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MUSIC FROM MEMORY

The Japanese producer and DJ Kuniyuki Takahashi is the subject of Music From Memory’s latest retrospective compilation with ‘Early Tape Works - 1986-1993’. Composed of two volumes, the compilations gather together a selection of tracks from a tiny run of privately released tape only albums, highlighting a fascinating early period in Kuniyuki’s musical output, one of which little is known.
After discovering the world of nightclubs in Japan around 1986, and the seemingly boundless freedom expressed there through music as well as art, Kuniyuki became inspired to experiment with electronic music. Excited by the possibilities of new music technology, he would begin to gather together a number of, at that time, reasonably accessible and inexpensive local keyboards, drum computers and recording equipment. This became for Kuniyuki a way in which to explore music not as such made for nightclubs, but certainly inspired by them. Setting up a home studio in his hometown of Saporro, Kuniyuki would record extensively during this period with the equipment he had gathered together, equipment such as Roland’s Juno60, TR-606, TB-303, Casio FZ-1, Korg 770, Boss DE-200, Foster A8 and a Yamaha MT44 track cassette recorder.
Driven to develop a musical language derived as much by an exploration of music technology and a desire to create new sounds, Kuniyuki was also looking to evolve the possibilities of what he refers to as a ‘new Oriental sound’. Early Tape Works - 1986-1993’ then brings together two albums of material which not only highlights the evolution of Kuniyuki’s own work but also of Japanese electronic music as a whole.

STAFF COMMENTS

Patrick says: MFM start 2018 with an intriguing selection of experimental synth compositions from the earliest days of Kuniyuki's musical journey. A million miles away from the house workouts we've come to expect from the Japanese producer, these 6 tracks touch on cosmic, minimal wave and the more experimental end of the Sakamoto universe while retaining a unique DIY naivety.

Music From Memory’s final 12" for 2017 is a reissue of Dub Oven's self released, and sadly one-off, 1983 EP 'Skin N Bones’.
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Pioneers in the Post Punk Industrial and New Wave scene in 1980’s San Francisco, Gary Miles (Voice Farm) and Blaise Smith (Minimal Man), met at San Francisco’s notorious 181 Club in December of 1982. This straight/same sex/swing-both-ways late night dive bar was tucked away in one of the city's most risky, drug riddled neighbourhoods. Stationed near the SF Museum of modern Art it attracted a wild audience of local patrons, aspiring young artists and music heads. In the thick of all this the duo felt impartial to a lot what was going on musically and set out to produce electronic music that could break through the "somewhat exhausted post disco sound that was then competing in the local San Francisco clubs". Enlisting soul vocalist Celeste Miller, the duo were also inspired by Lee 'Scratch' Perry / Upsetters dub tracks being produced in Jamaica and created a unique breed of avant guard hybrid New Wave/Electronic Funk.

With its influences seemingly as much rooted in the past and the present as it was focused on the future; Dub Oven formed a distinct, mystical approach to music intended for the dance floor. All three tracks on this 12" embody a signature groove and an inventive synthesized abstraction to express a languishing urban unsettledness and spiritual awareness. Recorded at L7 Studios in San Francisco with the assistance of the the studio’s in house producer Marco Perry (who currently now works with Bjork) the record was unfortunately overlooked by A&R at several major and even local labels and was finally self-released in very limited quantities. Utilising analog electronics and instrumentation, the record draws on elements of dub, new wave, soul and funk to create a sound that is uncategorizable and one that was perhaps simply too forward thinking for its time. 

STAFF COMMENTS

Patrick says: MFM cap off an excellent year in their 12" series with this bonkers bit of dubby/new wave from 80s Frisco. There's a wonderfully weird bedroom B52s vibe to these three tracks, which are currently causing all manner of excitement amongst the Piccadilly staff.

Music From Memory's final compilation of 2017 sees the release of the double album “1 by 1”, which brings together the works of American experimental musician Geoffrey Landers. During a period spanning from 1979 to 1987, this Denver, Colorado based multi-instrumentalist, composer, record producer and engineer, conceived several solo albums. Only two of these, “The Ever Decimal Pulse” and “Habitual Features” along with the single “Breedlove” were ever released on vinyl.
Heavily involved in the local industrial/punk/new wave scene and wanting to create a recording studio “available to record artists regardless of their financial circumstances” Landers set up “The Packing House Studio” in 1981. This analog 8-track recording facility was located in a former slaughterhouse in the stockyards of Denver and was a place of significant activity for the next three years with the studio releasing recordings from numerous artists most notably Allen Ginsberg.
It was here that Geoffrey Landers also started his own aptly named “Cauhaus” label. Indicative of the underground/DIYculture, “Cauhaus” was a subsiduary of a label called Local Anaesthetics which was started as an in-store label by independent Denver record store Wax Trax. Typically Cauhaus releases were only pressed up in small quantities and independently distributed, making Lander's music essentially elusive to a wide audience. After relocating in 1984 to an art district of Denver Landers opened the “Cauhaus Institute of Recording” studio where he continued to produce music for soundtracks, art and multi media projects for the next three years, after which Landers stepped out of the music industry entirely. He currently creates and exhibits mixed-media glass art.
Throughout the twenty tracks of "1 by 1", of which six previously appeared on CD only, we are submerged into a wide diversity of musical approaches from Geoffrey Landers. From the proto-house track “Logarhythms” and the heart breaking New-Wave Boogie/Funk of “Say You’ll Say So” to the more contemplative pieces such as the oriental insprired “Nisei” and the drenched in sunshine dub/reggae track “Mack” Landers shies away from musical expectations again and again; searching continually for innovative and new forms of expression.

STAFF COMMENTS

Patrick says: MFM’s latest retrospective brings together the anything goes weird-wave brilliance of Geoffrey Landers. Impossible to find in the wild, Landers’ work incorporates alt-boogie, proto house, ambient, dub and new age.

Music From Memory return with their penultimate EP of 2017, this time with four tracks drawn from Virgil ‘Vincent’ Work Jnr’s little-known cassette only debut from 1987, ‘Fast Forward’. Following on from a previous compilation of works taken from one of Virgil’s collaborative projects as the duo ‘Workdub’, this album under simply ‘Vincent’, reflects a more stripped back and raw musical approach from the St. Louis musician.
Experimenting with rhythm programming, midi, layering, sequencing, digital effects and sound synthesis the ‘Fast Forward’ sessions grew out of a series of late night jams with Vincent’s brother Scott who was then living in Kansas. With nothing planned in advance and no written music involved in the final recording sessions, the songs that would form ‘Fast Forward’ very much evolved out of improvisation lending a unique often spatial and searching quality to the tracks. Virgil’s equipment at the time very much lead the experimentation with the album being produced on a Yamaha DX7 Synthesizer, Korg DW-8000 Synthesizer, Yamaha RX-15 Drum Machine, Korg SQD-1 Sequencer and a sequential TOM Drum machine. As Virgil himself explains the title of the album in fact came about because it felt “as if I had fast forwarded to a different sound”.
Bedroom produced, the "Fast Forward" album had an initial run of only 100 copies, of which none were commercially available and were simply sent to friends and family along with a handful mailed out to local radio stations in his hometown of St Louis. Although the album received a good response from local radio DJs and music magazines, the album sadly never gained enough momentum or demand for a further run of copies. Fast forward to 2017, exactly thirty years are their production, and Music From Memory are delighted to be able to finally make Vincent’s music commercially available again."

STAFF COMMENTS

Patrick says: Spangled and sparkling, these four propulsive, percussive synth jams dance right at the fringe of the proto-house dancefloor. Playful, naive and largely unplanned, these charming future primitive shake-downs should sit comfortably next to your favourite jams from Young Marco, Andras Fox or local hero Ruf Dug. Ace!

Denis Mpunga & Paul K

Criola Remixed - Inc. Prins Emanuel/ Dazion / Androo / Tolouse Low Trax / Interstellar Funk Remixes

Music From Memory continue to cook up the heaters here, beaming onto your deck with a remix disc inspired by that curious and crucial Afro-Belgian LP. The odd combination of electronic elements, rubberised grooves and the sunbaked flavours of the mother continent took us all by surprise when it dropped a couple of months back - bounding out the speaker like a long, lost twin of Zazou, Biyake & CY1 with just a little extra oddball rating. Now the dons of the 'dam invite a veritable who's who of contemporary production druids to work their body moving magic on a bunch of "Criola" originals. Swedish drum fiend Prins Emanuel kicks us off with a suitably percussive reinterpretation of "KWEI!!", cycling through chanted vocals and pinging synths over an irresistible blend of circular rhythm elements and breezy bass. Next up Holland's afro-cosmic wunderkind comes up to the plate with a "Turtle Maraca" remix of "Intermezzo B" perfect for a memorable night of chicken limbo and lysergic marinade. Picking up where he left off on "Rigola", Dazion stretches the OG into a proper cosmic roller, surrounding the psychedelic flute refrain with shamanic drums, hypnotic sequences and a deep and earthy kick drum. Second Circle's most recent recruit, Androo continues his fine run of early form with an astrally inclined kosmische mix dripping in otherworldly dub elements. The slow and sensual drum pattern holds it down from top to bottom, creating more than enough space for echo drenched guitars, delicate mallets and smooth synths to enjoy an ear pleasing threesome. Flipping the disc we're dropped into the dark and sticky domain Detlef calls home, coming face to face with a transportative Tolouse Low Trax mix of "Veronika". Slicing and dicing the emotive vocals and soft-goth guitars over a typically lopsided groove, the German makes us move...slowly. Mechanical, packed with soul and slow enough to lock your shoulders into a right good roll, it's another eyeball licking masterpiece from Dusseldorf. As we reach the B2 we take a break from the remixes in favour of an unreleased version of "Veronika 02" with about 4 tons of extra electronic bass banged under it - holy heft it's muscular. Finally, Dutch electro chief Interstellar Funk delivers a slow moving sci-fi rendition of "Intermezzo 2" which drifts through the deadzone dodging growling synth stabs and static space junk to the tripped out patter of a rippling rhythm track.

STAFF COMMENTS

Patrick says: MFM revisit the madcapped magic of "Criola" with a star studded remix package perfect for the more open minded dancefloors of the world. Dig in for Afro-cosmic strollers, deep space rollers, mechanical soul and subbed up dub. A perfect accompaniment to the original, with more than enough retweak to turn the dancefloor inside out.

"Garrett came from the inside of his own mind, from within a home recording studio somewhere on planet Earth. The Private Life of creative awareness and the music captured here is the visceral offering to all outside. Every one of us has a Private Life. This is Garrett’s..."

Music From Memory grab the key to the door with a gorgeous long-player of horizontal synth funk and groove heavy new age from the hitherto anonymous Garrett. Now at risk of jumping the gun, letting the cat out of the bag and ending up with egg on my face, a bullet in my gullet and fur all over the carpet, I'm gonna stick my neck out (much like Carlton Palmer) and suggest that Garret is in fact Damon Garrett Riddick AKA Dam-Funk. Look beyond the similar name and listen closely and you'll hear those familiar spiraling sequences, gliding basslines and horizontal drum machines. After the frenetic, Jarre-esque opener, we drop into poolside boogie with "Right Now" and coastal cooler "Slow Motion". "It's Time" closes out side A-side with a waltzing drumbox, woozy keys and a touch of sunstroke before the B-side kicks off via the Balearic calm of "Sweet Dreams", an extensive, expansive cut you'll be hearing a lot in South Central Manchester this summer. From there "Home" delivers cosmic boogie with a heartbreaking melody, "The End Theme" dabbles with jazz and IC style experimentation before "Sweet Dreams" brings down the house with sparkling Rhodes, subtle bass and swooning melodies.

Music From Memory’s latest release in their 12” series focuses on the little known UK band The System. A project masterminded by Bob Lamb, a somewhat cult figure in Birmingham's music history; the short lived group released only one album ‘Logic' and a single in 1983 on the somewhat obscure French label ‘Romantic Records’. This distinctively forward thinking new wave/synth pop album met with poor distribution and with almost no promotion to speak of at the time and quickly dwindled into obscurity. The albums sense of technological exploration, outstanding production value coupled with the band’s gift of writing deeply emotive, yearning pop tunes, make it sound though perhaps more relevant today than many other far more successful albums of it's time.

Whilst the band and the album might have sunk into obscurity, the band were no novices to the music business. In fact the highly regarded producer Bob Lamb had played as a drummer throughout the late sixties and into the late seventies for a number of progressive rock bands. The last of which, The Steve Gibbons Band, found moderate success both at home and in US, even opening up for The Who on their world tours. Having travelled the world as a musician, in 1979 Lamb would set up a 4-track recording and mixing studio in his basement flat to focus on production. In this state of the art Birmingham studio he would work with Duran Duran on their earliest work as well as producing UB40's very first album. With this highly developed sense of production, it was here in Bob Lamb’s studio that the four members of The System set out to make a pop record very much driven by the new possibilities of technology and developments within studio recording.

With instrumental tracks ‘Vampirella’, sounding almost prophetic of Detroit techno tracks that would not be made until some 10 years later and ‘Pendy! You’re In Some Awful Danger’ a vaporous synth excursion and anthemic drum-heavy vocal track ‘Almost Grown’, this 12" also features the unreleased end of the night jam ‘Find It In Your Eyes’, a track which somehow never made it on to the original LP release.

STAFF COMMENTS

Patrick says: After it sold out in seconds first time round, MFM treat us to a swift repress of this synth pop gem. Little known Birmingham act The System failed to hit the big time, but their flawless set of dreamy 80s pop gems rival Talk Talk and Blue Nile at their finest. Weirdos should take note of 'Vampirella', a blast of Balearic-techno which takes us to the factories of Detroit via a Saint Tropez beach.

Gaussian Curve (Gigi Masin, Jonny Nash, Young Marco)

The Distance

An Englishman, an Italian and a Dutchman walked into a recording studio...Gaussian Curve are back! Early in 2014 the international trio of Gigi Masin, Jonny Nash and Young Marco came together for an impromptu jam session in an ad hoc studio space, intending only to enjoy each other's company and see where the music took them. The result of that lost weekend was the majestic "Clouds", a sublime LP which helped to reignite interest in all things ambient. Reuniting last spring to rehearse for a string of live dates, spontaneity struck once again and it soon become clear that all three members were brimming with ideas for new Gaussian Curve material. Over the four days that followed, and fuelled by the same organic process that drove "Clouds", a new album began to take shape. Although their methodology remained the same, the inspirations were different. Whereas "Clouds" was intimate by design, "The Distance" reflects more on spaciousness, span and time. Though instantly recognizable as a Gaussian Curve record, this widescreen approach finds emotion in expressionism - more Terrence Malick than Ingmar Bergman. Timeless, melodic and undeniably stunning, "The Distance" is every bit as beautiful as its predecessor.

STAFF COMMENTS

Patrick says: Last time out, Gaussian Curve treated us to a horizontal highpoint in 21st century ambience, and this follow up fully delivers on the weight of expectation. Melodic, measured and utterly beautiful, "The Distance" finds Masin, Nash and Marco at the top of their game, and remarkably, more than the sum of their parts. Stunning!

Holy man batshit! I mean...How in tarnation do Music From Memory keep furnishing us with these oddball gems? Picking up exactly where they left off on the Outro Tempo release, the Amsterdam archivists swap South American minimal wave for Afro-pean experimentalism, keeping the focus on the groove of course. Combining elements of traditional African music with experimental electronics, the Belgian/Congolese duo Denis Mpunga & Paul K released only a handful of tracks, scattered across a few rare LP and cassette compilations that were put out in the mid eighties by obscure european labels. Alongside the picks from this bonkers bunch, we get a smattering of unreleased cuts, lovingly revived from the original master tapes. "Intermezzo 03" opens the set with the kind of squirming bassline and skittering drums you'd expect from a Larry Heard produced Young Thug mixtape, before digital birdsong and psychedelic synth washes begin to make those walls melt. "Criola" steps into the void with an Afro-cosmic groove and paints a colourful melody of polyrhyhm, snaking bass and circular marimba before the warped synth funk of "Intermezzo 02" takes us into a whole new dimension. "---!!! KWE" closes the side with a little abstract afro-beat while "Dou-Niya" invites us for a quiet Guinness at an Adrian Sherwood set in a Brazaville social club. There's more synth and surf trippery on "Intermezzo 01 V3" (eat your heart out Sun Araw), "Funyaka" gives the Afro-beat to us straight and subby and "What" glides through a little hi-life hijinx. Taking us to the run out groove in hypnotic style, the sweet and psychedelic "Veronika 02" is one of those glorious tracks you wish would last for 2 hours, the perfect finale to a flawless set of genre mulching sounds. 

STAFF COMMENTS

Patrick says: Sadly arriving week late to land on my Afro-cosmic smashers and weirdo-wonders top ten, this latest collection from MFM is as tripped out a selection of irresistible groove music as you're ever likely to hear. African grooves and feeling fused with truly experimental 80s mechanics - Mint!

After chilling us out with last year’s Suso Saiz retrospective, Music From Memory mark their 20th release in gleeful style with an album of new works by the Spanish electronic music pioneer. Recorded in Madrid between January and February 2016, this is Suso Saiz’s first release of new music in nearly 10 years. Titled "Rainworks" this double LP release was originally part of a commission from a Canary Islands water company. The first ideas for the compositions developed from a documentary that Suso had seen suggesting the possibility of water molecules having their own ‘memory’. As Suso himself explains, he became fascinated with the “possibility of an eternal being, changing its cyclical condition from solid to gaseous state, travelling through and between the Earth and the Sky, as a witness and keeper of the true history of Earth and Mankind”. Suso, his son Emil Saiz and pianist Raph Killhertz set out to explore this metaphysical process of cyclical movement through music in "Rainworks". Developing from the original commissioned tracks into a much more elaborate project, the album’s process became something of a mystical journey, drawing on aspects of minimalism and modernism. The music is also embedded in textured natural soundscapes and spoken word passages which were recorded and processed by Suso himself. Despite having the immediacy of an improvised piece, "Rainworks" was entirely composed by Suso. Though it appears at first inspection to be electronic album, if you dig a little deeper you'll find plenty of acoustic elements to the recording. A resonant piano (a grand piano re-amplified using its resonant box and harp to generate effects) as well as guitars (with simple effects) are played in Suso’s inimitable hypnotic way, slowly drawing the listener into a transportive state or lucid dream. 

STAFF COMMENTS

Patrick says: I loved the MFM collection of archival records from last year, so I was a right giddy kipper when I saw there was soon to be brand new material. As they say, class is permanent and Saiz' first release in ten years is every bit as good as his old compositions. Immersive, aquatic and in places experimental, "Rainworks" first challenges, then rewards. Check out the stunning "The Way Of Water" if you need a little beauty in your life!

For their first multi-artist compilation, Music From Memory take us on a trip to the heart of the Amazon rainforest. "Outro Tempo: Electronic and Contemporary Music From Brazil, 1978-1992" is a double LP that explores the outer reaches of Brazilian music, where indigenous rhythms mix with synthesizers and where MPB mingles with drum computers. As Brazil faced the last years of its military dictatorship and transition to democracy, a generation of forward-thinking musicians developed an alternative vision of Brazilian music and culture. They embraced traditionally shunned electronic production methods and infused their music with elements of ambient, jazz-fusion, and minimalism. At the same time they referenced the musical forms and spirituality of indigenous tribes from the Amazon. The music they produced was a complex and mesmerising tapestry that vividly evoked Brazilian landscapes and simultaneously reached out to the world beyond its borders. The product of extensive research, this compilation is a unique introduction to this visionary music and features many fresh discoveries in a country well trodden by record diggers. It gathers tracks from obscure albums that have for too long been neglected by even the most avid collectors of Brazilian music. It includes now highly sought after music by Andréa Daltro, Maria Rita, and Fernando Falcão, as well as unknown gems like those of Cinema, Carlinhos Santos, and Anno Luz. This is an essential release that reveals a broader spectrum of Brazilian music, striking a unique sonic signature that is full of innovation, experimentation, and beauty. Compiled by John Gómez and featuring extensive liner notes, Outro Tempo showcases this overlooked corner in Brazil’s rich music history for the first time.

STAFF COMMENTS

Patrick says: How do they keep on doing it? MFM deliver another vital release here, mining a rich and rare scene of Brazilian electronics to expand minds and move bodies in the most unconventional way. Proper froglicking tackle from back in the day!

Becker / Stegman / Zeumer

Ich Traume So Leise Von Dir

Music From Memory cap off a pretty neat 2016 with a reissue of something unique, unusual and largely unheard outside of elite digging circles and the Wuppertal town hall. As key figures of the Wuppertal jazz scene, trumpetist Heinz Becker and painist Karl-Heinz Stegmann were well acquainted by 1987 when they met the actress Isabel Zeumer at an exhibition opening. Soon after this chance meeting, the trio were asked put together a programme on Else Lasker-Schüler. A unique figure in her time Jewish poet Lasker-Schüler embraced a bohemian lifestyle and became a leading exponent of Germany’s expressionism and avant-garde poetry movement before fleeing the country in 1937. Becker, Stegmann and Zeumer’s programme would combine readings of Lasker-Schüler’s works with experimental music and imagery. These performances were met with great enthusiasm at the time in Wuppertal and were even televised. Following on from the strong response to the music and performances, the trio were invited to release the material on local label ITM Records. Embracing Lasker’s avant-garde sentiments within their own musical compositions, Becker, Zeumer and Stegmann’s album "Ich Träume So Leise Von Dir" LP blends jazz and electronics to create a wholly unique sound. "Mein Tanzlied" opens this reissue with precision drum programming, thrusting sequences and fat fusion bass, packing the dancefloor before the spoken vocal, glassy keys and muted jazz trumpet erupts overhead. An undeniable NDW killer, this sounds like a Germanic, avant associate of James Mason's "Nightgruv", Enzo Avitabile's "Blackout" and Hugh Masekela's "Don't Go Lose It Baby", but much weirder than that sounds. Essential deep dancefloor bizniz. "Dir" takes a different approach to audio enlightenment, transporting us into a North Rhine film noir with swelling synth tones, muted jazz trumpet and sultry spoken vocals from Isabel Zeumer. If you got lost in Vangelis' Blade Runner score, then you should seriously check this unsettling vision of atmospheric ambience. B-side opener "Der Schnupfen" sees the trio layering Isabel's spoken vocal and Becker's trumpet over a bubbling boogie rhythm section, before Stegman fully freaks out on the synth in the second half. "Abends" closes the set in subdued fashion, gentle Rhodes motifs creating a watery calm while the sustained synth drones and moonlit trumpet wax and wane around the intimate vocal. Embracing and experimenting with elements of ambient and even new wave, the four tracks selected here, seem to take music and spoken word into an entirely unique musical realm. It's yet another gift from Music From Memory.

STAFF COMMENTS

Patrick says: Could this be my favourite MFM release yet? The label never put a foot wrong, but this four tracker has it all. Seductive spoken vocals, contemplative ambience, pulsating new wave and weird boogie are all present and correct as this German trio embarked on a unique musical vision. Flawless.

Following their release of the Michael Turtle 12” in 2015, Music From Memory now publish "Phantoms of Dreamland"; a compilation of works by the UK musician recorded between 1983-1985. This double LP features tracks drawn from the recording sessions for Turtle’s album "Music From The Living Room" and also collects material Turtle recorded shortly after that, for an album which would never materialise. With three tracks taken from ‘Music From The Living Room’ and the rest of the compilation entirely made up of unreleased tracks, "Phantoms of Dreamland" draws on an illustrious period for Michael. In 1982, at the age of only 22, Michael Turtle set up a portable four track studio in his family’s South London home, over-running his parents' front room with synthesizers, amps and instruments. Here he would create layered and deeply hypnotic tracks that were often built around live jams with musicians he would invite to his home. Although the music can appear to be sample based, all instruments were played live and any voices or sound effects were recorded directly to tape or from tiny cassette loops. Combining electronics with live percussion throughout, "Phantoms Of Dreamland" reflects a deep sense of musical exploration and creates a uniquely other-worldly musical language of its own.

STAFF COMMENTS

Barry says: Ranging from tape-looped vocals to dreamy chorused Wurlitzer punctuated by walking bass and strummed classical guitar, the newest release on shop favourite Music From Memory is everything we hoped it would be. Serene floaty ambience in parts, phased percussive miscellany, and most notable of all, twinkling sunny balearic vibes. A fascinating and mind-expanding exploration of rhythm and melody, and startlingly immersive work from Turtle.

Joel Graham

Geomancy / Night

After wowwing us with the experminetal synthesis of their Vito Ricci retrospective last time out, Music From Memory continue their journey through obscure 80s electronics with this two tracker from the suitably low key Joel Graham. Prompted by a chance cassette discovery by Red Light Radio founder and label associate Orpheu de Jong, this two track 12” highlights the work of electronic music pioneer Joel Graham, a San Francisco based artist who self released two cassettes in 1984 / 85. Originally recorded and performed live on pre-MIDI analogue equipment in 1982 as an outline for a live performance, these visionary tracks provoke much of the same sensibilities found in both contemporary dance music as well as in works of more established vanguard artists of the time. Slowly unravelling and deeply hypnotic, Joel Graham’s music seems to manifest a doorway to a profound new world and can be seen as a forerunner of what was to come in electronic music. A-side cut "Geomancy" powers up gradually, first lulling us into a concentric cycle of drum box rhythm and blinking LEDs before blooming into a full frequency embrace of glacial synths. On the flipside, "Night" plunges us into the depths of a murky proto-techno ocean where propulsive bass sequences brush aside melodic synth shoals on the way to the subaquatic crystal realms beyond. Hats off to Amsterdam's finest once again - mindblowing time machine shit here!

Vito Ricci

I Was Crossing A Bridge

    For their fifth excursion into the lesser thumbed pages of the great musical story, Music From Memory present a collection of works from a man close to the label's heart. Operating at the leading edge of NYC's underground music scene, Vito Ricci produced only a handful of self-released cassettes and one LP (titled "Music From Memory", wouldn't you know) between 1983 and 1985, with most of his work being recorded for experimental theatre and performance art pieces. Starting out as a percussionist, Ricci’s early musical journey led him to improvised and experimental jazz; working alongside such luminary musicians as Rashied Ali, Byard Lancaster, Peter Zummo and Yousef Yancey. Quickly becoming involved in the avant-­garde scene with spoken word performances, film scores for independent movies and even playing in punk bands with performances at venues such as CBGB’s and Mudd Club, Vito’s own compositions drew on all of these influences whilst channeling them through his experiments with synthesizers and drum computers. Drawing comparisons with New York’s downtown no-wave scene Vito’s compositions blend his unique use of intricate percussion with a wide sphere of musical influences to create a world of hypnotising ambient, meditative and minimal synthwave through to dubbed out electronic funk and even leftfield boogie. "I Was Crossing A Bridge" unveils Vito Ricci's unique and visionary take on electronic music, most of which was previously unreleased.

    The Italian’s ambient and minimal electronic compositions are the subject of forthcoming retrospective from the Amsterdam label.

    The Music From Memory label was launched by Redlight Records founders Tako Reyenga, Abel Nagenast and Jamie Tiller earlier this year, sporting a proud mantra of “giving overlooked and unreleased music that we love a second chance”. Music From Memory’s debut release 'Liquid Diamonds' collated material from the 1980s private press output of Rhode Island resident Leon Lowman who had a penchant for detailing his romantic exploits over a backdrop of languid synth funk.

    The focus of attention for Music Of Memory’s next release falls on the works of celebrated ambient composer Gigi Masin. Born in Venice, Masin’s work has been sampled by the likes of Bjork and To Rococco Rot and his albums attract feverish acclaim, with Wind, Masin’s privately pressed debut LP a desired rarity for the only the most well-heeled of second hand collectors. It’s from this album and a selection of Masin’s other released works that Music From Memory draw from for the forthcoming double LP retrospective 'Talk To The Sea', which also includes a healthy amount of unreleased material.

    STAFF COMMENTS

    Patrick says: Gigi Masin, realigning chakras in South Manchester since 2014. Essential, immersive ambient music from the ever on point Music From Memory.

    Gaussian Curve (Gigi Masin, Jonny Nash, Young Marco)

    Clouds

      Music From Memory's fourth release sees the Amsterdam based label taking an exciting sidestep with the release of “Clouds”, an album of contemporary music recorded in spring 2014. “Clouds” is the debut album of Gaussian Curve, a collaboration between Italian ambient pioneer Gigi Masin, Land Of Light’s Jonny Nash and Marco Sterk (also known as Young Marco).

      Each of them established in their own rights, the three musicians from Italy, UK and the Netherlands, came together during a weekend long recording session in April of this year.Without preconceived ideas and developed around often purely intuitive improvised jams, the eight tracks on the album are all 'one take' live recordings. With Gigi Masin on Rhodes and piano, Jonny Nash on guitar, melodica, synths and trumpet and Marco Sterk on synths, rhythmic structures and production duties, the three of them succeed in developing a musical language all of their own.

      Recorded in the heart of Amsterdam's Red Light district, the album reflects the unusually warm spring and the buzz from the open windows that filled the derelict downtown studio space during that particular weekend. Whilst on the more introvert late night compositions the music quietly soars, reflecting the brooding melancholy of an evening in that particular part of the city. With a heartfelt simplicity “Clouds” is a record of an inspired meeting of unique souls and unique surroundings.


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