Name: Melody As Truth w/ Suzanne Kraft x Jonny Nash @ Dublab.de by Melody As Truth
Duration: 2 h 20 s
Description: Suzanne Kraft & Jonny Nash playing records at the Dublab.de studio in Cologne, July 2017.

i like you very much)) интересненько

SPIRITUAL OBJECTS RADIO EPISODE 11 W/ PHILIP SHERBURNE

for Dazed Digital, 2012.&#13;
<p>&#13;
Errol Reid - Dream 2&#13;
The Art of Noise - Camila&#13;
Cos/Mes - Slow Jam #2&#13;
Audio For Movement - Hymn of Praise&#13;
Nick Anthony Simoncino - Red Zone&#13;
Janet Jackson - Miss You Much (Oh I Like That Mix)&#13;
Pharaohs - Island Time [fast]&#13;
Jus' Friends - As One (Remix Dub)&#13;
Esther - Got To Go</p>

Make-Out City mix

https://undertheapricottree.net/sarita/

@saritaryan

"During the peak of the pandemic, I lived on a mountain with friends. Since we couldn't travel, we imagined other places by listening to music from all over the world. This mix is a homage to that time - despite its difficulties, these remain precious musical memories. The mix brings together gwoka, spiritual jazz, afro funk, Afro Cuban rhythms, balearic, and ambient sounds. It's designed to be listened to in nature or quiet places, alone or with friends. 

Tracklist:

1. Vangelis - We Were All Uprooted
2. Kiyoshi Yamaya, Kifu Mitsuhashi - Nanbu Ushioi-Uta
3. Ritual Trio - Africanos/Latinos
4. Emboule Jean-Claude, Louison Gerome et Le Groupe Kako - Enjafann Kann
5. Groupe Béloka - Menm Chimen-la
5. Amara Touré - Cuando Llegare
6. Ayala - From Africa
7. Stella - Détends-toi (Dub Mix)
8. Sheila Chandra - The Awakening
9. Mary Lattimore - Wawa By The Ocean"

Under The Apricot Tree

Apricot 42: Sarita

nts.live/shows/luke-mele

CRISTINA MAZZA - LAST WALK WITH OSCAR
FUUTBUTSUSHI - BOLTED ORANGE
THE ZENMENN AND JOHN MOODS - THE INVISIBLE LANDSCAPE
JULIAN KLASS - APRIL 5TH
LEMON QUARTET - SLANTED BLUE
YOSHIO SUZUKI - KANE
NALA SINEPHRO - SPACE 2
ALBERTO LIZARRALDE - PLEGARIA
GREEN-HOUSE - PARLOR PALM
ERNEST HOOD - NOONDAY YELLOWS
STEVE TIBBETTS - START
KEVIN MCCORMICK - MOUNTAIN TOPS 
BADSKIN - SUPERMAUVE

NTS Radio March 15 ('23)

PAMMIX009 (2013) "DO AS THE CORNBEEFERS DO" DJ NOZAKI

CHEE SHIMIZU - SANPO 024 - REFLECTION WAVES

Back by popular demand: Tako's wonderful Holiday Mix!
Here's what I wrote 7 years ago:

I was about to post this beautiful summer mix of Tako with the following words:

"What do you expect from a mix when it's done by a supernice guy with an excellent taste in music and a wonderful record collection? Yeah and that's exactly what you get here. Also make sure to get a copy of the first 12" of the Sombrero Galaxy, released on Lovefingers long awaited ESP Institute. Sombrero Galaxy is the collabo between Tako and Jonny Nash and their "Journey to the center of the sun" is one of my favourite releases of the last years, cheers!"

That was yesterday. In the meantime something terrible happened. Tako's friend Petros Malevis from Athens passed away without a warning. This mix is dedicated to Petros! He will be missed. Rest in peace, Petros.

Tako - Holiday (Guest Mix, 2010)

Suzanne Kraft & Jonny Nash playing records at the Dublab.de studio in Cologne, July 2017.

Melody As Truth w/ Suzanne Kraft x Jonny Nash  @ Dublab.de

01 — Nilton Castro — Ondas (Les Vagues)
02 — Arrangement — Coconut Mango
03 — Harry Case — Air Dancer
04 — Roedelius — Wenn der Südwind Weht
05 — Hiroshi Yoshimura — Kotoritachi No Kafe (Café)
06 — David Sylvian — Answered Prayers
07 — This Mortal Coil — Barramundi
08 — Manual — Open Skies
09 — Interior — Park
10 — The Durutti Column — Lullaby 4 Nina
11 — Yoshio Ojima — Biodome
12 — Yoshio Ojima — Sealed
13 — Tom Kazas — Vision of Serenity

Leonid Treskunov - SANPO 165 (Lockdown Series)

For the August edition we've invited Donna Leake from London who handed over a high spirited 2 hour mix. Interview (excerpt) down below.

www.musicfrommemory.com

MFM: Hi Donna, welcome to the series. How's your day so far? Does your day normally involve music from the moment you wake up?

DL: Hi. Thanks so much for having me. My day so far has been real sweet. I woke up at 6:30am and all I’ve done is make coffee, listen to and dig for music, draw and paint. It’s now 13:30. Not every day is like this though! 

MFM: Before lockdown, was DJing the only thing that brought food on the table? How is that now, did you revise your approach or strategy after the whole live events scene collapsed?

DL: Yes it was the only thing bringing money in and turned out it was one of the main things keeping my soul full and my spirit high. So I’ve had to re strategise a few areas of my life recently. I haven’t come up with anything solid yet, I’ve always just gone with the wind. But I think now there is a sense of urgency to save myself getting into more debt because of this! But I did gain something massive and far more valuable than money since losing it, a new perspective as to what it was we were doing and what I was a part of. I now appreciate the beauty of people making the effort to gather and listen and share music together and the industry and all it's efforts more than ever. I always had thanks, but I guess you can really check in on something more closely when you stop and look at it from the outside.

MFM: Do you then also feel positive about the future of nightlife and culture?

DL: Yes I feel positive about it. The force of music is so strong and what it does to people is unstoppable. It may take some time and maybe it will change, but that might even be a good thing. We all got an opportunity to check in with ourselves and stop and even though this was a disaster for the economy and the effects of that will last a while, the essence of art and music have nothing to do with money and that’s where it should restart. If anything it might have a wonderful impact. Art can sometimes be richer if we’ve been through some heavy experiences. 

MFM: What in your opinion actually makes a DJ stand out?

DL: Most importantly, and this probably applies to everything, I think is to be yourself which will naturally be unique if you are able to harness your true essence. I know that sounds obvious but it’s often a journey to feel as though you know or to find yourself, but I think being true and present in every moment of that journey is how you’ll be able to tap into what’s unique about what you do. Being fully present and playing with the times whether that’s trying to express what's going on inside you or a response to what’s happening in the world. Also not to think but feel your way through. This will often be more accurate since our heads are pretty full and busy! Authenticity and truth can be applied to any taste and style. For me I like to go on a ride with twists, turns and surprises and hear a story with a variety of feelings from the lowest to the highest, but keeping it coherent and without being too much of a mess. Although a bit of mess is all right too!

MFM: Thanks a lot for your contribution. Can you take us through your process of recording mixes?

DL: I would say all of the above is the general process for any mix, or at least as much of this as possible is considered. But since recording mixes is the only way I’ve been sharing music recently and I’ve made so many, I have started to try to give each mix more of a focus. For example one I did recently was called music for chess. And this mix has a particular focus on psych. This is because I can feel summer ending is just around the corner and it’s been the most hazy, mind bending, deep, confusing but colourful and dream like summer I’ve ever had and I’ve never felt so inside and removed from my head and the world at the same time as I have this summer!

MFM Mix 019: Donna Leake

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.

Melody As Truth w/ Suzanne Kraft x Jonny Nash @ Dublab.de

Melody As Truth

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