Light from Three Sides: In Conversation with Melody As Truth’s Jonny Nash

Written By: 
Phil Cho
Tags: 
Share:
  •  

‘Point of Entry’ is a serenely beautiful “personal folk” album perfect for the small hours.

Years before the recent ambient music boom, Scottish musician Jonny Nash and his Amsterdam-based label Melody As Truth began exploring a uniquely delicate, atmospheric take on ambient sound. Operating out of the same building as contemporaries Music from Memory and Red Light Records, the label released a string of iconic releases and storied collaborations from its label owner, along with LA transplant Suzanne Kraft aka Diego Herrera and Italian ambient legend Gigi Masin, who also performs with Nash and (Young) Marco Sterk as Gaussian Curve. Often instrument-based with influences from avant-garde, modern classical, and folk music, Nash and crew’s sound has gained worldwide acclaim for its minimalist approach, relying equally on silence and natural space – along with an honest dedication to the “beautiful truth in melody played from the heart.”

After taking a much-needed break from the label in 2022, Nash has returned for his first solo album in four years. Much like his first album on Melody As Truth, Point of Entry prominently features Nash’s favored instrument – the guitar – and subtly recalls the indie, shoegaze, and folk sounds of the Edinburgh-born artist’s youth. Recorded at his home in Amsterdam during the quiet morning hours, the album is Nash’s most personal work yet and reaches for a “feeling of stillness” that fans of Talk Talk, Durutti Column, and ECM Records will surely enjoy.




Point of Entry is available for pre-order now and will be released Friday, July 21st on vinyl, digital and limited cassette edition via Melody As Truth.

In Sheep’s Clothing’s Phil Cho caught up with Nash shortly after he’d returned from a six-week long biking trip. We talked about his time away from the label, recording process, the scene in Amsterdam, recent inspirations, and more!

Hey Jonny, it’s been a while! How are you and how was the cycling trip? I heard you and Steele Bonus have been biking together? 

Actually Steele and I haven’t been cycling yet, but we’ve both individually gotten into it in the last few years. We still need to do a proper trip together, but it’s definitely on the cards. For me, it’s still quite new and I’m a bit of an amateur. The trip was great though, I was away for six weeks cycling through France into Switzerland, Austria, Italy, and Slovenia. I never grew up camping or doing outdoor stuff, so it was a fun venture into the unknown.

I found that it gave me so much energy being outside that much! It was quite challenging at times with weather extremes, and I realized I’m actually quite sensitive to noise in the evening, but overall it was really fulfilling and inspiring. I’m probably the fittest I’ve ever been and I’m going to try and keep it up. As we do this interview, it is actually my first day back. Feels good!

I imagine if you're sensitive to noise, your home base must be quite serene.

Yeah, it’s really important to me, actually. The house where I lived in Amsterdam was very quiet. That’s where I recorded Point of Entry. It was just total silence there. I’ve recently moved into a new house out of the city and also have a small cottage in the countryside where I have spent quite a lot of time over the last couple of years.

Do you feel disconnected from Amsterdam at all now that you’re living further away? How often do you go into the city?

Right now I’m in the middle of working out my new routine and I’m going to see what happens. I still have a studio space in Amsterdam for two days a week. I’ve kept that because I don’t really know what it’s going to be like working in the new house. I don’t know how much I will miss the city, so I’m feeling it out with one foot still in there in the studio. Also, I know if people are in town and I’m wanting to record with them, it’s handy to have space there. 

In theory, I reckon the new rhythm will be going in maybe once or twice a week. But I’m also going to try and invest some time into making a nice studio in the new house because there’s a bit more room and it’s also really quiet. In my head, it’s like I don’t need the city at all, but who knows, maybe I need it more than I think… It’s only after you leave that you notice it. Time will tell!

“There are so many things that can get into your head about what you need to be doing with this and that. It was important to drop all those thoughts and just really get back to the basics of making music.”

You’ve lived in Amsterdam for quite a few years now. Has it changed a lot while you’ve been there? 

Yeah, for sure. I moved to Amsterdam in 2016. It was really a vibrant period for a lot of stuff there, especially with the kind of music I was into. Everything was kicking off with Red Light Records and Music from Memory, I was working with Gigi Masin and Young Marco on Gaussian Curve, Diego (Suzanne Kraft) had moved there, and I was putting out his records. We had this whole complex in the Red Light District which housed the radio station, the record store, and my studio, amongst other things. Even whilst it was all happening I recognized it as a special time and place – one of the few times in my life where I’ve ended up in the center of something like a scene or community. But with all things like that, they can’t last forever. That period in Amsterdam kind of ran its course, perhaps accelerated due to COVID. The scene that I was involved in is now kind of fragmented, and everyone’s doing their own thing.

Looking back, I’m really fortunate that I was part of this kind of scene when I was setting the label up and establishing things. I think if you’re at the point of starting something up, it’s so helpful to be part of a larger ecosystem. Everyone was amplifying each other at that time. It drew interest from a wider worldwide audience who could grasp that something vibrant was happening in the city. Now that I’m up and running, maybe I can exist a little more independently, but it was so helpful for me to be there at that time. The city itself has changed so much even in the last five years though, it has become even more expensive and the corporate sheen of the place dominates everything a bit too much for me, so in all honesty I’m quite happy to have my base outside of Amsterdam now. 

In 2022, you took a break from music to “realign / recenter / re-energise.” What led to this decision and what were you doing during this time?

I think it was this kind of fatigue of running a small label, which a lot of my friends doing similar things suffered from in 2022. There was just so much up against us in terms of the situation with manufacturing. Lead-times, price increases, all sorts of fun stuff! I’d had a string of issues with production too. From a logistical standpoint, a lot of the joy of running the label got sucked out of it, and it just seemed to be more about dealing with problems. There was also this kind of hangover from COVID. You weren’t seeing your contemporaries so much. I felt like I lost a bit of the connection with the scene around me while working more in this isolated bubble.

By 2022, I noticed that my love for releasing music was potentially in jeopardy, so in order to ensure that I didn’t get to a stage where I didn’t enjoy it anymore, I took the time to step back. I wanted to connect with why I’m doing this, what I enjoy about doing it, and examine if it still resonates with me. If it didn’t, that would also have been totally fine, but I felt it important to give myself the space to feel it out. I did that, and in doing so realized that making and releasing music is still something that I get an incredible amount of joy and positivity from. I just think I needed to take that break. I think it’s kind of logical in a way. Although I haven’t released a ton of records on the label, it’s still like 25 records since 2014, with me having some major role in probably at least half of those. I think it was just really necessary to take a break!

It seems like once it starts, it's always about “What's coming up next?” Then there’s that fear that if there's not another one coming up, then people will forget about it. But really, it's just a one year break out of however long the label is going to be…

Yeah, that was my take on it. This is something that I’d like to continue doing for a long time. I think in order to give that a chance, you have to create a healthy relationship with the process. There are so many things that can get into your head about what you need to be doing with this and that. But it was important to drop all those thoughts and just really get back to the basics of making music. I think I was also totally ready to accept that if it wasn’t making me feel good, then I would just stop. 

My good friend Lindsay, who ran Firecracker Records, is now a gardener. He was just like, “I’m not feeling this anymore, it’s time to do something else.” I was ready for that, too, if that was how I felt. But I actually found a rhythm of just getting back to the basics: waking up, turning the gear on, making music, making things that I want to listen to, and keeping it super simple. That process gave me so much energy and positivity, which then fed back into this new record. I feel excited about releasing this record in a way that I haven’t felt in recent years.

So it sounds like while taking a break, you were still playing and working on music during this time? 

Yeah, that’s a good point to clarify. Through all of that time, I was still working on sketches and making music. That’s always been consistent. It was more the mechanics of running the label which needed to go on the backside and not be the focus. I think I needed to reconnect with myself as an artist or musician rather than a label manager. A lot of stuff that ended up being on Point of Entry were these little sketches and things that began in early 2022 when I was really just messing around.

“At my roots, I’m really a guitar, indie, shoegaze kid who got into electronic music later on. Guitar-centric music, be it folk or indie-rock has kind of always been there as a foundation.”

Do you have a particular process when making music, like time of day or a specific approach? How was your process different for this album?

Well, I think it can really vary from record to record. I often get a burst of creative energy after getting into a good zone, which can be triggered by a change of environment or some new element, instrument, etc. In this case, I’d been working a lot in a studio in Amsterdam, but then I had a free room in my house which I started to bring some gear into. Gradually, my studio morphed into that room. It was the first time that I’d worked on a record from home in a long time, because I shared a studio with Diego for quite some years before in Amsterdam. I got into waking up early. I would work from 7AM to 4PM every day from Monday to Friday in this very quiet space. Then I would shut off the gear and do something else in the evening, not think about it, and just continue on that routine. So really regular hours, pretty structured, and early. I’m definitely not a late worker. But, yeah, often it’s some new shift in environment or new instrumentation that hits the turbo button and then you’re like, okay, let’s go. In this case, it was just finding that it worked well to create music in that room.

I’ve read that Detroit Escalator Company was a big inspiration for your early ambient works on Melody As Truth. Point of Entry has a bit more acoustic guitar and acid folk influence. Was there a particular artist or artists that led you in this new direction?

I’m not sure if I’d actually call it a new direction. At my roots, I’m really a guitar, indie, shoegaze kid who got into electronic music later on. Guitar-centric music, be it folk or indie-rock has kind of always been there as a foundation. Since the start of the label, ambient electronic influences have always mixed with more of this guitar sound – take the first two releases for example. Phantom Actors is probably the release with the most clear nod to Detroit producers like Neil Olliviera, Tony Drake or John Beltran. This was followed with Exit Strategies which is a straight up shoegaze-y guitar record. This dichotomy has always existed in the label. Point Of Entry does, however, fuse electronic and acoustic elements in a way that is a new direction for me.

In 2020 I had a real deep dive into Eastern European folk music while working closely with Irena and Vojtěch Havlovi to prepare a retrospective of their work for Melody As Truth. I spent over a year with them in their world and learning about their approach to recording acoustic music. Although my record sounds totally different to theirs, I was really drawn to using the acoustic guitar more on this record and mic-ing it up in certain ways. The last two records that I made with other musicians, one with Romanian singer and pianist Ana Stamp and the other with Indonesian Tarawangsa player Teguh Permana, were also quite acoustic. When it came to making this record, it was pretty natural that I would mix a lot of acoustic guitar with the electric guitar. The result sits a little bit between the acoustic folk worlds of my last two records and my older electronic stuff. 




As for other artists who influenced the record, I always had Finis Africae in my head, even though the record doesn’t sound anything like them. I did a record called Eden in 2017, and I think there are some parallels with that record and Point of Entry. Both records have a sort of smokey or smudgy sound in places, with parts submerged under multilayered textures.

Were you playing around a lot with microphone placing and things like that? Was it all just in that room?

Yeah, I experimented quite a lot. I was working in a fairly small room, but I spent quite some time moving things around and also trying different mic combinations. I got a nice pair of old Neumann KM84 mics two years ago, and they also really influenced the sound of the record. The KM84 is a small condenser mic, but I found it to have a really cool effect when used off-axis on vocals. I also used them a lot on the guitar cabinet as well.  

I'm sure that helps with the layering too because the room probably becomes a big part of the sound.

Definitely. I think I’ve been fascinated with this for quite some time. It was one of the things that was always so great about working with Irena and Vojtěch Havlovi. Their music is all about the placement of the microphones. They really make use of the reverb in a space. Their recordings are so warm and human; you really hear the detail of the playing. Their music opened my ears to what’s possible with recording acoustic sources. I just love the way their recordings sound! I also have to mention Mark Hollis’ solo album too, this is probably my favorite record ever in terms of how an album can sound. Interesting mic placement really played a part in this (if anyone wants to read more about it they can here).

I wanted to get into the words a little bit. I’m curious how you approach that side of things. Do words and lyrics come naturally within the process of writing the song or do you have a picture of what you’re trying to convey beforehand?

This album was recorded in a very spontaneous and stream-of-consciousness way. Most of the lyrics just appeared this way, simply a result of being in the right zone to feel what I wanted to express with the piece. There were some anchor points though, fragments that I had collected whilst making the album which kept recurring as thoughts. I’d say as a whole the lyrics are split equally between these fragments and spontaneous improvisation. I visualized the vocals as kind of smoke rings floating upwards, so it was important for them to have a degree of abstraction and ethereal quality. 

Certain tracks on this album seem to paint very specific images. For instance, “Silver Sand” seems to speak to a “here I am, in this moment” sort of feeling. Can you talk about that track? Was it inspired by a particular place or memory?

Totally! As I mentioned, I’ve spent a lot of time in a small cottage in the north of Holland over the last couple of years. I’ve really come to love the landscape that surrounds it, with its mix of sand dunes and sea. Silver Sand, like many of the songs on the album, is inspired by spending time in this small corner of the world.

The album cover is beautiful, and really feels connected to the music. Who is the artist? I’m guessing this painting is also based on that place…

The artwork was done by my partner, Denise. Knowing the landscape and having spent so much time there together, she knew better than anyone what I was trying to achieve with the album. It was so cool to work on it together, as ideas for the artwork could be developed alongside the music. I wanted to create an image that really reflects the landscape that was so central to the record, and I couldn’t be happier with how it turned out!

The only feature on this album is Canadian multi-instrumentalist Joseph Shabason, who contributes saxophone on “Ditto,” “Light From Three Sides,” and “Golden Hour.” How did you two meet and what was it like working with him?

I can’t remember how we first got in contact. It was quite a few years ago, maybe we messaged each other on Instagram or something. He was playing with Destroyer at that time, and we got to hang out in Amsterdam. We got on really well and shared a lot of similar influences. He’s a really great dude as well and an amazing musician, of course. A year or two later I organized a solo show for him in Amsterdam, maybe just pre-COVID, and we’ve kept in touch since then. I knew that I wanted to have saxophone on a couple of these tracks to expand the palette, so it was an obvious choice for me to hit him up. A couple of the tracks were pretty well formed when I sent the demos over, but the track “Light From Three Sides” was more sketch-based. I ended up reworking the song based on what I received from Joseph. He nailed all of the tracks on the first go, so it was super easy. He was a total pleasure to work with.

Any plans to play the play live coming up? We’d definitely love to host you at our headquarters…

I’ve really been thinking about this. At first, I was like, “Let’s go and do a bunch of shows,” but I think instead, I really feel like getting cracking on another record. I’ve been wanting to get back into the studio. In addition to that, I want to develop a new format for the live show. I’ve done a lot of solo live shows over the years, and I’d definitely want to approach these new tracks and future ones with at least one or maybe two players. I have a plan to do that mid next year after releasing another EP or record, and tour both of them with the new show.

Lastly, what have you been listening to recently? Any big favorites or new discoveries?

I’ve been listening to quite a lot of guitar music actually. But a short list of things I’ve been enjoying recently would look something like this: 
















All the Fuubutsushi releases.







Related Articles

Sort By
12th Isle
2 Tone
2020
2022
2023
33rpm
45rpm
4AD
5 Selects
5 Seletcs
7"
99 Records
A&M
Abbey Lincoln
Aboriginal
Abstract
Ace Tone
Acid
Acid Archives
Acid Folk
Acid House
Acid Mt. Fuji
Acid Punk
Acid rock
Acid Techno
Acoustic
Adrian Sherwood
ADS
Africa
African
Afro
Afro House
Afro-Cuban
Afrobeat
Alan Braufman
Alan Ginsberg
Alan Greenberg
Alan Thicke
Albert Ayler
Album Cover
Alex Patterson
Alice Coltrane
All Genre
Altec
Amaro Freitas
Amazon Music
Ambient
Ambient Jazz
ambient techno
American Primitive
Amoeba Music
Amplifier
Analog
Anatolian Rock
Andrew Weatherall
Andy Warhol
Anenon
Animal
Animation
Anna Butterss
Antonio Zepeda
AOR
Aphex Twin
Aquarium Drunkard
Archie Shepp
Archival
Armenia
Art
Art & Design
Art Dudley
Art Film
Art Pop
Art Rock
Artform Radio
Arthur Russell
Article
Arvo Part
Ash Ra Temple
Asian Underground
Audio Note
Audiogon
Audiophile
Audiovisual
Austin Peralta
Australia
Autechre
avant
Avant-Garde
Avant-pop
Avant-Rock
Avent-Garde
Balearic
Bali
Ballad
Bargain Bin
Bark Psychosis
Baroque
Baroque Pop
Basquiat
Bass
Bauhaus
Bayou Funk
BBC
BBC Radiophonic
Beat Scene
Beats
Beats in Space
Bebop
Belgium
Bennie Maupin
Berlin-school
Best of 2020
Beverly Glenn​-​Copeland
Bhutan Stamps
Big Band
Bill Laswell
Black Ark Studios
Black Jazz
Blaxsploitation
Blood & Fire
Blue Note
Blues
Blues Rock
Bob Marley
Bola Sete
Bollywood
Boogie
Book
books
Boom Bap
Boredoms
Bossa
Bossa Nova
Boymerang
Brainfeeder
Brazil
Brazilian Folk
Breakbeat
Breezy
Brian Eno
Broadcast
Bruce Weber
Bruton Music
Buddhism
Budget Audiophiler
Cabaret
Calypso
Cambridge Audio
CAN
Candombe
Cannanes
Canterbury
Cape Jazz
Cape Verde
Caribbean
Carla Bley
Cartridges
Casio
Cassette
Cats
CD
Celluloid
Chamber Jazz
Chamber Music
Chamber Pop
Chan Marshall
Channel One Studios
Chanson
Charles Lloyd
Charles Mingus
Chee Shimizu
Chet Baker
Chicago
Chicha
Chillout
Chinese
Chiptune
Choral
Christmas
City Pop
Classic Album Sundays
Classical
Classics
Clothing
Club
Cocteau Twins
Coctueau Twins
Coffee
Coldwave
Colorfield
Comedy
Commercial
Community
Compass
Compass Point
Compilation
Concept Album
Condesa Electronics
Conlon Nancarrow
Conny Plank
Contemporary Jazz
Cool Jazz
Cornelius
Cosmic
Cosmic Disco
Cosmic Folk
cosmic jazz
Country
Country Pop
Country-Rock
Covers
Cult Classic
Cumbia
DAC
Dacne
Daft Punk
Dance
Dance Music
Dancehall
Daniel Aged
Dark
Dark Entries
David Behrman
David Bowie
David Byrne
Davida
Dedicated listening session
Deep Dive
Deep House
Deep Listen
Deep Listening
Delia Derbyshire
Dembow
Demo
Dennis Bovell
Denon
Detroit
Devotional
DFA
Diasporic Disco
Dick Verdult
Diggin in the Mags
Digi-Reggae
Disco
Discogs
DIY
DIY / Amateur
DJ
DJ Shadow
Documentary
Dogs
Don Buchla
Don Cherry
Donald Byrd
Doom Metal
Downtempo
Dowtempo
Dr. John
Dream House
Dream Pop
Dreamy
Drone
Drum & Bass
Drum Break
Drum Machine
Drum n Bass
Drums
Dual
Dub
Dub Poetry
Dub Techno
dublab
Dubstep
Dubwise
Durutti Column
Düsseldorf School
Dust and Grooves
Eames
Earl King
Early Electronic
East African
Easy Listening
Eblen Macari
EBM
ECM
ecoustic
ecoustics
Electric Lady
Electro
Electronic
Electronic Jazz
Electronica
Elegant Pop
Elvin Jones
Emahoy Tsegué-Maryam
Enossified
Environmental Music
EOY
Eric Dolphy
ESG
Esoteric
ESP Institute
Essential Listen
Essential Listening
Essential Listenning
Ethereal
Ethiopian Jazz
Ethnic
Event
Events
Exotica
Experimental
Factory Records
Faye Wong
Feel Good All Over
Fela Kuti
Festival
Field recording
Films
Fingertracks
Fingetracks
Fishing with John
Fleetwood Sound Company
Floating
Floating Points
Folk
Folk Funk
Folk-Rock
Fonts
Footwork
Four Tet
Fourth World
France
Frankie Knuckles
Free Improvisation
Free Jazz
Friends of ISC
Frippertronics
Frozen Section Radio
Fundraiser
Funk
Fusion
G-Funk
G.S. Schray
Gal Costa
Gamelan
Garage Rock
Garrard
Gems from the Dollar Bin
George Duke
George Martin
George Oban
German techno
Gifts
Gilberto Gil
Giorgio Moroder
Glam Rock
Glitch
Gogo
Gospel
Grado
Graham Sutton
Graphic Novel
Grateful Dead
Group Sounds
Growing Bin
Guide
Guitar
Gwo Ka
Gypsy
Habitat Ensemble
Haçienda Club
halloween
Hard Bop
Hard Rock
Harold Budd
Harp
Harry Nilsson
Haruomi Hosono
Hawaii
headphones
Heavy Metal
Henry Lewy
Herbie Hancock
hi-fi
hi-NRG
Hidden Gem
Highlife
Hip Hop
Hip-Hop
Hiroshi Yoshimura
history
Holger Czukay
Holiday
Hollywood
Holy Grail
Home Listening
House
Hypnotic
Iasos
Ibiza
IDM
Illbient
Illustration
Improvisation
Impulse!
In Conversation
In Stock
India
Indian
Indian Classical
Indian Raga
Indie
Indie Rock
Industrial
Ingmar Bergman
Installation
Instrumental
International
Interview
ISC Classic
ISC Collection
isc guide
ISC NYC
ISC Record Store
ISC Selects
Island Records
Isolation
Italo Disco
Italo House
Italy
Jackie McLean
Jah Shaka
Jamaica
James Baldwin
Jangle Pop
Japan
Japananese
Japanese
Jazz
jazz funk
jazz kissa
Jazz-funk
Jazz-rock
JBL
Jessica Pratt
John Coltrane
John Fahey
John Martyn
John Peel
Jon Hassell
Joni Mitchell
Judee Sill
Jungle
K-pop
K. Leimer
Kankyo Ongaku
Keiji Haino
Keith Haring
Keith Jarrett
Kid-Friendly
Kim Yaffa
Kitty Records
Klaus Schulze
Klipsch
Kompakt
Kosmiche
Kosmische
KPM
Kraftwerk
Kranky
Krautrock
Kruatrock
Kuduro
kwaito
L.Shankar
La Monte Young
Labels We Love
Lafawndah
Lagniappe Sessions
Laraaji
Larry Levan
Last Resort
Laswell
Latin
Latin Jazz
Laurel Canyon
Laurie Spiegel
Leaving Records
Lebanese
Lee Scratch Perry
Left-field
Leftfield
Lena Horne
Les Baxter
Lester Bowie
Library
Library Music
Lijadu Sisters
Liquid Liquid
Listening
Listening bar
Listening Party
Listening Session
Live Performance
Live Recording
Live Video
Loose Ends
Loren Mazzacane Connors
Los Angeles
Lost & Sound
lost and sound
Louisiana Blues
Lounge
Lounge Lizards
Love Songs
Lovefingers
Lovely Music Ltd.
Lovers Rock
Luaka Bop
Mad Professor
Magazine
Mandopop
Marantz
Marcel Duchamp
Marcella Cytrynowicz
Marcos Valle
Mark E. Smith
mbaqanga
McCoy Tyner
McIntosh
Meditation
Meditational
Meditative
Melancholic
Mellow
Melody As Truth
Meredith Monk
Metal
Mexico
Miami
Michael Franks
Microhouse
Mid-Century
Miles Davis
Milford Graves
Mills College
Minako Yoshida
Minimal
Minimal Synth
Minimal Techno
Minimal Wave
Minneapolis Sound
Mixes
Mixtape
Mizell Brothers
mo wax
Mobile Fidelity Sound Labs
Modal
Modern Classical
Modern Soul
Modular Synthesis
Moki Cherry
Mono
Mood Hut
Mort Garson
Motion Ward
Motown
MPB
MTV
Munich
Music Blog
Music from Memory
Music Interior
Music Therapy
Music Video
Musique Concrète
Mwandishi
Narrative
Neneh Cherry
Neo Soul
Neo-Classical
Neptunes
New Age
New Islands
New Jack Swing
New Music
New Orleans
New Wave
New York
News
Nico
Nigeria
Nightmares on Wax
Nina Simone
No Wave
Noise
Non-Profit
Northern Soul
Now Sound
NTS
Nubian Pop
Nubian Soul
Numero Group
NYC
OBI
Obscure
Obscure Sound
Occult
OJAS
On Screen
On-U Sound
online radio
Opera
Optimo
Organ
Organic
Organic Music
Ornette Coleman
Ortofon
OST
Oswalds Mill Audio
Outsider Pop
Overtone Singing
Painting
Painting with John
Pandit Pran Nath
Paradise Garage
Pastoral
Pat Metheny
Patrick Cowley
Paul Horn
Paul McCartney
Pauline Oliveros
PBS
Penguin Cafe Orchestra
Pensive
Percussion
Peru
Pharoah Sanders
Phillip Glass
Philly Soul
Piano
Pioneer
Pioneer Works
Plantasia
Plants
Player Piano
playlist
Playlists
Plinth
Podcast
Poetry
Political
Polygonia
Pop
Pop Art
Pop not Slop
Pop Rock
Popp
Popul Vuh
Post Bop
Post Rock
Post-Punk
Post-Rock
Power Pop
Premiere
Prince
Private Press
Pro-Ject
Producer
Productions
Professor Longhair
Prog Rock
Progressive
Progressive Rock
Prophet-5
Proto-techno
Psych-folk
Psychedelic
Psychedelic Rock
Psychic Hotline
Psyhedelic
Punk
Qobuz
Quadraphonic
QUARK
Quiet Storm
R&B
Radio
Raga
Ragas
Rap
Rare Groove
Ras G
Rave
rca victor
Receivers
Record Club
Record Fair
Record Label
Record Store
Record Store Day
Record Stores
Record Stories
Reggae
Reggaeton
Reissue
Reissues
Releases
Religious
Remix
Retrospective
Robert Wyatt
Roberto Musci
Rock
Rocksteady
Roland
Roland Kirk
Rolando Chía
Roller Skate
Room Recordings
Room Treatment
Roots Reggae
Rotary Mixers
Rough Trade
Rudy Van Gelder
Russia
Ryuichi Sakamoto
Ryuichi Sakmoto
Sacred
Sade
Saint Etienne
Sam Gendel
Samba
Sample
Samples
San Francisco
Saxophone
Sci-fi
Séance Centre
Seefeel
Sensual
Serbian Disco
Shackleton
Shamisen
share
Shibuya-kei
Shoegaze
Silver Apples
Simeon Coxe
Simon Reynolds
Singer-Songwriter
Sisters with Transistors
Ska
Sly & Robbie
Smooth Jazz
Soft Rock
Solid State
Songwriting
Sonia Pottinger
Sonny Sharrock
Soul
Soul-jazz
Sound & Vision
Sound Art
Sound Collage
Sound Installation
Soundsystems
Soundtrack
South Africa
South African
South America
Southern Soul
Space Rock
Spain
Speaker
speakers
Spiritual
Spiritual Jazz
Spoken Word
Squama Records
Staff Picks
Steely Dan
Stereolab
Stereophile
Steven Halpern
Stevie Wonder
Stoner Rock
stores we love
Stories
Streaming
Street Soul
Strut Records
Studio One
Substack
Sugar Plant
Sun Ra
Sunn O)))
Supergroup
Surround Sound
Susumu Yokota
Suzanne Cianni
Suzanne Kraft
Suzanne Langille
Swamp Rock
SYNG
Synth
Synth Pop
Synth-pop
Synthesizer
Synthwave
Taarab
Tadanori Yokoo
Takoma Records
Tangerine Dream
Tannoy
Tape
Tapes
TD-160
Technics
Techno
Techno Pop
Tel Aviv
Television
Terry Callier
Terry Riley
The Beatles
The Books
The Broad
The Fall
The Loft
The Meters
The Mizell Brothers
The Music Center
The Orb
The World Stage
Theater
Thelonious Monk
Third Side Music
Third Stream
This Mortal Coil
Thomas Fehlman
Thorens
Tim Sweeney
Time Capsule
Todd Rundgren
Too Pure Records
Total Luxury Spa
Traditional
Tribal
Trip-hop
Trish Keenan
Tropical
Tropicalia
Tuareg
Tube
Turntable
Turntable Lab
TV
UK
UK Jazz
Ultramarine
Underground Resistance
Underrated
Val Wilmer
Vandersteen
Vangelis
Vanity Fair
Varia Instruments
Velvet Underground
Vice
Video
Video Art
Vince Guaraldi
Vintage
Vintage Audio
Vintage Gear
vinyl
Virginia Astley
Visible Cloaks
Visual Art
Vocal
Vocal Jazz
Vocoder
Wackies
Wah Wah Watson
Walearic
Wally Badarou
Warp
Water
Website
Wendy Carlos
Werner Herzog
West Africa
West African
Western Acoustics
Windham Hill
wiring
World
Wrecking Crew
Yacht Rock
Yamaha
Yann Tomita
Yasuaki Shimizu
Yellow Magic Orchestra
Yma Sumac
YouTube
Yukihiro Takahashi
Zamrock
Zither