Melbourne Deepcast

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  MDC.329 Very Much Romance 22.07.2026 2ชม. 2นาที

  Oakland renegade royalty in the place for the latest transmission! Humble legends of the Bay Area underground, Kate & Miro aka Very Much Romance offer a special live recording from a foggy rave by the ocean on the outskirts of SF last summer. Plenty of nods to the iconic 90s & 00s West Coast house sounds, with some delightful dips and trips along the way. @verymuchromance Q. What sounds /places /feelings did you draw upon when gathering inspiration for this set, and what environments do you feel might be best suited for listening back? A. The spirit of this particular renegade spot is so special, where the big trees and the ocean collide, and you never know if some misty fog will come through or the most beautiful sunrise. We wanted to play dance music that feels pure but has an overall feeling of spatial-ness, so you can dig your heels into the sandy bluff and dive freely into the long night/morning ahead. We were already in great spirits before this party, having just returned from our bests’ small festival in Berlin called Rambazamba, feeling grateful for many years of connecting to music with beloveds. Then even more blessed to come back home and host you and Maria for the second time. We remember sharing some delicious tagines beforehand and then hauling all the equipment out to the spot with a big group, trying to not laugh too loudly and wake up the horses nearby. Listening back, this set feels 100% summer. It says, all bets are off! Maybe you listen when you have some patience to not skip around but also want to have some fun, like if you are going to a party in the middle of nowhere with a very long drive ahead. Q. Are there any records in the mix that you were especially excited to share that night, and what is it about those records that resonate with you? A. Kate: Knew I had to play 3 Brotherstrong’s Feel The Beat for this one. For me it encapsulates elements of the Bay Area renegade sound: a big stripped down beat, guitar rips, a little bongo, loops coming and in out… sort of ominous and tough but circular and goofy. Also played this Kaskade song which was my summer anthem. It sounds like it belongs only on a CD, which is such a particular moment in time that I think we’re all dreaming of, before the internet swallowed us.. Miro: I had bought one silly tech-y/tribal-y record by Meat Katie and Justin Drake with a voice sample that goes something like “Damn, I’m still here”…but it sounds like they are saying the name Dan, I’m still here…we thought it was super funny because of our best Dan Dix…and were joking that the track was referring to him so wanted to play it that night. Q. Being there at the party myself while this was recorded, it felt like you guys were totally in sync with your selections that night, with one groove flowing synergistically to the next. After playing records together for so long, is there much discussion or prep taking place at home before a b2b, and are you generally just freestyling / flowing with what’s in your respective bags on the night? A. Even after a decade playing as a duo, we always, at the least, discuss what type of arc we want to create. Thinking through the “feeling” together helps us ground the set and pack our record bags accordingly, so we can then freestyle with intention and think about each other. With the particulars of planning, it can go either way. Sometimes we prepare a skeleton of a set if we want to create a fairly tight intentional journey. Other times, like for this set, we just discuss the very very beginning. This is especially nice when it’s familiar equipment, and there’s been care in tuning the system so you can really hear what you’re doing and take more risks…really needed when playing records in darkness and wet fog! For this one, it felt right to just build off of each other’s energy and follow the little trails. That’s the best for us, it feels like everyone is in on it together, and it gets you even more excited for what’s to come.
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  MDC.328 Mandel 09.07.2026 1ชม. 34นาที

  Berlin house music authority Mandel lifts the lid on some scrumptious recent digs, blending up a delightfully groovin' 90 minutes of deep n dusty goodies to keep your spirits well and truly elevated! @mandel Q: What sounds, places, or feelings did you draw upon when gathering inspiration for this mix, and what listening environments could you imagine it being thoroughly enjoyed in? A: I went for a deeper sound, whichI think is always representative of me. I wanted to explore different shades of "deep" that I've enjoyed over the years, as well as e reminiscing about the first MDC mixes I discovered back in '09–'12. I could picture people listening to this at night while biking, walking, or driving through the city. That's one of my favourite ways to experience music. There's just something special about the depth of the night and the city. Q: Are there any special records or recent digs in the mix that you were especially excited to share, and what is it about these songs that resonate with you so much? A: I’ve been collecting Pete Moss for a while, and lately, I’ve been obsessively trying to finalize collecting the last pieces of his discography. I included his track "Changing Wave," which perfectly defines my idea of a deep sound. The second Loop Stew, is by my homie Snad, from his latest release on his own imprint, Spandrel (04). When he sent me the files last year, I told him we had to cut a couple of dubplates because I needed to play them at Panorama Bar. I’ve been spinning them every chance I get. The whole release is great! Q: I’ve loved getting some insight into your digging methods around Berlin with your ‘hunting for records cheaper than your snack’ series on IG! What have you enjoyed about the process of making that little series, and what potential strategies or tips have you picked up along the way while digging for these slept-on house burners? A: I started the series because I kept hearing people say they'd love to buy vinyl but found it too expensive. While it can be, there’s also so much great, affordable music out there. My budget limit is 7 euros, the average price of a döner in Berlin. You can either get a snack or a record, depends on your priorities. A record is much healthier. I love sharing my weekly routine of biking to different shops, alongside tips on labels and producers for anyone just starting out. If I've learned anything over the years, it's that consistency is key. Sometimes you find a a lot of gems, sometimes nothing, and you never know which shop will deliver. The positive feedback from people definitely keeps me doing them.
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  MDC.327 E-Talking 11.06.2026 1ชม. 59นาที

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

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

 A. Definitely, “George Sarah - Drag Ass (Swayzak Filter Dub)” which comes in towards the end of the mix is one of these dubby oddballs that you cannot play in every context. It’s a 13 minute long remix which showcases Swayzak’s mastery at the peak of their career (imo). It’s so lush yet minimal and the production hits exactly where it should. I can’t get enough of this one. 
 Q. I loved your New Yesterday EP last year on Nummer Music, and I can hear you’ve drawn on a wide range of influences there finding this energy filled hypnotic blend of progressive trance and groovy housey-techno. Have you been recording music on a similar tip of late, or is there another direction you’ve been leaning further into? A. All of these tracks were recorded in the year preceding my son’s birth, about two and a half years ago. Since then, a lot has happened and I’ve found myself gravitating toward slightly slower, more organic grooves, which is now translating into my productions. As BPMs kept creeping higher and higher a couple of years ago, I realised I’d reached a certain threshold and it felt logical to slow things down a bit. In the meantime, I rediscovered a lot of old UK tech-house gems (I was a bit late to that train, I know..!). I found a sound that I’d been looking for for many years. The energy, groove, and wonkiness of some of these tracks is unrivalled. Only a handful of producers today manage to match that vibe (Liquid Earth does it wonderfully, for example). So I suppose this is where I’m headed in the coming weeks and months, but knowing myself, I might decide to switch things up entirely without notice..haha.
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  MDC.326 Piepotelli 28.05.2026 2ชม. 41นาที

  Deep in the archives of the late 90s and early 00s Dutch underground, Piepotelli threads together some sublime progressive house and deep techno. @piepotelli Q. What sounds / feelings did you draw upon when gathering inspiration for this mix? A. I wanted to be in sync with MDC but also compile something personal. The sounds that emerge have inspired me a lot lately. They relate to a variety of styles, but also to emotions and energy. I truly feel related to the sometimes abstract form of expression music can be. I tried to be expressive in the progression, as only then the mix would make sense to me. The cohesion is noticeable through deepness all over, fused with wavy coatings, mysterious tints, and progressive elements, highlighted by synth, groove, and syndicate electronic magic. Somewhere late afternoon landing into the night would be the ideal time for a whirl, as it takes time to build but would be too much for my morning peace – I prefer worldy stuff to wake up the mind (s/o John Gomez on NTS!). I guess before going out for a dance suits well, since it’s quite club-ready towards the end. Q. Are there any records in the mix that you were especially excited to share? what is it about these songs that resonate with you? Very much so! One that has been in my head for ages is The Hug Club – Round I Go (Morning Mix). Honestly, the whole EP kicks ass, but the B2 is on another level. I like several things about it. One, it’s subtle. It smoothly builds and gently brings some beautiful chord/synth layers to take the lead and make it flow. Two, it’s sensual, but not demanding. That elegance is exactly what sets this alleviating mood. Three, it’s a B2. The track that doesn’t scream for a listen. It’s there for the curious. Four, have you seen this cover? We were talking artistic expression right? That’s it right there. Take these 4 points together, and you see why it’s such a standout. Q. Tell us about the evolution of your YT channel, where you’ve been uncovering hidden gems from the 90s / early 00s, largely from obscure NL house, techno and tribal / progressive producers and labels. Had you always suspected there might be a trove of deeper cuts hidden amongst the more popular Dutch hardstyle, trance and techno records of the time? It’s funny that you mention that, because some of the quality deeper cuts originate from producers that came a long way from Trance, Hardcore and Gabber. If we take a step back, late 80s house music flew over by local DJs that felt inspired by what was going on in the US. That was for both the parties and the sound. The paradigm changed in Amsterdam as well. It had to withstand serious commotion by the crowd, but the driving forces around Club Roxy and Club iT eventually obtained their recognition. The local embracement paved the way for the evolution of many subgenres that followed. Of course music evolves globally, but it is the combination with local appreciation, local hubs, and local initiatives that gave it cultural body. It really deepened and refined what artists were able to produce. Such history gives so much color to when you are going through archives like record bins. To relate it to the YT channel, essentially what it does is making finds from the past available for listening. I think on there, you have a unique combination of archiving and curation. Archiving in the sense that it’s not as polluted as other platforms, it is straight to the point and less ego-centric. Curation in the sense that you can post something unique and commit something that was not there yet, and bring it together on a channel. Now from history we can tell that the mid-late 90s and early 00s you mention were indeed fruitful in the region. That’s how it doesn’t surprise I come along the quality cuts you’re referring to. There is still a lot to discover. Also a lot of garbage, but dig deep enough and you’ll run into hidden treasures. Along the way you learn a lot about your musical taste. That’s the fun part.
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  MDC.325 DAWS 14.05.2026 1ชม. 55นาที

  Rolling waves of smooth sun soaked house with Naarm's own DAWS soundtracking her lifelong affinity for the deep blue. Techy offshore groovers and silky soulful burners making for the ultimate sunset serenade. Feel the breeze! @dawsdj Q. What sounds, places or feelings did you draw upon when gathering inspiration for this mix, and what listening environments could you imagine it being most enjoyed in? A. I recently returned from a trip to South America where we spent most days talking about music, and specifically the sounds that got us inspired to start DJing. Enjoying time away in nature while driving long winding roads to the beach, between snow tipped mountains, and sunrise bus ride through the vast desert gave me plenty of time to reflect. This year marks 10 years since I started, and this mix is a trip down memory lane where we revisit the archive of tracks and moods that stood out to me. So I guess you could say it came from a pretty sentimental place. I imagine it would be nice for a drive to the beach or while sat somewhere beautiful. Q. Are there any records in the mix that you were especially excited to share, and what is it about these songs that resonate with you so much? A. Heaps! But in particular the last track ‘Homepage’ by Brittany is a special one that takes me straight to my favourite place - in the ocean. A lot of my sound (and music I consume) is influenced by proximity to a body of water: coming, going, and spending time by it. Q. We loved your Touch Of Sapphic EP from last year, it felt like potentially the beginnings of a new direction with your sound.. cheeky and club focussed but with a really groovy, breezy feel to it all. Can you tell us about any new projects in the works, and what sounds have you been drawn to explore further? A. It’s been a balancing act to blend more club and late night tracks with the sounds that I’m more familiar with making. Lately, I’ve been really into ‘patient house’ as Ricky Nord calls it, which can be characterised by taking a less predictable and more laidback approach to arrangement, while giving more time for each element in the track to breathe. I still love tracks that use a big snare roll to build energy, but I’ve been enjoying new ways to mix tracks in sets that shy away from the classic energy signifiers. You can expect another EP from me soon with a good bit of breezy groovy stuff, and perhaps a bit of patient house???
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  MDC.324 Greville 08.05.2026 2ชม. 52นาที

  Mad Habitat’s Greville guides us on a mysterious wander through deeply tangled woods, navigating his signature minimal wobblers and dubbed-out delusions amid strange voices hiding in the fog. @grevillegreville
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  MDC.323 Primo 01.05.2026 1ชม. 59นาที

  Captured in the woods at last year’s Dripping festival, Bay Area legend Primo Pitino treats us to a wildly transcendental ride through 20+ years of deep crate excavation, swerving between dizzy acid freakouts and deep progressive melters from the late ’90s. @primo-pitino Q. What sounds/feelings did you draw upon when gathering inspiration for this set? Describe the setting + vibe out there while you were playing.. A. Dripping was wild, spaced out & transcendental, but also a moment to connect with friends, community, & even the earth tbqh. It was otherworldly but also felt very much like a family affair. I wanted to play a set that would bring us down to some oceanic depths, out into space, but also ultimately bring the dancers together. Dripping takes place on a lovely mid sized campground in New Jersey with a lake, lots of foliage, & also many left over accoutrements of Ren Faire type events which take place during other times of the year. There are dance and art performances in various parts of the campground downtempo music on the lake, a big sound system in a large field, and in two indoor venues, the Inn (expansive, feels like a club but opens out to to the air) and the barn (bouncy wood floor, jam packed, hot and sweaty) I closed out the first night in the Barn, it was exciting, the energy was euphoric and infectious, at that point (3am) people had been dancing for hours but they fully seemed like they could easily go until dawn, the first record I played “No Command - Keim”, was meant as a sort of trippers clarion call, to answer their energy and bring it forward. When I started to play people really started to fizz, and it just felt like the best house party I had ever been to, so tripped out, silly, and also friendly. Q. Are there any records in the mix that you were especially excited to share? What is it about these that resonate with you so much? A. One of the tracks I was most excited to play that night was “Smiling in San Antonio” by Ed2000, it sounds so much like a 1992 UK hardcore piano rave “second summer of love” type tune but it was recorded in 2001 & has this crazy heavy bass, and almost post modern restructuring of that style, that I felt would make it go along with these heavier techy and acidic things I had chosen for the rest of the set, and at the same time bring that feeling of euphoria & togetherness that, for me anyhow, only raving has truly been able to bring out. "The fight against oppression" - Pure Science 1997 ~I think I’ve been playing it for at least 9 years. It has a super heavy kick combined with some watery vibration & depth, the Dr Martin Luther King sample is played over itself again and again, also creating a tension build, so that when it is taken out again, the heavy beat of this deep track is brought into sharper focus. Definitely Two Billion Year Journey with the whale songs as synths, Reese type bass, and voice over suggesting whales as space traveling entities, is a big favorite. Also Analogue Bounce by Freak and Swank really stands out for me, very unique, and Bay Area, which I love. Q. You made the big move from SF over to NYC a couple of years back, leaving after a 20 year long stint of running parties (including co-founding the iconic Club Lonely nights) and DJing around the Bay, tell us about how the transition has been + what new projects you’re excited about? A. It was terrifying! I had lived in the same house for 14 years, and DJ’ed in some of the same clubs for 16/18 years. But I'm very happy to be here, I'm excited to connect with the Brooklyn dance community, and to make paintings again as well. Project wise, I just completed a fun painting on Mansions, & have been playing sets with my friend Kiyoshi909 which for me have been a few of the best sets I’ve played in all my 22+ years of djing, we both seem to bring out the freakiest possible tracks when we play together, so if you’re in Brooklyn this summer keep an eye out for us :)
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  MDC.322 Yu Yang 20.04.2026 1ชม. 47นาที

  Shanghai tastemaker Yu Yang pulls us into her twilight zone, navigating deep hypnotic house, synthy techno and tracky minimal groovers for the after hours inclined. @yuyang11 Q. As a music lover that has lived across multiple corners of the globe, bouncing between London, Shanghai and Bali and having spent time living in NYC, what sounds or feelings did you draw upon when gathering inspiration for this mix, and what listening environments could you imagine it being best enjoyed? A. All the life experiences in different places exposed me to different sounds & communities and helped me discover the core element of sound that I am attracted to - synth, groove and flow; and myself as a person of what experiences I am looking for on the dancefloor, which is feeling emotions and being introspective on the dancefloor. Sometimes it’s fun, sometimes it’s overwhelming, sometimes it’s even unpleasant, but it’s all part of the journey. This set goes a bit deep and trippy so I think it could be listened to at after parties, taking a walk or going for a run in the evening, or any time when you feel like being on a music journey. Q. Are there any records in the mix that you were especially excited to share, and what is it about these songs that resonate with you so much? So many but if I have to choose: Bullet Proof by Hd Substance Synth-driven. Smooth groove. Rolling waves that go deep. Wata Igarashi & Polygonia - Cross Passage The most techno track on the whole set. Love a rolling bassline pushing deeper and deeper. Keplrr – 4DRK Been playing a lot of Keplrr lately. This one drifts on the calmer side, while others dive deeper, more emotional. A constant balance of techno and breaks, weaving feelings into every layer. Q. You’re spending more and more time playing in the UK and Europe these days, where do you feel your uniquely global sound has been well received of late? A. Japan and the United Kingdom both really champion this sound—through festivals like Rural and Houghton, and artists such as Powder, DJ Nobu, Wata Igarashi, Craig Richards, Jane Fitz and many more. Feeling inspired—and lucky—to move between Asia and the UK within this scene.
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  MDC.321 Eamon Harkin 31.03.2026 2ชม. 9นาที

  With a new album freshly minted on @mistersaturdaynight earlier this month, Mister Sunday and Nowadays co-founder Eamon Harkin draws on his storied 25-year journey as a DJ and NYC dancefloor specialist to soundtrack the end of a particularly chilly New York winter. Q. What sounds or feelings did you draw upon when gathering inspiration for this mix, and what listening environments could you imagine it being best enjoyed? A. The mix was made as we were starting to emerge from one of the coldest and hardest winters in memory here in New York. I wanted to channel that vulnerable feeling of early spring as the evenings stretch a little and there’s the occasional hint of warmth emerging from the cold. Q. Are there any records in the mix that you were especially excited to share, and what is it about these songs that resonate with you so much? A. I’ve featured a lot of artists that have been with me most of my musical life. Producers who I’ve always looked to for inspiration like John Tejada, Donato Dozzy, Mike Huckaby and Bobby Konders. Overall it’s really about collecting a range of songs to fit a certain musical idea and feeling that I’m trying to convey in the mix. Q. Your new album, The Place Where We Live, is described as feeling both physical and introspective and exploring themes such as belonging and transition, tell us more about the themes that inspired the music and how you found the right balance between club ready tension and quieter reflective moments. A. I think for many of us electronic and dance music fans we enjoy the back and forth between club ready music and more introspective home listening. That spectrum of sounds is very much who I am musically and so it was a natural act to reflect this range in the album. At the same time as a long time immigrant in the US who has grappled with certain feelings of alienation from his origins since covid there were those emotions and feelings I wanted to bring to the record. I’ll let the listener determine if the right balance was struck!
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  MDC.320 Babycino 12.03.2026 1ชม. 53นาที

  Naarm's own Babycino steps up next mixing dubwise rollers and summery house digs. A budding DJ, producer and open-air dance specialist, his Reasons To Be Cheerful parties and Skylab shows blend classy jams with playful flair, meaning 100% good times for the groove inclined! @babycinoofficial Q. What sounds or feelings did you draw upon when gathering inspiration for this mix, and what listening environments could you imagine it being best enjoyed? I wanted to try to keep it nice and hypnotic in parts, mostly through the first hour or so. So there’s some dub tinged house, deeper house cuts and then into some kind of psychedelic, percussive funk jams. All roads lead back to House music though, in some form or another. If I can lock in, lose my train of thought and kind of forget where I am for a little bit while listening to a mix or music. That’s the best. Almost like entering another realm. That being said, I do like flourishes of chaos being injected as well, so hopefully there are some well placed disruptions and switch ups. For the listening environment. Perhaps a long car journey, or a long walk/ jog through a changing landscape Q. Are there any records in the mix that you were especially excited to share, and what is it about these songs that resonate with you so much? A. There are a few favourites in the mix but I have to say that the closing track, the Janeret remix of Flash And The Pan’s Walking in the Rain, is on heavy rotation at the moment. I absolutely love the original, it’s so moody and ethereal while also being raw and kinda edgy. This particular remix reworks it for a dancefloor, while keeping that vibe sooooo well. Q. Your Reasons To Be Cheerful parties have become a much-loved part of the annual party calendar, featuring a smorgasbord of house and disco legends the likes of Jex Opolis, DJ Lloyd and Chee Shimizu to name a few! Tell us about your plans for the party going forward, and what you’ve most enjoyed about the experience thus far? A. Aw, bless! Thank you so much! Going forward, I just want to work on maintaining a consistent quality with the curation and to ensure it’s a free and open space, musically and spiritually. Quite simply, I really want to focus on improving with each event, adding more visual art elements/installations, not to reinvent the wheel but just to add my own personal weirdness to the space. Things I’ve enjoyed so far.. I’d say meeting people and inviting artists who I really respect, whether it’s an OG like Chee or connecting with some of the local peeps that I deeply admire. A specific top experience so far is going b2b with Chee Shimizu at Angel. He really is one of the best! Chee and Weatherall are the guiding stars for me, so it was such an honour to go beat for beat with a master!
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  MDC.319 Pocari Sweaty 17.02.2026 1ชม. 41นาที

  Carving out a special place within Taipei's harder-edged sonic landscape, the Mango Season party founder and infinitely groovy DJ Pocari Sweaty has been at the forefront of Taipei's house scene for the past few years, offering Mango Seasoners extended dubs, deep euphoric house and obscure disco journeys from guests like Telephones, Benedek and Mayurashka to name a few. Currently in Australia for the first time, we're lucky enough to have him in the mix with a wonderfully spaced out selection of floated techy groovers and deep house music in its finest form. @pocari_sweaty Q. What sounds or feelings did you draw upon when gathering inspiration for this mix, and what listening environments could you imagine it being best enjoyed A. To be honest I didn’t put too much thought into this mix, and didn’t go into it with any plans to release a mix. I just hooked up a recorder and started playing from a loose selection of deep and techy records I’d recently bought, and I liked how it turned out! Thank you guys for digging it too, and for putting it out! Q. Are there any records in the mix that you were especially excited to share, and what is it about these songs that resonate with you so much? A. I would say I’m especially stoked to share this Terry Francis track Rock Hopper. I bought this record from a discogs seller in Taipei called bigbadjimmy. It turns out he was a DJ in Taipei in the late 90s / early 00s and even opened for Terry Francis in Seoul on his first Asia tour back then. I think it’s really special to have a direct lineage to this record’s original context! Q. Your Mango Season parties have become a regular fixture of the Taipei underground scene over the last few years with a host of deep digging guests covering all kinds of house and disco leaning sounds, tell us about your idea behind the night and what have been some of your favourite memories thus far? A. Taipei is definitely a city that likes heavy music, so I started Mango Season to create the kind of warm and sweet party that I really want to go to. Damn there are really too many good memories, all of the guests have been amazing. Dea’s closing track last August, 多情沒有問題 by 馬玉芬 was really fun, the entirety of Telephones’ set last October was incredible, and last month MLiR and I played b2b all night for the second anniversary of the party. We didn’t plan a thing and played one track each for the whole night. Perfectly in sync, it was awesome.
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  MDC 2025 Review 04.02.2026 1ชม. 24นาที

  MDC's @myles-mac back once again with a trip friendly scuba dive through the best bits of 2025. Tracklist: T.E.C. - Hi Set & Low Set // Serenity Now
Puli - C.S.B. // Open Space Milou Moon - Circles (Guy Contact Remix) // ORiGiN Recordings Guy Contact & Solar Suite - Perfect Harmony ft. Sa+ga // Wax’o Paradiso Musicentrydelete - Sub AM // Mood Hut Alex Kassian X Spooky - Orange Coloured Liquid (Part II) // Test Pressing Greville - Electric Push CPU Mix // Mad Habitat Recordings Anthony Naples - Scanners // ANS Recordings
 Retza & DJ Activities Man - Play (Round 1) // All Kinds of Music Pancratio - A Never Ending Story // Love On The Rocks RAMZi - flufi // FATi Records Pool Sharks - Orange Crickets // Pepper Recs Aldonna - Pink Beluga // Semi Delicious Pancratio - Groove Throtter # 2 // Faith Beat DAWS - Feel So (3am Mix) // Correspondant Deetron presents Soulmate - The Visitor // Ilian Tape 
 T.E.C. - 7001 On Plastic // Serenity Now Tornado Wallace - Bitter Suite // Test Pressing Command D - Fever // Self Released
 Other Joe Feat. CTP - Ice in my Veins // Best Effort
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  MDC.318 Willis Anne 30.01.2026 1ชม. 29นาที

  Cut from various projects and produced between Berlin and Melbourne over the last fifteen years, LAN label head and hardware specialist Willis Anne digs through his archives to deliver mix made up of 100% unreleased and forthcoming material. @willis-anne Q. Being a mix comprised solely of your own music – a housier than usual deep dive into the unreleased archives of your wide ranging back catalogue, how did you come up with the concept for the mix, and how would you say your sound has evolved over the years? A. My first love is hip-hop and house music, that’s how I started making music. Over time I moved into more abstract and experimental territories, before eventually bringing all those elements together into something more hybrid. I still make house music, but today I’m mostly known for hybrid music, and playing wide-ranging, dynamic sets across genres, which is also what I explore with my alias FOREIGNER. I’ve known Melbourne Deepcast for a long time, even before moving to Australia, so I was honoured to be invited! There are so many strong mixes on the platform, and I wanted to do something special. I thought - why not record a mix made entirely of my own productions! I properly dig into my archives, and as a result it includes unreleased material from different periods, as well as a few upcoming tracks. In that sense, the housier focus makes this mix a bit of a rare snapshot. Q. Looking back, where were you looking to gather inspiration when producing these tracks? I know you were living in Berlin for quite a few years, who or what was inspiring your creative process back then? A. Beyond Berlin’s DJ culture, I was especially inspired by artists performing live in clubs. That period aligned with my hardware-only approach, and I went deeper into that way of working. I was strongly influenced by the left-field hardware house scene at the time, particularly artists from L.I.E.S. Records like Steve Summers and Bookworms. Spending time with them, jamming, and being close to that environment had a big impact on my process. Many labels and artists working in that space emerged and flourished during the 2010s, and that era shaped a good part of the music in this mix. Q. I know you’ve been a driving force behind hardware based electronic music production here in Melbourne over the past couple of years with JAM, your open invitation electronic jam sessions.. Tell us about your idea for these community jam sessions, and what has been the most rewarding part of the whole process? A. JAM takes effort to run, but it’s a very special project. People are genuinely grateful for the space, and it’s rewarding to see how much they enjoy connecting and making music together. The idea is to make access easy and remove intimidation, and that approach really works. What I find most rewarding is seeing beginners gain confidence and have fun. People who don’t know each other come together, start jamming, and create something on the spot. That sense of openness and shared experience is what makes JAM meaningful for me.
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  MDC.317 Zeynep 19.12.2025 1ชม. 38นาที

  Operating on a global frequency with a knack for genre-blurred grooviness, Berlin-based Zeynep delivers a transportive blend of rolling rhythms and cross-pollinated mind-lockers that hit all the right spots. For those that like their grooves deep, percussive, techy and mysterious you've come to the right place. @zeynep Q. What sounds or feelings did you draw upon when gathering inspiration for this mix, and what listening environments could you imagine it being best enjoyed in? A. First off, I want to thank you for letting me be part of this incredible mix series :‘) what an honor! As a big fan of MDC I wanted to tap into a deeper, more mysterious side of myself while still holding onto the sound that feels like “me”. I tried to let the mix slowly build into that, so you can hear different influences coming through before it settles where it needs to be. As for the ideal listening environment... I like thinking about how it can live in different contexts. That’s why I love when people surprise me with where they play my mixes. Someone once told me they put one on at an orgy which might be the highest compliment I’ve ever received. So yeah, whatever place you’re in (physical or emotional) if it fits, it fits. Q. Are there any records in the mix that you were especially excited to share, and what is it about these songs that resonate with you so much? A. The opening track export city by project runaway from 2020 really captures the kind of rhythm I’m into right now. It’s built around infectious percussion and a sleek, pulsing groove. It kinda mirrors internal restlessness and the desire to move which is what draws me in I guess. The closing track No Reason by Vertical Blank from 1993 has these darkwave vocals that feel sad and euphoric at the same time. It’s got this “the end is near but you’re not sure if that’s good or bad“ energy which sounds strange but that ambiguity is exactly why it resonates with me.. if that makes sense? Q. I know you’re a big advocate of community focussed DIY parties, what are some events you’ve played over the last year that you’ve felt best embody community spirit, and what do you feel are some of the most important elements required to achieve it? A. Two of my favorite gigs this year were Earth Dog in NYC and noclubs in Amsterdam. Both were proper DIY raves in secret locations, built entirely from scratch with great sound and music by great people who genuinely care. What made each of them so special was how much they embodied real community spirit: everyone contributing, looking out for each other and creating a space that truly feels owned by the people in it. You feel it in how accessible and transparent everything is, in the shared ownership and in the effort to keep things affordable while inviting diverse voices into both the lineup and the organization. Being part of experiences like these makes people feel safe and part of something they get to shape, rather than just attend. And I think that’s a key element. Big up to both crews and anyone out there for keeping that culture alive and staying real and true to themselves!
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  MDC.316 Pure Science 10.12.2025 5ชม. 23นาที

  A seminal, pioneering figure in the 90s and 00s UK tech house scene, a mix from Pure Science is as bucket list as they come. With his first Australia tour over New Years approaching fast, the mysterious tech house luminary reappears from his subterranean science den with a whopping five(!!) hour live set, full of moody unreleased gems and carefully reimagined classics from his genre shaping 30+ year discography. @purescience Q. What an incredible journey this mix is! What sounds or feelings did you draw upon when gathering inspiration for the mix, and what listening environments could you imagine it being best enjoyed in? A. Thank you for your kind words, Myles. I was initially asked to do a couple of hours, but thought, I would do at least four, and start with a good hour of unreleased ambient / downtempo tracks that I have made, that I wouldn’t necessarily play out to a dance floor, and build up the tempo. So to answer your question, I guess I was pulling out tracks that were made at a close tempo, and gradually build up to a Deep House / Techno range. There are loads of unreleased bits, which I will be featuring on upcoming albums. I guess the vibe was to keep it deep, and not to bang it out or play too obvious, and to add a couple of surprises in there, as it is for the Melbourne Deepcast after all. Q. Are there any records in the mix that you were especially excited to share, and what is it about these songs that resonate with you so much? A. I am not playing any records, CDJ’s or harmonicas on this mix.. Lol, Only Ableton Live, Korg ER1 drum machine, Roland System 100 modular (clone), Novation Nova & Evolution uc-33 midi controller. There is one track that I have only played out once when I was in my teens, and it was written in 1989, when I was 15/16 years old. It’s called Circle, and is on the mix at around 3:43:43 mark (The hypnotic track with the organ). Q. I know you’ve made special edits of some of your classic Pure Science records for this mix, tell us about how you like to reimagine your music from 20+ years ago, and how your sound has evolved since creating your most iconic records in the late 90s.. A. I’ve been re-recording, mixing, and mastering some of my classic releases, and preparing them for live, i.e. stripping down the parts to the basic form e.g. Kick, Snare, Hats, Claps, Toms, Congas, Percussion, Bass, Keys, Vox, etc, so I can re-arrange the tracks on the fly or break down to my drum machines / synths / recorded modular jams if I feel I want to improvise to the crowd a bit, or I can just concentrate on the blend of tracks, and the selection like a DJ would, and have complete control of the journey.. Q. We’re all very excited to see you play in Melbourne on NYD! Tell us about your hybrid live / DJ setup, is that something you’ve been refining for a while now? A. I am very excited too, as I have been going through, my old floppy disks going back to 1987, from my old Ensoniq SQ80, as it has just come back from a service, and has had its 10-year internal battery replacement. I have been rediscovering tracks that I had totally forgotten about. Specifically a couple of tracks that I love, one is called Moon from 1992, and the other called Tibet from that same era. Both were made a little faster than what I would play out now, and were over 135BPM, but if you slow them down a bit, they just sound chunkier, and PHATer. x p.s. It’s only hybrid if I DJ too, and I probably won’t have time for that. Live only on this trip. Thank you all for your time, and I hope to see you on the dance floor..
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  MDC.315 Neil E & Billus 13.11.2025 2ชม. 56นาที

  Three hours of deep underground house music from a couple of Naarm's extended blend bosses. @jackhnelson & @billusmoon Q. What sounds or feelings did you draw upon when gathering inspiration for this mix, and what listening environments could you imagine it being best enjoyed in? A. Sam: would be amiss not to say deepness – hard to really say what that means, though. Music played deep into the party, everyone on molly, the sound system is the one from Labyrinth, and it’s in Yarra Bend. A. Jack: Yeah much the same as Sam, we share a mutual love for deepness albeit in a slightly different way. I hope it will be a bit of an all hours mix for cooking, eating, driving or for the hours after etc. Q. Are there any records in the mix that you were especially excited to share, and what is it about these songs that resonate with you so much? A. Sam: Many resonate, but the Baby Ford track toward the beginning sums up the whole deepness-being-difficult-to-describe thing, for me at least. David Alvarado does that to me as well – he features a fair bit here. A. Jack: there have been many tunes I would've loved to include - but without much defined planning we got to this mix one afternoon. Bit of a mish mash of different deepish tunes from over the years, moving around home base which is good old house music. Nothing too serious. Q. You’ve both been involved in facilitating a myriad of great underground parties in Melbourne over the last decade from outdoor raves to basement club nights, Jack, tell us about your latest endeavour Reasons and how that fits into the music community focussed party ethos? A. Jack: Reasons came about as a bit of an evolution from just running parties, toward something that connects and platforms the people around me and incorporates music, food and art.. After spending time overseas, I felt a strong pull to bridge those worlds, and to bring some of those ideas we encountered abroad back home. Q. I know you’ve both been working hard on various studio projects both solo and collaboratively, tell us about the latest endeavours, and what sounds are you enjoying exploring whilst working together? A. Sam: Making music together has always come naturally, finishing tracks less so. Plans mostly go out the window once we start, but I feel like we’ve always converged on a distinct feeling without having to explicitly voice. I like exploring all sounds with Neil, but I guess we’ve always tended to steer toward some kind of 90s nostalgia. The final track in the mix is a useful example. A. Jack: We’re both always making music in some form, sometimes with more focus than others, at least for me. We’ve always got a few bits in the works I guess (including the last track in the mix), but as Sam said, finishing things together doesn't always happen... Lately, I’ve been trying to be a bit more deliberate with what I am making. Definitely a few releases to come in the next 6 months, as well as a new non-dance music project.
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  MDC.314 Yibing 24.09.2025 1ชม. 27นาที

  Welcoming one of our personal favourite's from the big apple! A positive conductor of all things deep and dreamy, NYC's @yibingg is a longtime resident on The Lot Radio with an impeccable ear for contemplative sonics, ever thoughtfully sliced and diced with a big signature smile :) Time to hit recline and let Yibing tranquilify your mind. Q. What sounds or feelings did you draw upon when gathering inspiration for this mix, and what listening environments could you imagine it being best enjoyed in? A. I’ve always been drawn to uplifting sounds, but I also love deep, percussive music and melancholic minor key melodies, which I think there’s a lot of in this mix. Hopefully a nice journey to drift into and daydream with :) I really wanted this mix to be a sort of homage to the sound of MDC and the AU music community (as I hear it), which I connect with deeply. I find it so playful, psychedelic and beautiful. It definitely took me a while to untangle this, especially knowing it was for one of the most goated series out there… One that’s inspired me time and time again. Personally, my favorite place to test mixes is on my bike. Maybe not the safest spot to zone out, but it’s become part of my post recording ritual. Q. Are there any songs in the mix that you were especially excited to share, and what is it about these tracks that resonate with you so much? A. Atone's "Lost & Found"! I became obsessed with Tonal Ocean's Atone Special after it aired on NTS last year. Atone is, of course, an Australian project from the mind of Andrew Fitzgerald. I've listened to that mix countless times. "Atonement" is really just such a perfect record to me. I played "Lost & Found" last year at a festival that Doc Tom and CZ Wang curated called In The Open. It's still one of my favorite sets I've ever played and a memory I will cherish forever... I felt people really locking in during it and I was surrounded by some of my closest friends too… Music & friendship - truly nothing better than it. Q. Tell us about the evolution of Tranquilamente Radio on The Lot Radio, you play such a wide variety of beautiful music on the show, do you approach each show with a theme of sorts or just let things flow naturally? A. It's wild to think that I've been involved with radio in one shape or another for over a decade at this point... Through so many changes, radio in its different iterations has remained the only constant. When I started the show on The Lot Radio almost five years ago, it was deep during the pandemic and I wanted to foster a space for more laidback, at-home listening music. The inspiration for the title of the show was the Pacific Ocean - thinking about oceans as connectors of all these beautiful ~music waves~ around the world. I have done some themed shows over the years - I do an indie rock special every year, as a nod to my roots and to what I was playing back at KCSB, a college radio station in California where everything started. I also did a Canto-pop special a while back with some music I grew up listening to. More recently, I did a Music From Memory special that I really enjoyed, using the opportunity to really dive deep into everything that's come out from that label. I definitely want to keep doing more of that. I find it exciting that even though the show is pretty eclectic, it’s developed a sound of its own. I definitely have a predilection for weirdo, left-field music and I love that the show can be a platform where me and my guests are encouraged to explore different sounds beyond the club. I think doing the show has also taught me and motivated me over the years to bring that sound into my sets too.
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  Myles Mac & DJ Possum @ Nowadays Nonstop - 30th Aug 2025 18.09.2025 2ชม. 51นาที

  @myles-mac and @djpossums live at @nowadaysnyc Nonstop 3-6am ヽ(^o^)丿
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  MDC.313 Mike Buhl 14.07.2025 2ชม. 29นาที

  Introspective mind realignment from the deepest depths, Mike Buhl engages the senses with poise and purpose, lifting the spirit while carefully dialling up the pressure over two-plus hours of tension filled hypnotic techno and soaring interplanetary rhythms. @mike-buhl Q. What sounds or feelings did you draw upon when gathering inspiration for this mix, and what listening environments could you imagine it being best enjoyed in? A. My inspiration was driven by the urge to showcase lots of artists who have been on heavy rotation over the years. Somewhat cliche, but it was really important to blend genres and energies that represented every aspect of what I listen to, am inspired by alongside how and when they were experienced. Tracks I’ve loved listening to on my own, while entertaining friends, during lock in record nights and those tracks designed to be shared in public spaces and events. Finding a cohesive path through those different styles, genres and energies was the adventure in this mix. Distilling a sonic mountain of records into something that flowed seamlessly and translated well when listening back in all of those moments felt most authentic. A mix best consumed while moving, sharpening that assignment, at the tail end of a dinner party as the vibe shifts to next gear or while embracing the magic of a lock in with the crew. This has translated into snapshots, across a timeline stitched together from records new and old, capturing a weekend drive, early floors through to closed doors, spilling onto the street, the afterhours and beyond. Almost two and a half hours of ambient ear candy, arm chair burners, peak melters and thought provokers that attempt to relive moments and feelings from our past years listening, curating and creating electronic music. Q. I know you’ve developed a close kinship with some modern pillars of the dub techno scene, mastering and editing .VRIL’s 2025 Edit of his classic tune ‘UV’ and being tasked with closing out his recent Melbourne show. Tell us how that connection came about, and what other studio projects have you got bubbling away that you’re excited to share? A. I first reached out to .Vril ahead of a past tour to Australia. His music resonated with me so much that I wanted to meet him for a coffee. Since then, we’ve hung out a few times, shared music, and bounced some tracks off each other. It was an absolute highlight, when he asked to be a part of reshaping ‘UV’ and he's kindly returned serve with a remix for my follow up EP, 'Modern Explorer II' on local imprint Denude. We’ve had some very early conversations around a collaboration next time he’s out here and I would really like to continue pushing creativity here. In the background, I've been spending a good amount of time in my studio. Focusing on creating for myself and helping others. Improving my abilities as a mix engineer has been a big focus and I’ve been fortunate enough to work on a number projects with artists locally and abroad. Whether that be mixing, providing creative direction, arrangement work or mastering. I really love working with others and often find it more enjoyable than working alone. In saying that, I’m building a volume of new music that needs an outlet and will focus on that over the next few months.
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  MDC.312 NAP 23.06.2025 2ชม. 49นาที

  Thrilled to be welcoming NAP aka Daniel Rincón to series, the CDMX based DJ and producer with a unique gift for capturing the wonky, hedonistic feels of the after-hours in his signature extended mix styles. Packed with sleazy twists and turns, there's never a dull moment with NAP at the wheel! Electro-fied highway rollers masterfully sliced and diced for that maximum long haul recharge! @napmusick Q. What sounds/feelings did you draw upon when gathering inspiration for this mix, and what environments could you imagine it being best enjoyed in? A. I wanted to make a driving mix that featured a lot of vocals but in mutated and affected ways. Either as a centerpiece of the tune or via chops and sampling, the vocals carry a lot of the tension and thread of the mix which I wanted to balance across a mix of sleazy and dubby sounds. Perfect for a night drive or an afters with some bffs. Q. Are there any songs in the mix that you were especially excited to share, and what is it about these tracks that resonate with you so much? A. Blacklight Sleaze (Dyed Soundorom Remix) by Peace Division’. I put it earlier in the mix as it's a bit of a fire starter in getting the mix boiling. This track is also an example of the use of the human voice in a classic but psychedelic/ experimental approach; many voices swirling around atop a sexy driving groove. Loose Control by Dino Lenny. Been playing this one a lot and I’d like to make mention to it because it hits a lot of the things that I like when playing a peacetime burner; driving arpeggiated Italo style baselines without being too garish, some dramatic silence drops that make you think the track stopped and then the use of the human voice as a melodic element displaced from language. Heart Misses - Heart Misses. This one is definitely in the pocket of sassy/ minimal sleaze tune which encompasses the vibe of many of the other tracks in the mix as per the concept I had. Perhaps this one is also an evolution of my digging from having been really into electroclash growing up and playing a lot of that stuff across my DJ experience. This hits the reference points of that sound I grew up up with but perhaps actualized? More reduced, minimal but still sexy, driving, irreverent and trippy. Q. Tell us about the projects you’ve been most immersed in since moving to Mexico City, I know there’s a few! A. Oh man, lots of collabs since I've been here! All a by product of new friendships and amazing connections I’ve made while being here. Stuff is still percolating and getting finished but Im very excited to put out new collab projects with Primordial Oh, Reedbriefcase and Tristan Arp; whenever the time is right. On the other hand I’ve also put the finishing touches on a collab project with my friend Pablo Arangoiz who I started jams with when he visited Mexico 4 years ago. Since then we’ve been working on a thesis on a specific type of experimental cumbia forward pieces which we’ve spent a lot of time and care on. As far as ACA, Phran and I have a lot of things on the pipeline which will hopefully get some releases this year. It's tough to get a lot of the projects we want to do out when we live in different places but we’re damn excited about all of them and aligning on getting a digi release out from Venezuelan Miniteca legend ‘El Mago. We also got some homie comps cooking up and some sassy merch coming up. On the Ambien Baby tip, Soph and I have been jamming a lot every time we have the chance to but again, not living in the same place makes it a bit hard to wrap stuff up. Still the past year has yielded a lot of sick fire starter jams that hopefully we can zinch up before the end of the year. We also have a collaborative sound piece we made with our friend Florence Scott-Anderton some years ago for a show she had at the ICA some years ago. This one is a very dear collab for all 3 of us and I hope we can get it out before the end of year as well. Lots of stuff coming up and cooking up!