This mix is a sonic weaving I made while thinking about the bath, about water and the dream state that is so accessible through water. Enjoy. Love, Eva.

music for... hallucinating in the bath - Eva J

Now this is something special: While our mixes normally aim at an average length of one hour, Pingipung artist (Mameen 3) and veteran leftfield selector soFa elsewhere presents almost 3,5 hours of pure joy. Here is what he says himself about this beauty:

"This collection of tracks has been inspired by a psychedelic trip near a lake in Portugal last year. It's meant to be the soundtrack of a sunny and funny afternoon of visual hallucinations and much laughing somewhere near water. Along the way it will also serve a normal day of holidays in the sun. Sip a cocktail near the beach and let yourself fade away with this magic tropical potpourri. Expect oddities from the most diverse corners in time and space."

https://soundcloud.com/sofaholic
https://www.instagram.com/sofa_elsewhere
https://www.facebook.com/DeejaysoFa

Up next: Alisa Berger

Pingipung Podcasts

Pingipung Podcast 153: soFa elsewhere - Music To Have Mushrooms On The Beach

From Oakland with love comes the 50th submission in the mix series comes by the hand of prolific producer and deejay Space Ghost (@space-ghost-1). Interview (excerpt) down below.

www.musicfrommemory.com 

MFM: Hey Sudi. How's life in California, what's been keeping you busy?

SG: Hey, not much! Just trying to enjoy the summer with friends and get in the studio when I can.

MFM: Looking at your discography it seems that you favor the LP over the EP format, having released well over a dozen albums. How come?

SG: I can’t say that I favor one over the other, just seems that as a musician you strive to write full length LPs. I enjoy LPs for home listening and it feels good to create a nice body of work that flows through a journey. Writing dance singles and eps are trickier for me. It feels harder to write 1-4 really good stand alone songs.

MFM: With such a prolific output, does writing music come easily to you? Can you tell us a bit about how you go about writing and recording, is there a certain flow or method?

SG: Hmm I wouldn’t necessarily say it comes comes easy but I’ve definitely gotten a lot better at getting ideas in my head out into my recordings. It’s still a process of getting into the studio and spending time on it. Sometimes I can spend a whole day or two just spinning my wheels and not being able to get my ideas out. But once I get that perfect dose of creativity and I’m in the right mood, then things can definitely start flowing out. When writing music I often need to start with a very specific idea based on a song I’m listening to at the time. It’s helpful for me to start out with that initial inspiration, whether some chords, style of drums, bassline or a tempo or something. Once I get a few elements working around that idea the song can start to morph and move in any direction, but I really need that specific direction to start. I find that I can often make a rudimentary idea fairly quickly this way and then if it’s inspiring me, I’ll start to try a little bit harder and flush out more of the idea.

MFM: How do you cope with not being inspired or motivated when in the studio?

SG: Honestly it can be a bummer to be in the studio and the ideas aren’t flowing. I’ll just have to step away and do something totally unrelated for a few days.

MFM: Your sound overall has a very soft and melodic touch. The mellow part may be from living close to the Pacific and nature, but where does the melodic part come from? Did you ever learn how to read and play notes?

SG: You know I’m really not sure if I can pinpoint my melodies and where they came from but ya I grew up taking music lessons of all sorts. Piano, drums, guitar, band class, all that stuff. I wasn’t the best at reading music, I learned basic stuff but eventually didn’t progress much farther. Now everything I do is by feel.

MFM: Is there some kind of masterplan for Space Ghost? Like, do you have certain goals to achieve or dreams to chase?

SG: I think my master plan would involve me getting to focus on writing music full time. Honestly I’m not really sure how to get there specifically, seems like everyone gets there on their own path so hopefully mine will end up there as well.

MFM: Tell us about the mix. How did you go about selecting and recording it? Does it have a certain theme or idea to it?

SG: I’ve been wanting to put out a nice lil ambient sort of electronic mix for awhile. Really soft deep introspective vibes. I’ve been holding on to a lot of these tunes for awhile and just listening to my playlist of ambient tunes while traveling or relaxing with friends. After coming back from my NZ/Australian tour, I was ready to play some non dance music for a sec and listen to some other stuff. This mix is just a nice break from DJing a party. I also really want to make an ambient album soon if I have the time, so there are a lot inspirations in this mix.

MFM Mix 050: Space Ghost

Mix of the Week #551 is by Matt Cowell
Follow and include @matt-cowell in your track ID requests

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Dream Chimney 'Mix of the Week'

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Mix of the Week #551: Matt Cowell

Recorded live at Studio DB, Berlin, 22nd April 2025

Steffen Sennert: sax, keyboards.
Federico Narracci: keyboards, drums, effects.

Glass (live)

Spire Revelations by Cloudy Samples is an inspiring soundbank for Reveal Sound's Spire, designed to elevate your productions with a rich palette of emotive and atmospheric sounds. Crafted with chillstep, chillout and ambient in mind, these presets seamlessly adapt to any electronic genre that demands depth and character.

Inside, you'll find a generous selection of lush pads, expressive pianos, airy plucks, warm basses and captivating leads, alongside an exceptional collection of vocal presets that add a human touch to your music. Each sound is carefully programmed to provide instant inspiration, whether you're building dreamy soundscapes, cinematic atmospheres or melodic hooks. With this soundbank, every note becomes a journey giving you the tools to turn ideas into immersive sonic experiences.

Please Note: To access these presets, you need a Reveal Sound's Spire.

Features:
- 32 Pianos
- 32 Vocals
- 28 Pads
- 18 Plucks
- 10 Leads
- 8 Basses
- 128 Total Spire Presets & Soundbank

Spire Revelations

Alex Albrecht (Albrecht La'Brooy)with an hour of ambient selections on NTS London

Alex Albrecht - Analogue Attic Radio at NTS London 11.07.17

I'm back from the land of believable make-believe. 
Up the dosage, spin yourself a cocoon before the sun goes down, take a deep breath and connect your face to your feet. 
Check out the 'Sleep Mix' Spotify playlist for individual tracks from this one and many previous Sleep sessions. 
https://open.spotify.com/user/vonparty/playlist/7rGKOI3JXwbLi0woqh44JQ?si=IMLd-XYpQO28v_90EEAWwQ

Sleep Mix Volume 13 (Mixed By Dreems)

Bartosz Kruczynski (Earth Trax) - SANPO 138

It's with great pleasure to welcome long time dear friend Jonny Nash (@jonnynash) who in 2019 released 'Make A Wilderness' with us (MFM037). Interview (excerpt) down below.

www.musicfrommemory.com

MFM: Hey Jonny, welcome to the series. So, it's already been over a year ago since Make A Wilderness came out. How do you look back on that now? 

JN: In many ways Make A Wilderness marked the start of a new chapter for me, the first steps into new territory - a wilderness you could say! That record was really about exploring a simple question - what kind of sounds resonate with me, and why. I think the record was primarily an exercise in sound, and not necessarily in arrangements or songwriting. I felt it was necessary to open the doors to new sounds in this record, and I feel like I got pretty close to creating the album that I wanted to make. 

MFM: You went to different places to record specific instruments and in certain environments. Why? 

JN: It took me a long time to make the record, not in terms of actually writing the music, but determining what the instrumentation should be. I wanted a finely balanced mix of alien, unfamiliar sounds and organic human sounds, to somehow express a feeling of “ancient future”, the sense of floating in some timeless space that could be millions of years in the past or in the future. I found that the Cristal Baschet, was perfect for expressing this feeling of “deep time”. Capable of beautiful harmonics and also wonderful atonal textures, it was a central part of the album. I contrasted these sounds with familiar instruments such as piano, vibraphone and voice. It was very important to have some sparse elements of voice in the record to somehow keep it grounded on earth. 

MFM: Have you always been that interested in sound and sound sculpturing?

JN: Well, I’m a naturally curious person and I think my brain and also my ears are always developing and learning new things. I think that I am able to hear sound in a different way than I did a few years ago. A big switch from focussing on melody as the dominant element that catches my attention. Of course, melody is still a central element for me but I now spend alot of time thinking about timbre, the colour of the sound and how the distinctive character of a sound sits in context with other sounds in a given composition. New ways of hearing influenced the record and took me to a place where “sound sculpting” was of equal importance as deciding what chords and melodies to choose. 

MFM: You mentioned earlier that the past couple of months your label Melody As Truth got a lot support through digital sales. Does that have effect on your label vision and strategy?

JN: The switch towards digital and especially streaming does undoubtedly have an effect on how I think as a label owner. It is pretty clear that this is an important area of growth and although there are lots of issues with certain platforms and revenue models, I find it important to keep on top of what is going on and try to adapt. In the future I can see the label experimenting more with digital only releases, I think there are interesting areas to explore here. Quiet dynamic music cut on vinyl in 2020 often sounds worse than a WAV file to my ears. I also buy hardly any vinyl myself these days, it is expensive, taxing on the environment and often a form of object fetishism. The other side is that a physical object looks amazing, can sound great, gives full importance to the artwork and design, can be treasured and won’t be lost. So a physical object is almost like an insurance policy for not losing the music too. I guess I’m sitting somewhere in the middle.

MFM: Thanks for contributing your mix. Can you tell us a bit about it?
 
JN: The mix is pretty much a selection of music I have been enjoying or discovered this year. A few older favourites too. I had no idea except to make something that I would enjoy listening to whilst having a walk or reading in the morning.

MFM Mix 020: Jonny Nash

For our second installment of the Musik Mix series we are joined by 5ive from japan and Samo from Sweden in a remote joint effort.
Tupplur simply means - to take a nap in swedish. 
Taking an afternoon nap is happiness!

artwork by Tobias Centerwall

Sattaoja Musik Mix - Episode 2-  5ive & Samo - TUPPLURS MIX

https://dreemsdreems.bandcamp.com/
"Dreems’ hypnotic reveries strain and pulse against the restrictive meta-thongs of contemporary lifestyle living to offer a pan-globo soulstyle for our times. His impression of psychedelia is expressive. And the expression on your face of the impression it leaves....impressive."  - Man on Mushrooms, 2013.

Sleep Mix Volume 13 (Mixed By Dreems)

Dreems...