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© 2024 Music From Memory

musicfrommemory.com

MFM071 Total Blue - Total Blue

MFM069 Dead Sound - Into The Void

MFM072 V/A - Virtual Dreams II - Ambient Explorations In The House & Techno Age, Japan 1993-1999

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© 2024 Second Circle

SC021 H.A.N.K - The Big Melt

MFM074 Suso Sáiz - Distorted Clamor

While dropping their self-titled debut LP with us in August, Anya and Izaak from Loveshadow (@loveshadowdjs) were kind enough to also record a lovely mix and answer a few questions. Interview (excerpt) down below.

www.musicfrommemory.com

MFM: Hi Izaak and Anya, nice to have you on board. Both living in Bay Area, how would you describe your daily surroundings? Is it a nice place to be as an artist?

LS: Right now we live in SF. We grew up one town away from each other near the airport, though we didn’t meet until much later. The landscape is inspiring for sure- we spend as much time as we can out in the parks and wild areas and draw a lot from that. The art and music scenes here run deep, though the cost of living and of course covid have made things tougher.
 
MFM: The songs on your debut album as Loveshadow -which will be out in August- sound incredibly fresh where they also remind to certain pop, boogie, funk and even house from the mid and late '80s. What were some of your main influences for this project? 

LS: Thanks! We have to mention the UK act Fashion after whose song we named the group, but our tastes range all over. You could say that Loveshadow is kind of a lap around the 80’s prehistory of today’s dance music, when things were still firmly rooted in pop songwriting but had a simultaneously psychedelic and funky sensibility- one that grew out of dub/disco/punk counterculture. Getting more serious about learning the records at the roots of the whole thing allowed us to see how we might contribute something new to it in a way that was more than a style exercise.

MFM: Of course also the use of specific instruments ad up to that flavor - it seems that for example the Linndrum plays an important role. Did you aim for that sound and gathered the instruments around it, or the other way around maybe?

LS: We had an overall idea in mind that definitely informed the instrumentation but we’re not purists. A lot of the sounds on the record are replications of or deviations from the iconic originals. Those famous drum sounds in particular are like symbols, they impart a particular meaning and we use them to set a mood.

MFM: What's the dynamic between the two of you like in the studio? Is there a certain steady structure or does this change all the time? Maybe you could tell a little about your writing and recording process?

LS: It changes all the time- we’ve lived and worked in so many places separately and together since we started recording. Either one of us might come up with an idea that we’ll design sounds around, demo, arrange, and then throw it all in the trash and start again. Most of the songs on the record have had a few lives.

MFM: It feels that the music from the LP could work really well live on a stage too. Are there any plans for you to go touring? 

LS: We’re going to play a gig in Detroit later this summer that will be sort of a test run! After that, we’ll see. The project started out as an interest in records and recording, but anything’s possible.

MFM: Thanks a lot for contributing! It seems you quite regularly record a mix. Have you both always been busy collecting and sharing records? 

LS: Our pleasure, thanks so much for asking us! We’re always looking for new music. Sharing mixes online has helped us organize our favorites but playing parties is the best. We were gigging around before covid and we’ll hopefully get back to it as things continue to open up. This mix is definitely on the hype side of things- new digs, old favorites, some edits, tunes pals graciously sent our way, and what we’ve been dancing around our apartment to while we were stuck inside.

MFM Mix 030: Loveshadow

From the forthcoming compilation "Gigi Masin - Talk To The Sea" 2013 © Music From Memory

Gigi Masin - Call Me (4:24)

Please meet London based DJ and producer, former Cafe Del Mar resident, and our long time close friend Phil Mison (@cantomamusic). Interview (excerpt) down below.

www.musicfrommemory.com

MFM: Hi Phil, many know you as one of the DJ's who has played all the best sunset spots across the globe. How did your summer look this year, still been scoring sunsets here and there?

PM: My summer was great. I travelled to Amsterdam, Cork, Copenhagen and Barcelona and had some nice gigs in the UK. My friend Deke has opened a bar on the seafront in Margate, you get pretty epic sunsets down there. I played a few records one evening and managed to fit in a few old cafe classics as the sun disappeared into the sea. 

MFM: Please tell us a bit about how it all started for you?

PM: I grew up in the 70’s, so there were quite a few different influences. David Bowie ‘Life On Mars’ was an early memory, and I was obsessed with Blondie. Parallel lines was the first album I bought. Later it was Northern Soul, Electro, nothing really that mellow! In 87 I met a couple of people who were really into House. I started going to groove records in soho to buy records like Adonis - No Way Back, Ten City - Devotion. Then as 88 rolled around I got into the more Balearic side of things. Later in 89 I’d pop into Reckless Records for second hand stuff and started to browse the New Age section where I got things like Kitaro  ‘Tunhuang’ and Paul Greaver ‘Joy’. Those records were the starting point really. 

MFM: DJing in clubs to make people dance never really attracted you?

PM: I’d say pretty much most of my DJing has been in clubs. I started at the Milk Bar in Soho in 1992 after giving Darren Emerson a tape. Even though I was doing the warm up and playing mellow stuff at the beginning, you had to build it up to a full dance floor by the end. In 1996 and 2000 I was the tour DJ for Lefttfield, playing in front of 1000 odd people. ‘Just get it going before we come on!’ Alongside Ross Allen and Rob Da Bank, I was resident at Bar Rhumba for our Next Level night in 1997. It lasted a year and we opened with Harvey and closed with Andrew Weatherall. I Have to mention Moonboots and Jason Boardman’s night Aficionado too. I always enjoyed playing to a dancefloor there, they’ve kept the Balearic flag flying since 1998. 

MFM: At what point did you got into making music on your own? 

PM: I’d worked on a project for Kenneth Bager in 1994. Then later on he started his Music For Dreams Label, and asked me if I would be interested in making an album.  So the first Cantoma album was started in Copenhagen in 1999, and finished in London in 2003. 

MFM: How do you come up with a new song, is there a certain Phil Mison way to it? Do you write the parts for the musicians?

PM: It usually starts with an idea that pops into my head. Sometimes a memory or travelling will get a melody going, and I’ll sometimes hum it into my phone and use that as a starting point. Ive worked with Engineer/Producer Robin Twelftree on all the Cantoma albums. I’ll go into Robin’s studio and usually start with some basic keyboards, then I’ll play a bassline in. I’ll take the demos away and think about what would work on the tracks. For some musicians the music is written down. Ive worked with Robin Lee from Faze Action on a few Cantoma tunes, and he usually transcribes my basic melodies onto sheet music. Other times I’ll play the melodies on a keyboard or hum the tunes for the musicians to follow along to. On some tracks I’ll write the lyrics too and get a singer to record on a track. There’s a lot of going back and forth until I’m happy with the final cut. The music rarely ends up sounding like the first version.

MFM: Making a mix must have been a piece of cake for you :) What is this mix like?

PM: I went back through my 92-94 selection and picked a selection of the lesser played records. Memories of magic times at the Milk Bar and warm summer evenings at the Cafe del mar.

MFM Mix 044: Phil Mison

First up in 2023 is Los Angeles based Juan Izguerra (@juanizguerra) who runs his residencies at Dublab and Homage Brewing. Interview (excerpt) down below.

www.musicfrommemory.com

MFM: Hi Juan, welcome to the series. You're based in Los Angeles, right? Can you tell a bit about what keeps you busy? 

JI: Hey there! Super stoked to contribute. Well, I was born in Pomona, California and I started DJing about six years ago. I recently found myself as the event coordinator at Homage Brewing in 2021 and It’s been a great experience to be on both sides… I love being able to DJ at some of my favorite parties, and then host locals and out of town friends at my own events with Homage. My girlfriend and I made the move to LA in the summer of 2020. Early on in the pandemic rent was pretty much the same in Pomona as it was in LA so we thought we’d just live in the city. When clubs/bars opened up again I got involved with Homage. Since then I’ve been able to host parties at our space and focus on bringing people together for the music. 

MFM: What triggered you to initially get interested and involved in buying and playing records?  

JI: I’ve collected records since my teens but it wasn’t until I was 20 that I met one of my now super close friends Josh da Costa (Confusing Mix on NTS) who put me onto crazy records he found during his time living and touring in Europe. He showed me things like Roberto Musci, Thomas Leer, The Antennas, Cherry Red records, and weird compilations. Hearing things like that made me so curious. I saw Josh DJ one day and I was fascinated with how he made people dance. It made me want to learn how to do that! 

MFM: Nice. Did you have any other role models you felt inspired and motivated by?

JI: Definitely. My friends Josh (who I mentioned), Jimi Hey, and Shags Chamberlain were an early influence on me. They toured all over the world and would come home with bags of records, share their discoveries, and give a story about where they found it. I saw that as a way to connect with people and It inspired me to travel and want to find things of my own to share. As I got more curious on the DJ’ing side of things, I definitely got a lot of inspiration from my good friend Bianca Lexis. She’s one of my favorite DJ’s!

MFM: You've done quite some traveling yourself too, within the US but also intercontinental. How is LA nightlife compared to some other places you've been? What's the LA style?

JI: LA’s nightlife definitely needs some work. In New York, Europe, and Mexico City, there’s an audience for every genre and a club for it as well. I think that’s what we struggle with most. People have to resort to attending warehouse parties which involve a lot of financial strain on the organizers. Still, we do have a lot of people putting together great parties here such as Third Place and Moony Habits. Lots of great house/outdoor parties which are really fun and unique to LA. 

MFM: Where and how do you go finding new records and music? Do you have your secret or not so secret methods?   

JI: When it comes down to record shopping I typically like to leave LA. Visiting suburban areas is where I get the most luck. Something about those areas feels more zen since it’s less competitive. It puts me in a mental space where I’m able to focus on looking through records thoroughly. 

MFM: Looking forward to anything specific in '23? Any future plans you'd like to share maybe? 

JI: I’ll be visiting Tokyo for the first time in May so I’m super psyched about that. Also planning to be in Europe in August/September so I'm looking forward to setting up some gigs there!

MFM: Tell us about your mix! How did you approach selecting and recording it?

JI: I wanted to make it a bit cerebral but still keeping it rhythmic and having plenty of songs with lyrics. It has an ambient start that works into downtempo tracks and slowed down Italian house. Hope everyone enjoys!

MFM Mix 047: Juan Izguerra

We welcome Tornado Wallace (@tornadowallace), long time friend of the label and whose record 'Falling Sun' we released through Second Circle back in 2016.  Interview (excerpt) down below.

www.musicfrommemory.com

MFM: Hey Lewie, how have you been lately?

TW: I dipped out to East Asia and Australia for the infamous Berlin winter and now I’m back ready for the euro warmth. Though it’s in no hurry to arrive here just yet.

MFM: There's a new record coming on Basic Spirit, the label you run with Jamie Tiller, and it all looks rather secretive... Can you tell us more about it Lew E? :) 

TW: I made these tracks when I was holed up sick for a week. Not being able to go to the studio I relied strictly on samples and software, which was fun to change the workflow up a little bit. I wanted to make some very club ready tracks, without any intention for a release. They (rather obviously) sample two well known tracks, but there’s a lot of new ideas too. I use a different name as it felt like a different style and approach to how I usually go about things. I think there will be more Lew E things on the horizon though :D.

MFM: Previous releases on Basic Spirit also had this '90s touch to it. What is it that you like about (music from) that era?

TW: I grew up in the 90s so a lot of the music coming out then really hits the nostalgic feels. But also, really interesting things were happening with technology, and it became a lot more affordable to put together a record. So there were a lot of - for lack of a better term - laymen releasing electronic music. Some of which had very new and out-there approaches to processes like sampling, mixing and arranging. But trends and technology all moved along so quickly that some of these sounds and ideas never had a chance to get fully fleshed out. Which is why it’s nice to pick up where some left off. People are currently very responsive to this late 90s/early 2000s sound, which is great for me because that’s a time when I really fell in love with electronic music. As a DJ, I’m playing these really personal tracks that I discovered as a teenager, and for the first time since I began playing parties/clubs 18 years ago, people seem to really understand them. It’s a very cool feeling.

MFM: You've also started a new more pop oriented project called a.s.o. together with vocalist Alia Seror O’Neill. Has it always been a dream or goal of yours to start a more band kind of project? Does it require a different writing/recording approach compared to when making dance music for the clubs?

TW: I like making music that I like listening to. And with the pandemic in full swing in 2020, I was having a little break from club music, and diving deeper into other styles of music I enjoy. Both from a listening and producing perspective. I found it to be a very different approach. It’s more melody/hook driven and focuses on getting ideas down quickly as they’re forming. A lot of the time I would use a basic keyboard and guitar to record, and Alia would add vocal melodies and harmonies on the fly. Sometimes it could get difficult when we would both want to put our fleeting ideas down at the same time! On that note, collaboration is never easy for me as I like to have full creative control of whatever it is I’m working on, and sometimes the creative paths divide and compromises have to be made. Sometimes the compromised path is thick and thorny, and sometimes it is paved gold and smells of roses.

MFM: How did you go through the selecting and recording process, any specific record or mood you had planned?

TW: I came across a bunch of really nice tracks all in a relatively similar downtempo/shoegaze style, and wanted to make a mix of music like that. For moody home/car/train etc listening. I also included a forthcoming Cousin remix of an a.s.o. single which I love and wanted to share early!

MFM Mix 049: Tornado Wallace

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

Continuing the series is Mancunian producer, dj and music teacher Tom Burford who just released his LP 'Elevations' with us as Contours (@contoursmusic). Interview (excerpt) down below.

www.musicfrommemory.com

MFM: Hey Tom. You just returned from a big hike, how was it?

TC: Hey! Yeah, we were able to get out on some beautiful hikes around the Anaga national park in the north of Tenerife. It’s a stunning landscape and a nice change from the overbearing grey we get in Manchester for half the year. 

MFM: Does nature play an important role in your life and music?

JC: Definitely in life, and then I guess that just seeps into my music. I grew up in a pretty rural part of Cumbria. It was very beautiful landscape but with very little to do from an entertainment perspective, so getting out in the landscape or jamming with friends always felt like the two most freeing things to do. 

MFM: About jamming with friends... Your new album Elevations includes a lot of collaborations with other musicians, of which you did the recordings yourself. Can you highlight one special moment from those recording sessions?

TC: When recording Pots, I had initially written and recorded the percussion and synth parts at home and hit up Abraham to see if he wanted to add some Trumpet parts. He is based in London and so he recorded initial takes remotely and sent them through. They sounded great, but I really wanted to transform and process his parts for the track to manipulate them into sounding more synth like at points. Doing, that without him in the space felt like there was dialogue missing. In the end I went down to London and we recorded and dubbed them out in the same space at the Rhythm Section studio (shouts to Mali on engineering duties). Being able to respond to his playing and him in turn being able to respond to the dubbing of his parts felt like it was able to capture some really special elements.  

MFM: The A side of your new LP has Elevations 1, 2 and 3. Was it intentional for these tracks to end up separately or did they used to be one larger piece?

TC: When I started writing Elevations 1, 2 and 3 it just began as a series of jams and recording sessions in my flat bouncing ideas back and forth between myself, Beka, Abel and Simmy. These sessions were always just me and one other collaborator at a time, partly down to schedules, the size of the flat, but also the chance to not have to rush the process and to really dig into how we worked together. I continued building out the same project over multiple sessions so that I could have access to all the material collated in one place. Specific sections and ideas started to come together, but I liked the idea of them forging part of a wider piece. I’d previously worked in a largely self-contained track basis but had been listening to a lot of pieces like Six Marimbas, Music for 18 musicians and Tehillim by Steve Reich that build over a long period and loved the scope this gave to get completely lost in the music. I love the hypnotic nature created when polyrhythms morph over each other for a long enough period, shifting emphasis and eventually melting away.  

MFM: What can you tell about the mix you've made?

TC: I wanted to create a mix that was able to showcase the variety of sounds that influence me, both as a DJ and Producer. I love listening to mixes and radio at home and the best club experiences I’ve had have always been when a DJ is able to surprise you and really take you on a journey. The album makes heavy use of strings through the violin and cello, but also the Guzheng, a Chinese Zither and the Clàrsach a Celtic Harp. The initial three tracks of the mix focus on these sounds before skirting into more percussive and jazz focused influences and then into some deeper acid-tinged downtempo tracks and sub heavy club sounds. Hopefully this mix takes people on a journey and is something for people to get lost in.

MFM Mix 051: Contours

Taken from 'Total Blue' (MFM071)
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© 2024 Music From Memory

Total Blue

Dorian Dial

B1. Dorian Dial

Jaguarundi

A4. Jaguarundi

Heart Of The World

A3. Heart Of The World

Corsair

A2. Corsair

The Path

A1. The Path

Taken from 'Dead Sound - Into The Void' (MFM069)
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© 2024 Music From Memory

Into The Void

Eye In Disguise

B1. Dead Sound - Eye In Disguise

A4. Dead Sound - Into The Void

Force Of Nature

A3. Dead Sound - Force Of Nature

Illusion

A2. Dead Sound - Illusion

Pure Blue

A1. Dead Sound - Pure Blue

Taken from 'Virtual Dreams II - Ambient Explorations In The House & Techno Age, Japan 1993-1999' (MFM072)
Buy Vinyl: https://www.musicfrommemory.com/
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© 2024 Music From Memory

Virtual Dreams II - Ambient Explorations In The House & Techno Age, Japan 1993-1999

Eras (666)

Buddhastick Transparent Featuring Something In The Air - Eras (666) (CD/Digital Only Bonus)

1969

D3. Drawing Future Life - 1969

Poisson D'Avril (Galaxy Dub)

D2. Missing Project - Poisson D'Avril (Galaxy Dub)

Snow Bird

D1. Modern Living - Snow Bird

C3. Riow Arai - 1969

Pause

C2. Katsuya Hironaka - Pause

5 Blind Boys

C1. Yukihiro Fukutomi - 5 Blind Boys

The Cycle Of Seasons

B3. Web - The Cycle Of Seasons

Escape

B2. Ambient 7 - Escape

Prelude

B1. Virgo - Prelude

Flutter

A3. Palomatic - Flutter

Blown Fruit

A1. Dub Squad - Blown Fruit

From Japan here's producer, DJ and friend of the label Kunyuki Takahashi (@kuniyuki-takahashi) with a special recording of his live set during Rainbow Disco Club this year 2024. Interview (excerpt) down below.

www.musicfrommemory.com

MFM: Hey Kuni. What was growing up in Sapporo like, being quite remote from the other major cities in Japan? Via what channels/media/ways did you learn about music, art, etc? 

KT: Tokyo is most biggest scene about culture and music, but I was really looking for more out of Japan. Sapporo is more slow. I was just into music when I was teenager so everydays looking interesting music, because around 80's was crazy it' like big bung for music. My friends and i also really looking for PUNK, Industrial music, Ambient music, also of cause electric music as well at that time. It was just our like networks and channels for connect to other essence from each one. You know Teenager No need mainstream, no need TV show just believe to get some good one  from friends!

MFM: Your sound overall has a very 'organic' and 'spiritual' touch. Where does this come from? Who and what were/are your inspirations?  

KT: Both of feeling is definitely I need and my favorite things about when I touch instruments because it's nice to connect into music. So many instruments has lot's of colors so it's my inspirations come from. But to be honest i'm really bad to playing instruments....

MFM: That is debatable, haha. Where did you actually learn to play all those instruments, like the conga's and flute?

KT: I learnt about percussion and congas by listening to African music, and in the 90s I spent a lot of time with these. I used to listen to Peter Gabriel's Realworld record series so it's my teacher of  music! There are flute-like instruments in synthesizers and music workstations, but when I tried to use flute sounds by Synth, I couldn't feel spiritual, so I decided to try my hand at it. There is so much spiritual real instruments.

MFM: Your contribution is a recording of your live show at Rainbow Disco Club in Japan this year 2024. What can you tell us about the show? For those who had to miss it, maybe you can describe the setting a bit?

KT: Yes it was from My good friend Masa From Rainbow disco club.
I've been joined Rainbow disco club many times and always did a Dance set but he Told me “could you play live show like your album from Music from memory For RDC2024?”, and I was say “YES I would love to and if we can do then I want to do proper Music from memory live set.” So it was so exciting. Because these music from MFM was very special. It was morning time, there is nature and birds singing, and I was joined with my like bird whistle, feel windows, relaxing people waiting before making dance time. I re-created all sound patterns so it was so fun like should do make Tape sound like bit noise sound, more retro sound. Also I really remembered about what I used different Chords before in the 80's and 90's!

MFM: Your live shows seem to be improvisation based, very playful. As if you're jamming in the studio. Does playing live differ much to you from working in the studio?

KT: Yes I love like improvisations when doing live show. I'm always thinking about each party is totally different energy from music lovers. I love to get something good happen with music lovers, and yes it's totally different with Studio works. Prepare for live set also needs time and skills, so i always try to do at my studio for what can happen at the live show.

MFM Mix 052: Kuniyuki Takahashi

Taken from 'H.A.N.K. - The Big Melt' (SC021)
Buy Vinyl: https://www.musicfrommemory.com/
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© 2024 Second Circle

The Big Melt

While My Tar Gently Weeps

B2. H.A.N.K. - While My Tar Gently Weeps

Jag Är Jag

B1. H.A.N.K. - Jag Är Jag

Azul's Garden

A3. H.A.N.K. - Azul's Garden

A Useful Fever

A2. H.A.N.K. - A Useful Fever

Cruise

A1. H.A.N.K. - Cruise

Taken from 'Suso Sáiz - Distorted Clamor' (MFM074)
Buy Vinyl: https://www.musicfrommemory.com/
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© 2024 Music From Memory

Distorted Clamor

I Look For What Is In Me From The Earth

D4. Suso Sáiz - I Look For What Is In Me From The Earth

Green Stones

D3. Suso Sáiz - Green Stones

Quiet Races

D2. Suso Sáiz - Quiet Races

That Lives In Me

D1. Suso Sáiz - That Lives In Me

...And The Volcano

C3. Suso Sáiz - ...And The Volcano

Your Hand In My Peace

C2. Suso Sáiz - Your Hand In My Peace

Electromagnetic Ride

C1. Suso Sáiz - Electromagnetic Ride

Memory Crusher

B3. Suso Sáiz - Memory Crusher

The Horizon Did It

B2. Suso Sáiz - The Horizon Did It

Sweet Elephant

B1. Suso Sáiz - Sweet Elephant

A1. Suso Sáiz - Distorted Clamor

Roberto Musci - Claudia, Wilhem R. And Me (02:57)

B1 - Say You'll Say So (5.08)

A2 - Kuniyuki Takahashi - Your Home (5:11)

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

Taken from 'Heisei No Oto - Japanese Left-field Pop From The CD Age (1989-1996)' (MFM053)
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Heisei No Oto - Japanese Left-field Pop From The CD Age (1989-1996)

C3. POiSON GiRL FRiEND - Nobody (4:17)

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