicate as the rhythm is tough.

Sebbo, "Watamu Beach" (Desolat)
African vocals, dubby chords and redlining drum machines, in just the right proportions.

Style of Eye, "The Big Kazoo" (Dirtybird)
I've never been a huge Dirtybird fan, but this tune is so blithely stupid and fun, who am I to argue? Kills curmudgeons dead.

Clé, "Nomads (Mathias Tanzmann Remix)" (Poker Flat)
Everything I said above could probably go for this one as well. What can I say? I'm a sucker for big, garish syncopations like this one.

D'Julz, "Just So U Know" (Ovum)
Yes, another carnival banger, about as serious as a pie in the face, but with a dark, brain-warping feel. What's the only thing scarier than being stuck in an elevator? Being stuck in an elevator at a clown convention—on acid.

Peter Van Hoesen, "L.O.C. (Philip Sherburne's Lungbutter Remix)" (Lan Muzic)
Out soon on white label—until then, you'll have to take my word for it. You can hear the original over at Peter's MySpace, linked above.

Every Thursday evening in the late '90s and early '00s, a nondescript warehouse space in San Francisco's Potrero Hill rolled up its loading-dock door to reveal, well, a big, empty warehouse space—but one tricked out with oddly shaped couches, video projections, lighting, turntables, and lots of black boxes glittering with LEDs, the majority of which you had no idea what the hell they did. What they did, of course, was to broadcast the proceedings inside across the internet, bringing intimate, impromptu sessions from some of the world's best DJs to computer speakers and headphones across the globe.

I still remember my first encounters with the Beta Lounge; as an unhappy graduate student at Brown University who yearned to know what an actual dance-music scene sounded like, its weekly feed was a lifeline. (Now that I think about it, the Beta Lounge was also the subject of one of my very first, self-assigned stories: I wrote a short profile of the site as a writing sample submitted to *Surface magazine, back when my only clips were from the Providence College Hill Journal and, inexplicably, an interview with filmmaker Helen Stickler for Bust magazine. How very '90s all that sounds!)

It was only when I finally moved to SF, though, that I finally got it: the Beta Lounge wasn't just about disembodied media streaming through straining pipes. It was a community of people. The shows were always free, and the protocol was BYOB—most folks brought six-packs and shared around. There were always bags of chips lying around, and during the summer, a barbecue often sat smoking on the sidewalk outside. This was before SF caught the Giuliani bug, and cops would roll by, slowing down to ogle the beef but never stopping to cause a fuss.

One of the best things about the Lounge was its mix of people. Every week, it seemed, you'd recognize a small core of regulars, but as for the other half of the crowd, you'd never seen them before, and you might never again. One week a group of Filipina hip-hoppers had the place full of Pinay B-girls; another week there'd be a massive contingent of weeded junglists in hoodies. The programming was eclectic, and excellent; the residents spun wide-ranging sets that always left you trainspotting, and wanting more. Every so often, the Lounge would throw an all-night party; I'm pretty sure the first time I ever saw the sun come up in San Francisco was after one such throwdown.

To the casual observer, the juxtaposition between the Beta Lounge's furnishings—a sort of shabby yuppie chic—and its surroundings, poised between high-income (white) Potrero Hill and the lower-income (and largely African-American) Hunters Point, and nestled next to a mobile, semi-shantytown full of campers, trailers, and homeless folks living out of shopping carts, might have suggested the pernicious influence of gentrification. But for those who took part—and I never saw anyone turned away—the Lounge was actually all about community. It reflected a particular strain of '90s utopianism, one where technology, (post)-rave culture and the entrepreneurial spirit came together to create something special.

The good times couldn't last. The Beta Lounge, financed by a parent company that first made CD-ROMs, then DVDs, never found a way to make money, and all that cabling wasn't free. Then the cops clamped down. So what if it was an industrial neighborhood: noise ordinances were noise ordinances, and open containers were deemed unaccountably threatening. Fines were levied; the kibosh was put.

But the Beta Lounge lives on, and not just in its extensive archives. (I have a few sets in there; I'm eternally grateful to the crew for giving me some of my very first chances to play in front of a crowd, and probably long before I was ready for it. Fortunately, my earlier sets were recorded under a DJ alias I've long since given up using, and one I'm not about to share with you now. Interested sleuths may find me out and laugh away at their leisure.) The Beta Lounge's sister outfit, with the same name and the same logo, continues to operate in Hamburg, in a space remarkably similar, but for the addition of a full (cash) bar. I was fortunate enough to play there a few weeks ago, before a night at that city's (infamous, and amazing) Golden Pudel club. You can listen to the set here--it's currently linked from the front page, but once it's moved, you'll have to dig into the archive to display it. (If anyone knows how to link directly to the stream, please tell me!)

Hausmann.C (Fresh Fish, Word and Sound) kicks off the first hour and a half, and I take over around 1:34 or so. The whole session is nice and chilled, quite a bit slower and housier than I normally play. I hope you enjoy it as much as I enjoyed playing it.

Special thanks to Hausmann.C, Ian, Brian, Zane, Öle, Monty, Ron, Niels, and everyone else from the good old days, spread to the winds as we may be.

If you're going to be in Barcelona this weekend, don't miss our Lan Muzic special at Lolita featuring Exercise One, Jacopo Carreras and myself.

Sometime last year, having fallen in love with the demo version of Guillaume and the Coutu Dumonts' marvelous tune "Les Gans," I emailed Guillaume — an old friend — asking if he could hook me up with the individual parts of the track. He did, and months later, I surprised him with a remix. Musique Risquée, which put out Guillaume's debut solo album Face l'Est, already had a 12-inch single for "Les Gans" more or less in the can, featuring the original plus a remix from Hartchef Discos' Audio Werner, but that didn't stop them from giving my remix a proper master (at Dubplates and Mastering, no less) and offering it up as a digital exclusive on Beatport. Early feedback from the likes of Ewan Pearson, James Mowbray, Bearweasel's Dean Muhsin, and Cio D'Or tells me they won't be sorry they did.

You can hear the track at my Myspace page; the whole EP is available digitally from the links below. Enjoy!

Going like gangbusters, I've been neglecting the blog while here in Berlin. Instead I've been doing lots of interviews—keep your eyes peeled for a minor byline explosion in the coming month—plus working on loads of music, some for release and some for the love of noisemaking, so far. (Most immediately, stay tuned for a remix of Guillaume & the Coutu Dumonts' sublime "Les Gans," coming soon from Musique Risquée; another remix, for a different artist, on a brand-new label, will hopefully be following soon. And there's even a curveball or two in the works: hello rock remix!) And, of course, I've been out and about a bit, as I detail in this month's Month in Techno column.

Meanwhile, the early successes of 2008 are starting to pile up. Here's a February Top 10 list, with quite a bit of it unreleased, to whet your appetites.

Los Updates, "Pictures of You (Tobias Remix)" (Cadenza)
Los Updates are Jorge Gonzales (of Chilean rockers Los Prisioneros, and also of the Gonzalo Martinez project alongside Martin Schopf, aka Dandy Jack) and friends; the upcoming release from Cadenza features Gonzalez being remixed by Ricardo Villalobos, Luciano, Dandy Jack, et al. Welcome is the fact that the package includes a 13-minute version of "4 Wheel Drive," my favorite cut off Villalobos' Fabric 36; more welcome still is this remix by Tobias Freund. I heard it in his studio a month or so back and was promptly floored, but I couldn't be sure it wasn't just the Kreuzberg kind that was getting my ears in excellent condition. Nope. Wonky deep house with robot soul to spare and more color than I've heard in an "electronic" record since Sun Electric… or Thomas Dolby. Brilliant. And 100% pop. My #1 track of 2008 so far.

Tuomi, "Expense of Spirit" (Macro)
A group project featuring voice, piano, strings, and electronics is the first proper signing to Stefan Goldmann and Finn Johanssen's Macro imprint, the label responsible for last year's amazing Lunatic Fringe EP. The title track starts off as a charmingly wonky (the new meme for 2008?) bit of deep house and blossoms into a flat-out gorgeous psychedelic torch song by the end.

Discodeine, "Tema di Gamma" (DIRTY)
French editerrorists DIRTY tap Discodeine, aka Pilooski and Pentile, for the first "proper" release on the label, and it's a corker. Prepared piano, sour harmonics, and battered bell tones melt together into an alloy fondue laced with LSD. (Hear it on Pitchfork here).

François K, "Road of Life (Quiet Village Dub)" (Wave)
I'd forgotten how good this track was until I was reminded of its very existence by Quiet Village themselves yesterday (lovely guys, btw). Imagine Radio Slave remixing Konono No. 1 and you'll get the idea.

Extrawelt, "DistTheme" (Kompass Musik)
Someone's patch cables are on fire. Sounds like Panasonic recording for Border Community, which in my book is one of those heaven-made matches you can only dream about.

Lee Jones, "Aria (Tiger Stripes Remix)" (Aus)
Nothing fancy—just tight, shuffly minimal house positively slathered with unexpected tone color: the perfection of an ideal type.

Goldfrapp, "A&E (Hercules and Love Affair Remix)" (Mute)
The Gui Boratto remix is just about what you'd expect, complete with vocals so overblown I wouldn't be surprised to hear the track played in Paul Van Dyk sets. But Hercules and Love Affair strips it down to a slow and spindly grind, complete with African chants, church bells, and overheated 909s. His forthcoming album is also genius: for once, believe the hype.

Gadi Mizrahi, I Know EP (Wolf + Lamb)
The closest anyone has come to replicating the spirit of Closer Musik since that group's untimely demise? Mournful pads, tumbling hand drums, whispers, dub delay, beats that stray far from the 4/4, plus a great Ryan Crosson remix. If you thought Wolf + Lamb just threw good parties, think again.

Andomat 3000, "BND2 (Luke Solomon Remix)" (Four:Twenty)
Ando and Solomon have done a spate of mutual remixes recently, and one is struck by how far each seems to be pushing the other. I was always a fan of Music for Freaks, but it's hard to believe that this is the same Luke Solomon, both here and on his fantastic solo album debut for REKIDS.

Arne Michel, "Danke / Good Bye (Chat Noir Remix)" (Lan Muzic)
My labelmate Arne Michel comes up with a deep and shoomping slab of melodic house that wouldn't sound out of place on Connaisseur or Border Community; Pan-Pot's Tassilo gives it that extra bit of heft. I expect to reach for this one frequently.

Michaelangelo Matos graciously invited me to submit a tracklisting to Idolator's coverage of the year in pop music. The only strictures were that all the music must fit on a single CDR, and that the selection tell some sort of narrative.

As such I present an imaginary mixtape with a title more appropriate for an academic paper: I'm Comin' Up: Buildups, Breakdowns and Glissandi (or, How to Rave without Even Trying). Please note that there is no real mix to accompany the chart, unless someone (not me) feels like making one. I declined to produce an actual mix less out of laziness than for the fact that my selection, if put together, would probably constitute a rollercoaster overload. (It was also easier to abide by the 80-minute limit without taking blends into account.)

Of all the year-end lists I put together for 2007, this one is doubtless the silliest. However, there's an essay accompanying it that I hope will make some sense out of techno's propensity, in 2007, to oscillate wildly. Break out your glowsticks.

I've been rambling on about Tobias Freund's Non Standard Institute, or nsi., for a while now, both in a recent column for Pitchfork and in an article for The Wire. (See the latter link for a free download of two tracks off nsi.'s recent Plays Non Standards for Sähkö.)

But nothing prepared me for the total awesomeness of his new mix for Resident Advisor. It's the first RA podcast that has nothing to do with dance music whatsoever, and I'm not embarrassed to admit that I don't know a single track on it. But don't let the tracklisting scare you away: the mix is an intoxicating hour of Krautrockish weirdness, coldwave, proto-ambient, proto-industrial, field recordings, and even a Squarepusher track you won't even recognize. (I guess I lied, I must have heard that track at some point.) Sitting here at my desk at 11-something in the morning, I can't imagine an hour of music better suited for coffee, a buttered baguette, and the high grey clouds outside. I think I just found my breakfast listening for the next month.

01. Robert Fripp ‘Preface’ from Exposure [BGM, 1979]
02. Ryuichi Sakamoto ‘Milan 1909’ from Futurism [MIDI Inc., 1986]
03. Nash the Slash ‘Ylla’ from Dreams and Nightmares [Cut Throat Records, 1979]
04. WIR ‘Naked Whooping & Such Like’ from The First Letter [Mute, 1991]
05. Pyrolator ‘Nordatlantik’ from Inland [Ata Tak, 1979]
06. The Flying Lizards ‘Trouble’ [Virgin Records, 1980]
07. Andy Partridge ‘Shore Leave Ornithology (Another 1950)’ from Take Away [Virgin Records, 1980]
08. Les Vampyrettes ‘Biomutanten’ [EMI Electrola, 1985]
09. The Gadgets ‘Gevil's Dyke’ [Final Solution, 1980]
10. Baka Forest People ‘Heart of the Forest’ (A Capella) [Rykodisc, 1993]
11. Haruomi Hosono ‘Luminescent/Hotaru’ from Philharmony [Alfa Records, 1982]
12. Savant ‘The Neo-Realist’ [Pol Records, 1983]
13. Squarepusher ‘Vacuum Garden’ from Hello Everything [Warp, 2006]
14. Gary Numan ‘Cry the Clock Said’ from Dance [Beggars Banquet, 1981]
15. Dome ‘Keep It’ [Dome Records, 1980]

(Matmos have a photograph hanging on their apartment walls that fits this theme perfectly—the artist in question collects multiple copies of LPs and then photographs the spines where the records sit on the shelves. Matmos' copy, if I recall correctly, depicts a fistful of records by Brian Eno, though I don't remember which one. Anyone know the name of this artist?)

The same thing happens to me with a certain set of His Name Is Alive singles—or at least it would, if there were more of them floating around out there. I still remember the first time I came across one of these in the racks at Amoeba, somewhere in late 2001. At the time, HNIA's Someday My Blues Will Cover The Earth was ruling my world, thanks to its weirdly electro-acoustic take on R&B (and also thanks to Loretta Pippen's heartbreaking vocals on the recording). That the single featured remixes from Recloose and Ectomorph seemed too good to be true, and I snapped it up in a heartbeat. The Recloose mix was, indeed, as brilliant as you'd expect, a kind of scuffed broken-beat ballad shuffling through puddles of iridescent Rhodes. But it was the Ectormorph mix that really did my head in, pairing an unvarnished 808 cadence with standup acoustic bass and running Pippen's vocals through a vocoder, blacklit and prismatic. I'd never heard doomcore-electro-jazz done quite like that before, and I still haven't since. The next time I found a copy of the same 12"s, I snapped it up; somehow it seemed wrong to just leave it sitting there. Perhaps it would have been more altruistic to let someone else get their mitts on that thrilling record, but what if mine warped?

Luck smiled upon me once more when I spied the now-familiar brown chipboard sleeve in Amoeba's racks, and again I bit, this time without hesitating. Only when I got home did I realize it was a different record entirely, this time featuring remixes from Four Tet, Susumu Yokota and Minotaur shock. Not such a bad turn of events then. A little research tipped me to the fact that there was a third single in the series as well, this one featuring remixes from Herrmann & Kleine and, more excitingly, Burnt Friedman (featuring Josef Suchy and Pascal Schaefer). Despite my diligent digging, though, I never managed to turn up a copy.

Call it my lucky day, then, because Warn Defever has just put up the entire collection of Someday remixes – cleverly titled Someday Rmx -- for download, totally free, at 192kbps, at that. Now that's what you call fan appreciation. I don't know how long it'll be up, so I suggest downloading it now rather than later. Go to HNIA's website and check the right-hand column to download the album. It rules.

01. Write My Name (Tony Ollivierra)
02. One Year (Four Tet)
03. Happy Blues (Susumu Yokota)
04. Nothing Special (Herrmann & Kleine)
05. Happy Blues (Recloose)
06. Nothing Special (Burnt Friedman)
07. Someday (Burnt Friedman)
08. One Year (Minotaur Shock)
09. Someday (Ectomorph)
10. Write My Name (HNIA R&B version)
11. Write My Name (HNIA 1998 Demo)

While I'm still in this midwinter mood, I'll note that Iron and Wine's new album, The Shepherd's Dog, is really quite lovely -- certainly Sam Beam's most accomplished, sophisticated work yet, though I'll always have a generously sized portion of cardiac real estate reserved for the stark "Naked As We Came" and "Sodom, South Georgia," two of the most perfect songs I know.

I didn't read a ton of reviews of the record, though I do recall quite a bit of fuss over his "world"-ish elements—see Joe Tangari in Pitchfork's year-ender, for instance: ""House By the Sea" rises from a Reichian pattern to a rubber-rhythmed song cut with dashes of West African music." (In the preficted world of pop, is "world-" the new "electro-"?) I must admit I don't hear a ton of globetrotting in Shepherd's Dog, nor the "forays of psychedelic rock" identified over at NPR. There's a sitar in "White Tooth Man," but to my ears its ragged harmonics sound more like a jaw harp, buzzy as a cup of campfire coffee, which is to say, totally American. (Although I suppose that psychedelia is quite American; still, this ain't no Magic Hour, say.)

I don't think Beam has ever been the purveyor of gentrified Americana that some take him for; this record should help him shed that rep. He's become a better arranger. Recognizing that the porch and the studio offer different kinds of freedom, he hasn't tied himself to the expected tropes: in addition to the pedal steel and the barroom piano there are splashes of dub delay and snaky African guitar lines. (There are internationalist elements here—see also the nod to Flamenco in the clapping hands of the single "Boy With a Coin." I just don't think they're as pronounced or as graspingly obvious as some reviews make them sound.) The studio play never comes off as gimmicky, though: on "Carousel," when he runs his voice through a rapid-fire tremolo effect, as though singing through an electric fan, I hear the wobble of a car's interior when the window's not cracked enough, and the sound throbs in your ear like a bird trapped against glass. (This must be the "experimental bent" that spooked
Entertainment Weekly.) Sometimes the studio meditations are a tad too much, perhaps--"Peace Beneath the City," traced with wah-wah guitar and loose-nut Rhodes, is more mood-piece than song, where Beam's always been a songwriter par excellence. Oddly, I find myself fastening onto the lyrics here far less than with the previous records; perhaps it's just a matter of time before the stories—because as older songs like "Sodom, South Georgia" and "Bird Stealing Bread" proved, Beam's as much a story-teller as a songwriter—open up. And by the end of the album, I find fatigue setting in, but perhaps that's because the first four songs are such an electrifying stretch of music. In any case, a wonderful record, and just the thing for a week of 'twixt-holiday downtime.

Without going into it too much, the last year wasn't always easy. The last three years, in fact, have had their share of peaks and valleys, sometimes with more runout than groove. Perhaps it's just my periodic manic updraft, but I've felt in recent months like I'm finally shaking off that lead-hooded feeling.

This mix is a bit different for me—created in Ableton, it's less a "DJ mix" and more the kind of mixtape I used to make on my trusty old Maxell XL IIs. It's dedicated to a friend who inspired many parts of its tracklisting, earlier this year, and to a few other good friends who reminded me, whether they meant to or not, that music is always, at its root, something social and shared, watermarked with circumstance and renewable as an onionskinned record of our days on earth. And finally, it's dedicated to my dad, three years gone.

Every Single Day Is a Yellow Day (Everybody Had a Hard Year) (72:32; 192kbps)

Susanna and the Magical Orchestra, "Love Will Tear Us Apart" (Rune Grammofon)
White Magic, "Katie Cruel" (Drag City)
Apparat, "Arcadia" (Shitkatapult)
Matthew Dear, "Deserter" (Ghostly)
Iron & Wine, "Naked As We Came" (Sub Pop)
Six Organs of Admittance, "Words for Two" (Drag City)
Michael Andrews Featuring Gary Jules, "Mad World" (Sanctuary)
Tim Buckley, "Song to the Siren" (Elektra)
Talk Talk, "The Colour of Spring" (EMI)
So Percussion, "June" (Cantaloupe Music)
Thom Yorke, "The Eraser" (XL)
Apparat, "Komponent (Telefon Tel Aviv Remix)" (Shitkatapult)
Burial, "Distant Lights" (Hyperdub)
Grizzly Bear, "Easier" (Warp)
Prince, "Condition of the Heart" (Warner/Paisley Park)
Susanna and the Magical Orchestra, "Condition of the Heart" (Rune Grammofon)
März, "Everybody Had a Hard Year" (Karaoke Kalk)
José González, "Love Will Tear Us Apart" (Cortex)

If you like these songs, please consider purchasing the albums that contain them. They're all wonderful. And albums still accomplish things no mix, or playlist, ever will.

I got a nice early Xmas present today when my good friend Matt Quiet hipped me to the fact that the masterful Al Usher, aka Ewan Pearson's better other half in Partial Arts (just kidding, Ewan!), saw fit to include a new track of mine in his recent "Peaks and Valleys" mix for Cool in the Pool. Score! The track's a remix for Guillaume & the Coutu Dumonts' "Les Gans," out soon as a digital release on Musique Risquée.

Head over here to download Al's set, a cozy/drowsy hour of slow disco, cosmic inclinations and Balearic shore-lapping that's just the thing to cure the season's eggnog hangovers. (While you're there, pick up sets from Harvey, Padded Cell's Richard Sen, Bear Funk's Mark Essa, Peter Visti, Mudd and others.) Here are the details:

Al Usher - Cool In The Pool mix (1:01:03; 192kbps)

Snowball – Life In Space (Edit)
Ensemble Orlan – Bashkir Village’s Blues
Gatto Fritto – Invisible College
Anthony Moore – ABCD Gol’Fish
Daddy Cool – Take “One”
A M Tala – Get Up Tchamassi
JT – I Love Music
Lauer – Hotello
Mike Mareen – Dancing In The Dark (Galactica Mix)
Monsoon – Ever So Lonely (Dub)
Guillaume & The Coutu Dumonts – Les Gans (Philip Sherburne Remix)
Keynotes – Enter-State (Mering Techno Mix)
Graffitti – Peaks And Valleys