Notes On a DJ Mix
Personal reflections on my DJ mix "Eris Drew's Mystery Of The Motherbeat (Part 2)"
Last week I uploaded the second installment of the Mystery of the Motherbeat mix series to my personal Soundcloud. For this entry in my substack journal I’ll discuss the tracks I selected for this 2 hour and 19 minute set, the motivations behind recording the mix, and how it was created.
Part 1: 2018
I’ll start with the story of the first part, which is now five years old. I recorded Mystery of the Motherbeat (Part 1) at the request of the first European festival I was ever asked to play called Her Damit in Germany. I misread the name of the festival and pronounced it “Her, Damnit” for months, which delighted me at the time because I mistakenly convinced myself that a strong trans woman had to be behind such a fitting name.
Unfortunately the festival was not hosted by a strong trans woman, nor did I get to play. The festival got canceled an hour before my closing set because of dry weather and the possibility of a forest fire. It was a bummer for sure. My fee was a few hundred dollars which I never saw because the whole enterprise went bankrupt in the months that followed. I won’t repeat the allegations here but the promoter behind the event was accused of malfeasance which is documented in this RA article from 2019: https://ra.co/news/43376
I was in a really vulnerable place when I recorded Part 1 of the mix so the recording reflects my mental state at the time. I was full of hope for the first time in a long time but I was also navigating a lot of uncertainty. As I look back it is clear that I was on a path, but I could not see what was coming next because so much was stirring. Everything in my life was changing. I was weeks away from visiting Maya to be together intimately for the first time. I had just come back to Chicago after playing a few difficult shows during my first European tour. I was about to host the first psychedelic Motherbeat event in Pittsburgh at Hot Mass. Estrogen was healing my body and causing a psychological and physiological harmony which I had never before experienced. Synchronicities were manifesting all around me and I was experimenting privately with psilocybe cubensis.
After recording fast-paced mixes for Mixmag and RA during the preceding months, I wanted to do something different for Mystery of the Motherbeat Part 1. For that mix I wanted to show the deeper, softer, more psychedelic side of my sound, which I refer to simply as “The Mystery”. I used Part 1 to push my psychedelic ideas to the forefront and create a mystical pastoral landscape encoded with messages. Part 1 was intended as a mix for deep listening, sensual connection, communication and contemplation, not just hands in the air euphoria and moments of rave togetherness.
I told Her Damit that the name of the mix was “Mystery of the Motherbeat” when I submitted it but they did what they wanted and named it “Eris Drew: Her Damit.” I was learning the hard way that in our scene sometimes very personal art is used to brand things in a blunt and decontextualized manner. After a while the SoundCloud account for the festival was deactivated and all the mixes for their series were taken down. This was a crummy thing to have happen in some ways but it was fully liberating in others. I decided during the early months of the pandemic to rerelease the mix myself, on my personal SoundCloud, under its rightful title, which is the only place you can listen to or download it now:
Part 2: 2024
For Part 2, I followed the same approach as I eventually did for Part 1, uploading the mix last week to my personal SoundCloud and in doing so bypassing the big podcast series. I chose January 2024 to record the mix because I am not actively touring during the winter and my sense ratios can return to normal—a lower frequency informed in part by the forest outside my studio window and quiet introspective time at home. This is a stark contrast to tour life which is mostly time spent in airports, hotels, trains, planes, automobiles, and green rooms, eating, sleeping on the run and interacting with hundreds of people I barely know. I am extremely grateful I get to do it, but less than 5 percent of the time on the road is spent actually playing records, so I come home with many positive memories but also rather drained and wanting personal space to cook, hang with Maya, do normal things like clean my house, and make music in my studio.
To record the mix I first spent several months assembling records into a private Youtube playlist, and eventually I narrowed the selections down into a wooden crate in my studio. To gather the potential tracks for the mix I pulled from my decades-old collection during tour breaks in the fall and listened repetitively to some wonderful new music released since I recorded Part 1, which I sourced from a global cadre of shops, labels, and Discogs sellers. I spent a lot of time with the songs listening to them deeply over and over again, deconstructing their arrangements and discussing them with Maya (Octo Octa). I wanted the mix to be a snapshot of a moment that withstands the test of time, so each song needed to be really special and stand up to repeat listening. In my opinion, if a track doesn’t get better with repeat listening, it probably isn’t deeply connected to my heart and thus isn’t essential.
The tempo does a switch at the 59 minute mark; the first section of the mix is around 123-125 BPM, and the second section is roughly 132 BPM. I used silence to shift the tempo after the piano reprise at the end of “Fractal Zoom.” This move is a little nod to the style of playing records at David Mancuso’s The Loft, which is all about letting songs play to their completion and using silence as a musical moment, rather than something to be avoided at all costs through beat-matching.
When it came time to pick a cover photo Maya knew the perfect shot. She took the image when we were walking in the “Rabitat” near our home in New Hampshire. I am not Christian or part of any other organized religion, but I am in a meaningful way a spiritual person. In the photo the sacred image of the cross is actually just an old decaying signpost, signaling through metaphor that what is truly sacred is what is all around us and the earth under our feet. This is the fundamental idea behind Motherbeat; it is not a religion but simply an awareness that the living world in which we are embedded expresses itself in sound—all sound. We can reconnect to nature through our music and movements.
In January of 2024 I recorded the mix with the following gear:
An Allen & Heath Xone:96 mixer with its amazing filters and crossfader;
Two Pioneer PLX-1000 turntables with plus/minus 50 percent pitch range;
A UA Apollo sound card with gorgeous A/D conversion;
Two elliptical Ortofon needles that cut deep into the grooves; and
Logic X installed on my iMac.
I recorded the mix at 96k 24bit before rendering the master and dithering it for upload at 41k.
A discussion of the tracks I selected for the 2 hours and 19 minute mix follows. A huge thanks to the artists for their amazing music and to the labels for their commitment to keeping record culture alive for DJs.
1. LaTour - Blue (XX Records, 1992)
The track that opens the mix is “Blue” by Chicago artist LaTour. “Bud” LaTour was most famous for his cheeky chart-topping AIDS-era hit “People are Still Having Sex,” but “Blue” has turned out to be a timeless classic. I first heard the song in the movie Basic Instinct (1992). I was 17 years old at the time and went to my local theater to see the film, which was getting a lot of press because Sharon Stone flashed her private parts at Michael Douglas in one scene and made out with girls in others. I can’t say that the film was queer because the perspective was very much rooted in the male gaze, but as a sapphic teenager the scene did leave an impression. The music coordinator knew what they were doing because the club scene in the film features fairly forgettable club tracks until Stone’s intense pansexual “top” energy becomes the focus. At this point the soundtrack cues to “Blue”, which transforms the hectic monotony of the club into something otherworldly, mysterious and evocative. I haven’t seen the movie in decades, but watching the clip below today, I can’t help but notice a bit of metaphor at play, regardless of how cheesy and dated the scene in the film truly is. I suppose in a way, my mix signals a personal transition from the direct ecstatic energy of tour life into something more mysterious and intimate.
2. Geo Taguchi - Deep Blue (Coymix, 2023)
The second track is “Deep Blue” by Geo Taguchi. I wasn’t sure of the song title when I fell in love with the song, so I was delighted to discover the synchronicity between the name of Geo’s song and Bud Latour’s “Blue” when I was working on the set list. I practiced a lot of different blends out of LaTour during my sessions leading up to the recording. I didn’t expect the blend with Taguchi’s track to work as well as it did because Geo’s chords are not technically speaking in a complimentary key with Bud’s, but using the drum break in “Blue” to accomplish the blend meant I could switch musical keys in a natural way while using the similarity of the pads to bridge the two tracks. Geo’s song is beautifully produced and arranged. The guitar part foreshadows Way Out West’s “The Gift” which appears much later in the mix.
3. Caldera - 30 Friends (Freude Am Tanzen, 2022)
Track 3 titled “30 Friends” is by one of my favorite producers Caldera, whose music also appears on Part 1 of Mystery of the Motherbeat under his alias Loop LF. One of my favorite aspects of recording Part 2 was to go back and listen to every track produced by the artists on Part 1 to catch up on what they’ve been up to over the intervening years. I had no idea Loop LF was producing and releasing a lot of music now as Caldera, so I had been missing out on a wealth of amazing new tracks by the artist.
A question we should all probably confront is why we stop listening to our favorite artists. Do we get caught in the stream of “newness” which infects our music listening practices? Do we not spend enough time researching and maintaining our loyalty to that which we truly love? Do we internalize in damaging ways the futurist capitalist press points that ultimately push someone else’s idea of what is relevant when we should just use our ears? Do we make the mistake of caring what others think of our tastes when the only thing that makes our taste worth sharing is our unique perspective and connection to certain artists? I am not immune to the fast-paced stream of ever-changing dance music, but I try to maintain my grounding despite it by nurturing my interest in many different styles and genres and staying loyal to the artists I love.
Here are a couple of recent records by Caldera that I think are really special:
And an all time favorite by Loop LF on the venerable Well Street Records:
4. Y.M.C. - Subway (Yoshitoshi Recordings, 1998)
The fourth track on the record is by Y.M.C. on Yoshitoshi. I bought this record at Chicago’s legendary Gramaphone Records in 1998 but only rediscovered it in my storage unit a year or so ago. Full disclosure, I have over 7,000 records in my collection, so going to my off-site storage is a little like going record shopping. The shelves are organized by year, so I go out there and “shop” through my collection every few months to locate records I remember and rediscover ones that exist only in the back of my mind and in the recesses of memory. I was rather obsessed with this Y.M.C. recording when it was released because it had a unique and smokey deep vibe that still makes it really special to my ears.
5. Brian Tanseau - Relativity (Carl Craig Urban Affair Dub) (Deep Dish, 1993)
The fifth track is by Brian Tanseau on Deep Dish Records, which alongside Yoshitoshi was a label founded and executive produced by Sharam and Dubfire from Deep Dish. Eventually Dubfire and Sharam would be associated with people like Ritchie Hawtin and a dark, kind of clubby minimal vibe, but they made some unparalleled emotional house music in their early days and both labels released some of the most forward-thinking club music of any time period. Brian Tanseau would find fame as BT, but it is the Carl Craig remix of “Relativity” that is in my opinion a timeless classic. Carl Craig was making some of the most evocative and creative house music around this time period (see an example of his 1993-1996 era productions below), and his remix for BT is just one example. All the loops and drums are really loose and not on the grid which makes it kinda tough to mix but really magical to dance and listen to. It would be no great surprise that Carl would eventually move into working with chamber music and live ensembles.
6. Satoshi Tomiie - Un Peu (Abstract Architecture, 2023)
The sixth track by Satoshi Tomiie is called “Un Peu” and was released last year. Tomiie is a household name in house music circles, being a pivotal member of the DEF MIX production crew alongside Frankie Knuckles and David Morales. His song with Frankie, “Tears” is considered by many to be one of the greatest vocal house classics of all time. My favorite Tomiie classics are a dub he did for his side project Shellshock in 1996 (not on YouTube) and his beloved “The Theme” under alias Loop 7 .
Oftentimes, whether we can admit it or not, we want our favorite artists to stay the same because we love X or Y thing they did and want them to continue investing their time into that idea or sound. But the simple truth is artists don’t stay the same and it isn’t healthy for them to do so. I was delighted when I found that Tomiie has been delving headfirst into his love of dub and dub techno. The IG posts from his studio clued me into what he was up to recently and I couldn’t be more enamored with these hypnotic and slowly churning tracks, which is why I also included his song “Proody-106” towards the end of my mix.
The Terrance McKenna sample is actually something I dropped over the top by beat-matching the intro of an acid record my friend DJ Justin Aulis Long gave me years ago that I really love playing and/or using as a DJ tool (“DMT” by Dissociō Modus Trāns).
7. Edmondson - On & On (Lissoms, 2023)
Edmondson is an artist I fell in love with after his remix in 2018 for Christian Tiger School, which appears on Part 1 of Mystery of the Motherbeat (2018). For Part 2, I included “On & On”, which I slowed down to emphasize its deep groove. In addition, I used my collection of drops and scratches to orchestrate some wind and birds onto Edmondson’s gorgeous tune, the idea being that although the song is made with technology, its vibe is intimately connected with nature and spirit.
8. Cris. P. - Lemon (Psy Section, 2021)
“Lemon” by Cris. P. is a featured track on a compilation fittingly titled “The Very First Real Magic”, the first release by Australia’s Psy Section records. What do we mean when we talk about magic in the context of the modern world? I think we talk about the power of certain aspects of life that retain a sense of true mystery. How is it that pressure waves of vibrating particles (music) can make us feel love, make us cry, help us process emotions and memories we can’t put words behind? How is it in a rational world that synchronicities guide our lives by signposting our friendships and some of our most powerful subjective experiences? The “magic” of raving has to do with recognizing the difficult-to-define relationships between the music, subjective experience, our intentions, chaos, and togetherness.
9. Dream Cycle - All the Things (Idle Hands, 2021)
For me personally the producer Dream Cycle is an era-defining when it comes to modern UK rave breaks and bass culture. Octa and I both have collected all their releases. Although the music’s roots are obvious the creative result of the work is anything but predictable. Dream Cycle’s releases for Sneaker Social Club somehow sound utterly futuristic and refined while also having a raw textural vibe that is deeply rooted in UK rave history. The producers's output has slowed down over the past few years so I was very excited when I discovered this 2021 release for Bristol’s Idle Hands, one of the best record stores around. Much to my sadness the shop closed its doors as a result of the pandemic and other factors. It is a true loss to the community. If you are looking for more recent output by Dream Cycle, check out their killer remix of Edmondson’s tune “Saturdays” Flamingo Tripper Revisited, which came out on Lissoms last year.
10. Yaw Evans - Only Spirit (GD4YA, 2022)
Yaw’s music is the only music I discovered on this mix as a result of a digital algorithm. Youtube recommended “Only Spirit” to me one day and I was blown away on the first listen. Everything Yaw makes is very unique and captivating. His IG documents his creative process which is a mix of creative sampling and modular synth jam sessions. I love trains and train songs so much, so I was instantly drawn to Yaw’s use of a train field recording in “Only Spirit” to add a sense of tactile time, place, rhythm, and emotion to his deep and heady production. I couldn’t resist doing my now classic “hawk” scratch at least once on this mix, which appears at the end of a breakdown in “Only Spirit.”
Below are some other tracks/remixes on wax by Yaw that I think are great:
11. Todd Edwards - Winter Behavior (iRecords, 1995)
I tried mixing a lot of songs out of “Only Spirit” before I settled on “Winter Behavior.” Nothing else was advancing the mix in a way I found compelling. Analyzing the blend in retrospect, it is only fitting that proto-UKG American house producer Todd Edwards would make the perfect tune to compliment Yaw’s thoroughly contemporary post-UKG approach to UK Bass Music. The drone pad and skippy rhythm in Todd’s track imbues it with spiritual energy and connects it with the musical themes in Yaw’s song. In addition, I have a personal subjective connection to the theme; the idea of creativity as a kind of “Winter Behavior” was a perfect fit with my effort to commit a cold January in New Hampshire to recording Part 2 of a five year old mix. If you listen carefully you can hear that one of the voices says “winter” (sounds like “winter-er-er”).
12. Toka Project - One Day (Filter Flow, 1999)
I have a small collection of Toka Project records from the late 90s, starting with their gorgeous “Be Free” EP for Chicago’s Guidance Records and their “Time is Up” EP for Earth. I really dig how the production team blends soundscape-like atmospherics with proper underground house drums and bass. The group are from Nottingham but have a sound very much rooted in an American house tradition. I must admit that my copy of the record is in terrible shape. It was in a flood 20 years ago and I was only able to clean the mold off of it when I got a VPI HW 16.5 Vacuum Record Cleaning Machine a few years ago. The damage to the grooves was done, but I couldn’t let that stop me from including this special song on the mix. I used the voice in the breakdown (“I won’t let you down”) as an opportunity to (hopefully) in a natural sounding way slow the BPM down a few notches to get ready for the blend into “Fractal Zoom.”
13. Brian Eno - Fractal Zoom (Mary’s Birthday Mix) (Opal Records, 1992)
I bought Brain Eno’s “Fractal Zoom” release originally as a CD single in 1992. Although Eno is famous for his contributions to electronic music I didn’t know his work at the time (I was 17 years old). I bought the CD because I liked Moby and he did several remixes for the Maxi-Single, “Mary’s Birthday Mix” among them. I found my old CD in the fall of 2023 and subsequently bought a vinyl copy on Discogs after becoming obsessed with the release again after more than 30 years of it lying dormant in my collection. I used the vocal intro from the song to do the mix out of Toka’s “One Day.” I had to practice the mix a lot to get the filtering right but I am so happy with how it turned out in the final recording. Here are words which Moby arranges like a mantra:
“Lie
Endure
Recline
In a separate time
On a different plane
Slow
There
Reply
In a separate time
On a different plane”
14. Thurlow Joyce - Varial (NAFF, 2023)
I found “Varial” through a Phonica IG post and immediately bought two copies. I’ve probably listened to the track over a hundred times. Thurlow created something truly special with this recording and the record as a whole is excellent—it is favorite around our cabin over the last months. To orchestrate the long unfolding arrangement I used a drop from a DJ Rectangle battle record, which is a repeat of the “fresh” sample filtered like a whisper and autopanned between the right and left speakers.
15. Hoodwink - Trip From The Hip (Mute, 1997)
MUTE has been a favorite label since I dubbed my first Depeche Mode tape in 1986 from my friend’s awesome older sister. Mute was founded by Daniel Miller, the genius behind the group The Normal and the A&R responsible for platforming countless electronic groups, from the pop of Depeche, to the industrial music of Fad Gadget, and the experimental rock of Bruce Gilbert–-just to name a few. For my fellow bin diggers, yes, Novamute, the seminal techno and trance label from the mid to late ‘90s is a MUTE sublabel.
I’m not exaggerating when I say I have hundreds of MUTE recordings in my collection, but in all my years of digging I never stumbled onto “Trip From The Hip.” It was my music pal Daan from Tale of Bus, a mobile private record buyer based out of Amsterdam, that put it in my hand and told me he thought I would love the record. Was he ever right!! It doesn’t get much better than this track in my opinion. The mix of big beat, breaks and bassline is irresistible and it is rather incomparable sound-wise. It is one of those rare tracks I wish I made.
16. The Heavyweight Kru - The Drea-mm (Not On Label, 1999)
“The Drea-mm” is a really special bootleg mix by The Heavyweight Kru of the classic Prana tune “The Dream” which is in fact an early Deep Dish production. The original by Prana is very well known but this bootleg remix is rare indeed. I ordered the record on Discogs years ago for cheap because of the tune on the flip, “Bad Ass Bass.” That song featured heavily in my sets in 2019 and 2020, but I was delighted to find the version of “The Dream” on the flip. This 2-steppy boot remix is pure magic and I got very excited at how smoothly it blended with “Trip from the Hip” and the cut that follows it, “Prang.” Mike Millrain, one half of The Heavyweight Kru alongside partner James Clyne, is the singular force behind Ruffneck Revival (see tracks 27 & 28 below), which I didn’t realize until I was doing the research for this journal post.
17. Perko - Prang (Numbers, 2023)
Perko is the alias of producer Fergus Jones, who wrote “Prang” with producer Huerco S. I was instantly drawn to the delicate, wonderfully programmed drums and the gorgeous atmospherics of this evocative song. I slowed the track down about 7 BPM which thickened the bass even more (for those who don’t use decks, note that there is no master tune on a turntable, so making something slower always makes it more bassy and less bright). Also the pitch adjustment down gives it a heavier chug and time for even more space between the skipping drums.
18. Way Out West - The Gift (album version) (Deconstruction, 1997)
When I was creating playlists for the mix I was completely unaware that “The Gift'' was such a huge track for Way Out West. The Youtube video I added to my private “Mystery of the Motherbeat Part 2” playlist has four hundred and seventy-seven thousand views. It is a great song with so much heart and love, and the wandering bassline is really sick. It is a love song about nature so I thought it was perfect for this mix. The version I played is the album version from their self-titled 2 disk first album.
19. Anunaku - Celeste (WHYT, 2023)
The track “Celeste” by Anunaku (Guglielmo Barzacchini) is a standout from their full-length album titled “063,” one of my favorite full-length 2xLPs of 2023. The way the vocal floats over the breaks and atmospherics is surreal and sounds amazing on a system. I picked up the record in Tokyo and played it for the first time during my back-to-back with DJ Nobu at Rainbow Disco Club.
20. Head High - Break Away (Power House, 2023)
21. Kenny Dope - Tom Beat (Dopewax, 2005)
This tune under a Shed alias was a highlight for many a DJ and dancer last year. I really like the song and felt it fit the mix, but I wanted to give the rhythm section a little spice, so on top I layered Kenny Dope’s “Tom Beat” from one of the many beat tool records I have by him. I think the “Tom Beat” adds a welcome shuffle in the midsection of “Break Away.”
22. S.R. - Dosemeter (Ruffset Records, 2022)
S.R.’s “Dosemeter” is the ruffest tune on this mix but I feel the atmospherics make it very earthy, psychedelic and uncanny in the best way. My favorite DJ doubles tricks on the mix are with this track. I couldn’t help but add the “ARE YOU?” with my second copy at 1:44:03 and to juggle the beat a few measures before.
23. Knopha - Corundrum (Mood Hut, 2023)
I picked-up Knopha’s “Corundrum” at Transition Records in Adelaide, Australia in December 2023. Knopha is from China and released their Kwong EP on Mood Hut, a Canadian label. I wasn’t sure about buying the record at the shop, not because I didn’t like it—to the contrary—I was simply running out of room in my bag and new records are expensive in Australia. But I knew it was a special piece of music so I stuffed it in my luggage for the trip back to North America, a return for both me and the record. It is an instrumental track so I dropped in an acapella during the breakdown and made some swirly sounds with a decks ‘n’ effects tool.
24. Molen - Molecular Machine (Flight Mode, 2023)
I picked up Molen’s “Molecular Machine” on Juno. I am always keeping an eye out for special new breaks records on Juno because they get a lot of small run records I simply know I won’t find elsewhere. Molen (Emiliano Bermolén) is based in Montevideo, Uruguay. I loved this acid break from first listen and also like other tracks on the EP, including “Emotion Engine” below. Last time I checked the release, titled “Forbidden Techniques,” is a vinyl-only project.
25. Satoshi Tomiie - Proody-106 (Phonogramme, 2023)
“Proody -106” is great and I thought it blended nicely with “Radical Noise.” For more context see my comments about Satoshi’s other track above.
26. DJ Tonka - Radical Noise (Force Inc., 1995)
“Radical Noise” represents DJ Tonka at his most ethereal and magical. I used to play this track at loft parties and undergrounds in the late 90s in Chicago—so much so that I had to buy a second copy in order to put it on this mix. The track is a favorite in my collection and comes out with me on tour periodically. I like to think of the enterprise of DJing as a kind of “Radical Noise,” so the track has always featured in my sets as a declaration of sorts and a two word manifesto.
27. Ruffneck Revival - My Knight VI (Not on Label, 1999)
28. Ruffneck Revival - My Knight VII (Not on Label, 1999)
“My Knight” is a late ‘90s unauthorized remix of “My Superhero” by The House Crew. When I heard the vocal for the first time I internalized the idea that the vocalist is singing “you can be my night” which for me is a more interesting lyric since night is coterminous with mystery and isn’t a gendered noun. However you want to interpret the lyrics, “My Knight” is a beautiful song. I blended the intro from Version VI in order to mix out of “Radical Noise” and then cut to Version VII at the end of the first breakdown. For me personally this rearrangement builds more tension because the vocal comes in much later in Version VI than it does in Version VII and I like the bassline in Version VII more than the bassline in Version VI.
29. Transformer 2 - Fruit of Love (Profile, 1992)
“Fruit of Love” was the follow-up to Transformer 2’s hit “Pacific Symphony.” I played the song for Maya as we closed a very emotional set in Mexico City at an EXT warehouse rave. At home, we had made love to the song while it played from a Youtube playlist but she didn’t know I purchased the record. The surprise of hearing it on the system made her cry. In terms of meaning, the good things we all create together are the fruits of love, so I thought the track was a genuinely emotional way to bring closure to the mix. I really like how the bassline from “My Knight” blended with the intro to “Fruit of Love.”
30. American Freedom Train - Cab Ride (Soundbird, 1975)
I am obsessed with field recordings of trains and so-called train songs. I collect both types of recordings and feature these records as frequent motifs and musical metaphors in my sets. The rhythms and whistles of a train are deeply musical and remind us that music is all around us, even in our machines. They symbolize inevitability among other things.
31. Way Out West - Earth (Deconstruction, 1997)
“The surface of the earth seemed changed
Melting and flowing before my eyes”
“Earth” by Way Out West is the coda to the mix. Even though we are each capable of love and compassion, and even though the earth is stronger than we think, she is also changing because of our indifference to her and our cruelty to each other. We can experience joy and so much more in the music but we must not indulge too much in the idea of it as an escape, and instead let Motherbeat imbue us with a sense of responsibility. At least that’s how I interpret a song like “Earth.”
💙 so good
🫶 pt 2 has been on repeat as needed - many thanks and appreciations 2 U for the mix and the breakdown 🫶