1
Total Blue - The Path
2
Total Blue - Corsair
3
Total Blue - Heart Of The World
4
Total Blue - Jaguarundi
5
Total Blue - Dorian Dial
6
Total Blue - Chaparral
7
Total Blue - Bone Chalk
8
Total Blue - Pearl Plains
Introducing ‘Total Blue’, the Los Angeles-based trio of Nicky Benedek, Alex Talan, and Anthony Calonico. Despite collaborating for over a decade, ‘Total Blue’ represents a new chapter in their artistic journey together as a trio.
Embracing chance, inviting the unknown, and guided by a spirit of sheer play and exploration, ‘Total Blue’ was driven by a desire to ‘touch the beyond’ in pursuit of an elusive vibe the three had been chasing for years.
Alex, Nick, and Anthony envision ‘Total Blue’ as the all-encompassing full picture, a place where the real and the imaginary begin to blur; a destination reached not through escapism but by expanding one's perspective; a widened scope of vision where personality both shines and disintegrates.
Across the album, their mission statement is expertly achieved with subtlety and delicate human touch; painting with a lush palette of digital synths, Akai EVI wind synthesizer, fretless bass, and guitar, the trio masterfully balance texture and color, evoking wide expansive vistas that stretch from Los Angeles right out to the furthest reaches of sky and sea. This is ‘Total Blue’ - a place of time and timelessness where echoes of history and tradition merge with rootless inhuman sonics.
Art and design by Michael Willis. More
Embracing chance, inviting the unknown, and guided by a spirit of sheer play and exploration, ‘Total Blue’ was driven by a desire to ‘touch the beyond’ in pursuit of an elusive vibe the three had been chasing for years.
Alex, Nick, and Anthony envision ‘Total Blue’ as the all-encompassing full picture, a place where the real and the imaginary begin to blur; a destination reached not through escapism but by expanding one's perspective; a widened scope of vision where personality both shines and disintegrates.
Across the album, their mission statement is expertly achieved with subtlety and delicate human touch; painting with a lush palette of digital synths, Akai EVI wind synthesizer, fretless bass, and guitar, the trio masterfully balance texture and color, evoking wide expansive vistas that stretch from Los Angeles right out to the furthest reaches of sky and sea. This is ‘Total Blue’ - a place of time and timelessness where echoes of history and tradition merge with rootless inhuman sonics.
Art and design by Michael Willis. More
More records from Music From Memory
1
Gaussian Curve - Winter Sun
2
Gaussian Curve - Fever Dream
The return of Gaussian Curve - Gigi Masin, Jonny Nash and Marco Sterk’s much-loved trio are back for the first time since their 2016 sophomore album 'The Distance', presenting two new tracks entitled 'Winter Sun' and 'Fever Dream'.
Both tracks originate from recording sessions that took place in Amsterdam in 2016 for 'The Distance'. Despite not finding a place on the final album and being left as unfinished sketches for six years, the tracks represent an important part of the Gaussian Curve story which the band felt compelled to complete. Coinciding with the decision to perform a handful of live shows in 2022, they finally revisited the sketches, mixing and arranging them with the goal of giving them the full release that they deserve.
The trio’s trademark sound hits from first moments of 'Winter Sun'; a lush slow builder with all the classic GC ingredients; Nash’s airy and spacious guitar lines interplay with Masin’s warm rhodes, underpinned by Sterk’s subtle use of electronics and the minimal rhythm of a CR-78 drum machine.
On 'Fever Dream', the trio subtly expand their palette; a gently building 303 bass line and 808 rhythm form the foundations of the piece, with Masin’s vocals adding to a slow-burning intensity. Arguably a fuller sound hinting at new areas of exploration for the trio, but unmistakably Gaussian Curve.
Graphic art by Qiu Yang, design by Steele Bonus, More
Both tracks originate from recording sessions that took place in Amsterdam in 2016 for 'The Distance'. Despite not finding a place on the final album and being left as unfinished sketches for six years, the tracks represent an important part of the Gaussian Curve story which the band felt compelled to complete. Coinciding with the decision to perform a handful of live shows in 2022, they finally revisited the sketches, mixing and arranging them with the goal of giving them the full release that they deserve.
The trio’s trademark sound hits from first moments of 'Winter Sun'; a lush slow builder with all the classic GC ingredients; Nash’s airy and spacious guitar lines interplay with Masin’s warm rhodes, underpinned by Sterk’s subtle use of electronics and the minimal rhythm of a CR-78 drum machine.
On 'Fever Dream', the trio subtly expand their palette; a gently building 303 bass line and 808 rhythm form the foundations of the piece, with Masin’s vocals adding to a slow-burning intensity. Arguably a fuller sound hinting at new areas of exploration for the trio, but unmistakably Gaussian Curve.
Graphic art by Qiu Yang, design by Steele Bonus, More
1
Jun Sato - Lorang
2
Fumihiro Murakami - Miko
3
Tadahiko Yokogawa - Stop Me
4
Love Peace Trance - Yeelen
5
Ichiko Hashimoto - Lete
6
Yosui Inoue - Pi Po Pa
7
Eiki Nonaka - Phlanged Vortex Clip
8
X Cara - Night In Aracaju
9
Poison Girl Friend - Nobody
10
Dream Dolphin - Take No Michi
11
Keisuke Sakurai - Harai Cd Version
12
Hiroki Ishiguro - Unity
13
Dido Shizuru Ohtaka Michiaki Kato - Mermaid
14
Keisuke Kikuchi - Retro Electric
Repress!
Music From Memory is excited to announce a special compilation that they’ve been working on for some time now; MFM053 – VA – Heisei No Oto – Japanese Left-field Pop From The CD Age (1989-1996). Compiled by long-time friends of the label, Eiji Taniguchi and Norio Sato, Heisei No Oto delves into a world of music released almost exclusively on CD and brings together a fascinating selection of discoveries from a little known and overlooked part of Japan’s musical history.
The last ten or so years have seen a global wave of interest in Japanese music encompassing ambient, jazz, new wave and pop records from the 1980s, some of which is increasingly considered the most innovative and visionary music of that time. Although some music from this period, in the form of ‘City Pop’ or ‘rare groove’ records, had been coveted by collectors and DJs for a number of years, most Japanese music from the time was little known outside and often even within Japan.
Sometime around the mid 2000s, two Osaka record store owners, Eiji Taniguchi of Revelation Time and Norio Sato of Rare Groove, along with a handful of deep Japanese diggers such as Chee Shimizu of Organic Music records in Tokyo, began to explore beyond the typical ‘grooves’ or ‘breaks’. Much like their counterparts in Europe and the US, they began delving into home-grown ambient, jazz, new wave and pop records, discovering visionary music, often driven by synthesizers or drum computers, that broke beyond the typical confines of their genres.
Spending tireless hours in local record stores and embarking on digging trips across the country, Eiji Taniguchi and Norio Sato, much like Chee Shimizu, have been at the forefront of unearthing and introducing many of the very Japanese records now loved and sought after around the world. Yet as YouTube algorithms and vinyl reissues would transport such music into the global consciousness and demand and therefore scarcity intensified for such records, so Eiji and Norio have recently begun to turn their attention to CDs.
The title of the compilation Heisei No Oto refers to the sound of the Heisei era, which began in 1989 and corresponds to the reign of Emperor Akihito until his abdication in 2019. Marking the culmination of one of the most rapid economic growths in Japanese history, 1989 also coincided with the music industry’s final shift away from vinyl in favour of CDs. And, although compact discs were first introduced seven years earlier it wasn’t until late into the ‘80s that, beyond dance music labels, CDs became the exclusive format for major and independent labels in Japan and throughout the world.
This however didn’t signal the end of the innovation in Japan. Many of those same musicians who have become known for their work in the ‘80s would continue to produce outstanding music well into the mid ‘90s, as greater innovation and advances in musical equipment allowed Japanese musicians and producers to refine and explore new sounds. While musicians such as the seminal Haruomi Hosono, whose productions feature on a number of tracks, would continue to push the boundaries of these new technologies, these technological advances also meant less established musicians were able to make use of increasingly affordable but state-of-the-art equipment.
Including music by Haruomi Hosono as well as Yasuaki Shimizu, Toshifumi Hinata and Ichiko Hashimoto who have become known and loved around the world in recent years, Hesei No Oto also features Japanese pop star Yosui Inoue, producers Jun Sato and Keisuke Kikuchi in aaddition to less established artists from the contemporary, jazz, new wave, pop and dance music scenes. Bringing together a selection of tracks that seem to define these specific genres and in fact move fluidly between a number of them, the music on the compilation is again underscored by experimentations with synthesizers and drum computers though with something of a gentle Pop sensibility. Reimagined here then under the encompassing term ‘Left-field Pop’, this is an exciting chapter in Japanese musical history that has only just begun to be fully explored.
VA - Heisei No Oto - Japanese Left-field Pop From The CD Age (1989-1996) is a 2xLP/2xCD that includes liner notes by Chee Shimizu and artwork by Hagihara Takuya and is released on February 28th. More
Music From Memory is excited to announce a special compilation that they’ve been working on for some time now; MFM053 – VA – Heisei No Oto – Japanese Left-field Pop From The CD Age (1989-1996). Compiled by long-time friends of the label, Eiji Taniguchi and Norio Sato, Heisei No Oto delves into a world of music released almost exclusively on CD and brings together a fascinating selection of discoveries from a little known and overlooked part of Japan’s musical history.
The last ten or so years have seen a global wave of interest in Japanese music encompassing ambient, jazz, new wave and pop records from the 1980s, some of which is increasingly considered the most innovative and visionary music of that time. Although some music from this period, in the form of ‘City Pop’ or ‘rare groove’ records, had been coveted by collectors and DJs for a number of years, most Japanese music from the time was little known outside and often even within Japan.
Sometime around the mid 2000s, two Osaka record store owners, Eiji Taniguchi of Revelation Time and Norio Sato of Rare Groove, along with a handful of deep Japanese diggers such as Chee Shimizu of Organic Music records in Tokyo, began to explore beyond the typical ‘grooves’ or ‘breaks’. Much like their counterparts in Europe and the US, they began delving into home-grown ambient, jazz, new wave and pop records, discovering visionary music, often driven by synthesizers or drum computers, that broke beyond the typical confines of their genres.
Spending tireless hours in local record stores and embarking on digging trips across the country, Eiji Taniguchi and Norio Sato, much like Chee Shimizu, have been at the forefront of unearthing and introducing many of the very Japanese records now loved and sought after around the world. Yet as YouTube algorithms and vinyl reissues would transport such music into the global consciousness and demand and therefore scarcity intensified for such records, so Eiji and Norio have recently begun to turn their attention to CDs.
The title of the compilation Heisei No Oto refers to the sound of the Heisei era, which began in 1989 and corresponds to the reign of Emperor Akihito until his abdication in 2019. Marking the culmination of one of the most rapid economic growths in Japanese history, 1989 also coincided with the music industry’s final shift away from vinyl in favour of CDs. And, although compact discs were first introduced seven years earlier it wasn’t until late into the ‘80s that, beyond dance music labels, CDs became the exclusive format for major and independent labels in Japan and throughout the world.
This however didn’t signal the end of the innovation in Japan. Many of those same musicians who have become known for their work in the ‘80s would continue to produce outstanding music well into the mid ‘90s, as greater innovation and advances in musical equipment allowed Japanese musicians and producers to refine and explore new sounds. While musicians such as the seminal Haruomi Hosono, whose productions feature on a number of tracks, would continue to push the boundaries of these new technologies, these technological advances also meant less established musicians were able to make use of increasingly affordable but state-of-the-art equipment.
Including music by Haruomi Hosono as well as Yasuaki Shimizu, Toshifumi Hinata and Ichiko Hashimoto who have become known and loved around the world in recent years, Hesei No Oto also features Japanese pop star Yosui Inoue, producers Jun Sato and Keisuke Kikuchi in aaddition to less established artists from the contemporary, jazz, new wave, pop and dance music scenes. Bringing together a selection of tracks that seem to define these specific genres and in fact move fluidly between a number of them, the music on the compilation is again underscored by experimentations with synthesizers and drum computers though with something of a gentle Pop sensibility. Reimagined here then under the encompassing term ‘Left-field Pop’, this is an exciting chapter in Japanese musical history that has only just begun to be fully explored.
VA - Heisei No Oto - Japanese Left-field Pop From The CD Age (1989-1996) is a 2xLP/2xCD that includes liner notes by Chee Shimizu and artwork by Hagihara Takuya and is released on February 28th. More
Label:Music From Memory
Cat-No:MFM013
Release-Date:26.07.2024
Genre:Alternative/Electronic
Configuration:12"
Label:Music From Memory
Cat-No:MFM013
Release-Date:26.07.2024
Genre:Alternative/Electronic
Configuration:12"
1
The System - Almost Grown
2
The System - Vampirella
3
The System - Find It In Your Eyes
4
The System - Pendy! You're In Some Awful Danger
2024 Repress!
Music From Memory continue their 12? series with the release of an EP. This 4 track comp holds 3 tracks from the LP and one unreleased.. Tip! More
Music From Memory continue their 12? series with the release of an EP. This 4 track comp holds 3 tracks from the LP and one unreleased.. Tip! More
1
Tim Koh & Sun An - Bye Bye Betty
2
Tim Koh & Sun An - Moments Of Joy
3
Tim Koh & Sun An - Lemongrass Citronella
4
Tim Koh & Sun An - Can't Stand In The Past
5
Tim Koh & Sun An - Besafe Airtel
6
Tim Koh & Sun An - Today Only Happens Once
7
Tim Koh & Sun An - Incense Holder
8
Tim Koh & Sun An - Salt And Sugar Look The Same
9
Tim Koh & Sun An - A Lead Balloon
10
Tim Koh & Sun An - Sandalwood In The Summer
11
Tim Koh & Sun An - How They Made It
12
Tim Koh & Sun An - Somewhere In Time
13
Tim Koh & Sun An - Old Plates And Desirable Traits
14
Tim Koh & Sun An - Drawing To Relax And Pass The Time
15
Tim Koh & Sun An - The Maybes Are Endless
16
Tim Koh & Sun An - Yume-No-Yume
17
Tim Koh & Sun An - Twice
18
Tim Koh & Sun An - Expected To Fade
Music From Memory is pleased to announce the upcoming release of ‘Salt And Sugar Look The Same’, a collaborative album from Tim Koh and Sun An.
Tim Koh is an American multi-instrumentalist and visual artist born and raised in Los Angeles. He has been touring, releasing music and showing art works internationally for nearly two decades. Sun An is a Southern California-based graphic designer, art director, and sound designer who has self-released music since 2012.
‘Salt And Sugar Look The Same’ plays somewhat like a dreamlike collage; across 18 short compositions, finger-picked guitars melt with electronics and warped samples to create a form of American Primitivism bent and refracted through Tim and Sun’s unique lens.
Their collaborative journey unfolded gradually, exchanging snippets via email over the span of a year or so, Sun in LA and Tim in Berlin. Amidst personal struggles and uncertainties, the act of recording and composing became a refuge, a safe space where they could navigate life's complexities together. Though they didn't converse much, mostly just sending music, their musical dialogue spoke volumes, shaping a narrative that evolved naturally over time. As they shared their musical ideas, they discovered a profound sense of connection and understanding with one another. The music became a conduit for healing, bridging the gaps between them and offering comfort in times of need.
Their musical influences and backgrounds anchored them. From reminiscing about past scenes to exploring cultural intricacies of being Korean American in Los Angeles, infused with a natural sense of shared identity, their collaboration reflected a mergence of old and new memories into a hallucinatory, dream-like experience. Across the 18 compositions that make up the album, incense emerges as a poignant motif, symbolizing the passage of time. Each incense stick becomes a vessel carrying the essence of moments gone by, while the holder becomes the custodian of these ephemeral memories.
‘Salt And Sugar Look The Same’ invites the listener on a boundary-transcending journey of introspection, joy, and pain, creating an experience that lingers long after the last note fades.
Sleeve art by Brian DeGraw, design by David McFarline. More
Tim Koh is an American multi-instrumentalist and visual artist born and raised in Los Angeles. He has been touring, releasing music and showing art works internationally for nearly two decades. Sun An is a Southern California-based graphic designer, art director, and sound designer who has self-released music since 2012.
‘Salt And Sugar Look The Same’ plays somewhat like a dreamlike collage; across 18 short compositions, finger-picked guitars melt with electronics and warped samples to create a form of American Primitivism bent and refracted through Tim and Sun’s unique lens.
Their collaborative journey unfolded gradually, exchanging snippets via email over the span of a year or so, Sun in LA and Tim in Berlin. Amidst personal struggles and uncertainties, the act of recording and composing became a refuge, a safe space where they could navigate life's complexities together. Though they didn't converse much, mostly just sending music, their musical dialogue spoke volumes, shaping a narrative that evolved naturally over time. As they shared their musical ideas, they discovered a profound sense of connection and understanding with one another. The music became a conduit for healing, bridging the gaps between them and offering comfort in times of need.
Their musical influences and backgrounds anchored them. From reminiscing about past scenes to exploring cultural intricacies of being Korean American in Los Angeles, infused with a natural sense of shared identity, their collaboration reflected a mergence of old and new memories into a hallucinatory, dream-like experience. Across the 18 compositions that make up the album, incense emerges as a poignant motif, symbolizing the passage of time. Each incense stick becomes a vessel carrying the essence of moments gone by, while the holder becomes the custodian of these ephemeral memories.
‘Salt And Sugar Look The Same’ invites the listener on a boundary-transcending journey of introspection, joy, and pain, creating an experience that lingers long after the last note fades.
Sleeve art by Brian DeGraw, design by David McFarline. More
1
Contours - Bike Shed
2
Contours - Elevation 1
3
Contours - Elevation 2
4
Contours - Elevation 3
5
Contours - Balafon C
6
Contours - Pots
7
Contours - Arp Phase
Music From Memory is delighted to present ‘Elevations’, a new album from Manchester based artist Tom Burford, aka Contours.
Drawing heavily on his background as a drummer and percussionist, ‘Elevations’ began as an exploration of the Balafon, a Malian tuned percussion instrument, before organically growing into its final form; a delicate suite of compositions centered around rhythmical interactions of percussion, synthesizer and strings.
Recorded during the pandemic and the period following, the album reflects a desire to lose oneself in the expanse of nature - the title ‘Elevations’ being a direct nod to the mountainous area of Cumbria where Tom grew up. The album also represents the joy of creating with friends; it features performances from several of his musical contemporaries, many of which were recorded at his home in Manchester. Slowly taking shape, the final result is a record that seamlessly blends electronic and acoustic, operating at the intersection of Minimalism, Jazz, Fourth World and Contemporary Classical music. More
Drawing heavily on his background as a drummer and percussionist, ‘Elevations’ began as an exploration of the Balafon, a Malian tuned percussion instrument, before organically growing into its final form; a delicate suite of compositions centered around rhythmical interactions of percussion, synthesizer and strings.
Recorded during the pandemic and the period following, the album reflects a desire to lose oneself in the expanse of nature - the title ‘Elevations’ being a direct nod to the mountainous area of Cumbria where Tom grew up. The album also represents the joy of creating with friends; it features performances from several of his musical contemporaries, many of which were recorded at his home in Manchester. Slowly taking shape, the final result is a record that seamlessly blends electronic and acoustic, operating at the intersection of Minimalism, Jazz, Fourth World and Contemporary Classical music. More
Label:Music From Memory
Cat-No:MFM031
Release-Date:26.04.2024
Genre:Alternative/Electronic
Configuration:2LP
Label:Music From Memory
Cat-No:MFM031
Release-Date:26.04.2024
Genre:Alternative/Electronic
Configuration:2LP
1
v.a. - Nightfall In Camp - Cada Dia
2
v.a. - Stroer Duo Howard Fine - Nomad Song
3
v.a. - Tony Hymas - Pictures Of Departure
4
v.a. - Violet Eves - Listen Over The Ocean
5
v.a. - Miko & Mubare - Komoma Ya-Ya-Ya
6
v.a. - Piscine Et Charles - Quart De Tour, Mon Amour
7
v.a. - John Makin & Friends - No Lie
8
v.a. - Nonobstant - Jessica
9
v.a. - Wolfgang Klingler, Thomas Heimes, Hans-Christian Mittag - Nach Dienst
10
v.a. - Sound On Sound - Depression
11
v.a. - Pete Brandt's Method - What You Are
12
v.a. - Lost Gringos - Tambo Machay
13
v.a. - Vanakos - I Hate Disco.. Not The Dance
14
v.a. - Brenda And The Beachballs - Dancing Thru' The Night
15
v.a. - Patrick Forgas - Sex Move
16
v.a. - Xavier Jouvelet - Oeuf En Clock
17
v.a. - Lou Blic - Mineralite
18
v.a. - Steve Beresford - Comfortable Gestures
19
v.a. - Bill Nelson's Orchestra Arcana - The Whole City Between Us
20
v.a. - Harte 10 - Happy New Year
21
v.a. - Monica Rypma - Hey, Where You Goin!
Repress!
Uneven Paths: Deviant Pop From Europe, 1980-1991 is the second multiple artist compilation on Music From Memory and is compiled by record connoisseur Raphael Top-Secret and label man Jamie Tiller. The compilation brings together twenty one tracks from across the continent; exploring the more unusual and unexpected sides of Pop music produced during that period.Drawing material from cult experimental artists such as Steve Beresford, Brenda Ray and Bill Nelson alongside one-off independent musical projects rescued from the fringes, ’Uneven Paths’ focuses on a selection of tracks that go beyond the confines of mainstream pop music but which also transcend expectations of much of the ’experimental’ music of the time. This is music with one foot in the avant-garde and another foot firmly rooted within the sensibilities of Pop; where Jazz musicians detour into Synth-Pop, Punk bands break into Boogie jams, and student doctors jam out on odd melodies with synthesizers and drum machines during their night shifts. More
Uneven Paths: Deviant Pop From Europe, 1980-1991 is the second multiple artist compilation on Music From Memory and is compiled by record connoisseur Raphael Top-Secret and label man Jamie Tiller. The compilation brings together twenty one tracks from across the continent; exploring the more unusual and unexpected sides of Pop music produced during that period.Drawing material from cult experimental artists such as Steve Beresford, Brenda Ray and Bill Nelson alongside one-off independent musical projects rescued from the fringes, ’Uneven Paths’ focuses on a selection of tracks that go beyond the confines of mainstream pop music but which also transcend expectations of much of the ’experimental’ music of the time. This is music with one foot in the avant-garde and another foot firmly rooted within the sensibilities of Pop; where Jazz musicians detour into Synth-Pop, Punk bands break into Boogie jams, and student doctors jam out on odd melodies with synthesizers and drum machines during their night shifts. More
1
Joan Bibiloni - The Boogie
2
Joan Bibiloni - El Cumpleaños Se Jaimito
3
Joan Bibiloni - Valerie
4
Joan Bibiloni - Sobrevivir
5
Joan Bibiloni - El Salto Del Martin
6
Joan Bibiloni - Val, I Vuw Ya
7
Joan Bibiloni - Una Vida Llarga I Tranquila II
8
Joan Bibiloni - Migas
9
Joan Bibiloni - Sa Fosca
10
Joan Bibiloni - La Española
Staying on the Mediterranean coast for their third release, Music From Memory this time shift their attention to the work of Mallorcan musician Joan Bibiloni. TIP!
Primarily a guitarist, Bibiloni was creating music at an early age, releasing his first single at the tender age of 15. In his twenties he formed Spanish progrock outfits Zebra and Euterpe where he would meet Pepe Milan, the two of them becoming the bluesy folk duo 'Milan & Bibiloni'. Bibiloni himself would later go on to play with a number of luminary musicians such as Larry Coryell, Daevid Allen and John Cage to name but a few.
In 1982 Bibiloni set up his own label Blau in order to highlight the muchoverlooked work of musicians not only on his home island of Mallorca but across the Balearic Islands. In doing so he created a platform not only for
local talent but also for his own music to breathe a new life, much influenced by the landscape and life that surrounds the islands.
Whilst Bibiloni's first solo releases on his Blau imprint have stronger echoes of contemporary Jazz fusion of the time, it is on the album known as 'Una Vida Llarga I Tranquila' where Bibiloni really began to experiment with new soundsand technologies; fusing tape loops, drum computers and synthesizers.
Taking these more electronic infused works as a departure point for the compilation and drawing on material from across his following five albums, El Surï sets out to highlight Joan Bibiloniïs unique ambient fusion and sun-drenched Mediterranean beach boogie. More
Primarily a guitarist, Bibiloni was creating music at an early age, releasing his first single at the tender age of 15. In his twenties he formed Spanish progrock outfits Zebra and Euterpe where he would meet Pepe Milan, the two of them becoming the bluesy folk duo 'Milan & Bibiloni'. Bibiloni himself would later go on to play with a number of luminary musicians such as Larry Coryell, Daevid Allen and John Cage to name but a few.
In 1982 Bibiloni set up his own label Blau in order to highlight the muchoverlooked work of musicians not only on his home island of Mallorca but across the Balearic Islands. In doing so he created a platform not only for
local talent but also for his own music to breathe a new life, much influenced by the landscape and life that surrounds the islands.
Whilst Bibiloni's first solo releases on his Blau imprint have stronger echoes of contemporary Jazz fusion of the time, it is on the album known as 'Una Vida Llarga I Tranquila' where Bibiloni really began to experiment with new soundsand technologies; fusing tape loops, drum computers and synthesizers.
Taking these more electronic infused works as a departure point for the compilation and drawing on material from across his following five albums, El Surï sets out to highlight Joan Bibiloniïs unique ambient fusion and sun-drenched Mediterranean beach boogie. More
1
Joan Bibiloni - Nits De La Sultana
2
The Zenmenn - The Legend Of Haziz
3
Stroer - When You Stopped Sleeping
4
Androo - W.I.O. Micmac Mix
5
Joel Graham - Cool Blue Pool
6
Jonny Nash - Dream It Right
7
Terekke - Just Ducking Around
8
Mei Honeycomb - Squeaky Eye Syndrome
9
Tombolo - Continental Drift
10
Kuniyuki Takahashi - Forest Dust
11
Yu Su J. Wilson - Mitti Attar
12
Gigi Masin - Panama Girl
13
Ocean Moon - The Ecstatic Alarm
14
Michal Turtle - Borrowed Times
15
Ramzi - Baci
16
Suso Saiz - Kailas
17
Dea - Undecenial
2023 marks the tenth year of Music From Memory; a decade of groundbreaking archival releases, cross-generational collaborations and long-standing creative partnerships with our ever-expanding community of artists.
To celebrate this milestone, earlier this year we asked our roster of artists to submit a piece of music for an anniversary compilation. As submissions gradually came in, we were blown away by what we received and slowly began to piece them together into what was to become “10”.
Featuring work from artists who were present during the formation of the label, such as Gigi Masin, Joan Bibiloni and Michal Turtle, as well as artists like The Zenmenn, RAMZi and Dea, who have helped the label expand over subsequent years, “10” serves as a natural bookmark of where we are musically, whilst simultaneously reflecting on the label's rich musical past.
In keeping with the Music From Memory ethos, the music of “10” spans both time and space, with submissions ranging from Vito Ricci's 'Da Hamptons' (1985) to Yu Su & J. Wilson's 'Mitti Atar' (2023). It crosses the globe, with a total of 10 countries represented across 17 tracks. The final result is an immersive musical compilation that flows perfectly from start to finish.
Tragically, during the last few weeks of finalising MFM066, label co-owner Jamie Tiller passed away in a sudden accident. “10” was always intended to be a way to reflect on the journey of Music From Memory. The fact that it is now also one of the last releases that the team all worked on together adds a whole other level of reflection and makes it all the more special.
* incl. insert liner notes by John Gómez) Artwork by Bráulio Amado. Design by David McFarline. More
To celebrate this milestone, earlier this year we asked our roster of artists to submit a piece of music for an anniversary compilation. As submissions gradually came in, we were blown away by what we received and slowly began to piece them together into what was to become “10”.
Featuring work from artists who were present during the formation of the label, such as Gigi Masin, Joan Bibiloni and Michal Turtle, as well as artists like The Zenmenn, RAMZi and Dea, who have helped the label expand over subsequent years, “10” serves as a natural bookmark of where we are musically, whilst simultaneously reflecting on the label's rich musical past.
In keeping with the Music From Memory ethos, the music of “10” spans both time and space, with submissions ranging from Vito Ricci's 'Da Hamptons' (1985) to Yu Su & J. Wilson's 'Mitti Atar' (2023). It crosses the globe, with a total of 10 countries represented across 17 tracks. The final result is an immersive musical compilation that flows perfectly from start to finish.
Tragically, during the last few weeks of finalising MFM066, label co-owner Jamie Tiller passed away in a sudden accident. “10” was always intended to be a way to reflect on the journey of Music From Memory. The fact that it is now also one of the last releases that the team all worked on together adds a whole other level of reflection and makes it all the more special.
* incl. insert liner notes by John Gómez) Artwork by Bráulio Amado. Design by David McFarline. More
1
Yu Su - Xiu
2
Yu Su - Futuro
3
Yu Su - Touch-Me-Not
4
Yu Su - Gleam
5
Yu Su - Melaleuca
6
Yu Su - Klein
7
Yu Su - Dusty
8
Yu Su - Melaleuca (At Night)
2023 Repress!
Music From Memory are excited to present the debut LP of Kaifeng born, Vancouver based artist Yu Su in collaboration with Chinese label bié Records. Titled 'Yellow River Blue' it is our first release of 2021 and the second collaboration between label and artist, following up on the strongly received EP 'Roll With The Punches' from 2019 on Second Circle.
Named after the world’s most heavily silted river, 'Yellow River Blue' is Yu Su's personal musical autobiography, constructed around stories of chasing something inconceivable. Written and recorded in different continents in between August 2019 and March 2020, all songs seek to musically translate years of moving and touring, temporarily settling, and the feelings of both being turned away and accepted. In her own words, “The world is my home and it isn’t, but as long as there is generosity of water and mud...” It is an homage to her home beside the Yellow River.
Yu Su's debut album consists of eight songs that are versatile in both writing and aesthetics. Versatile individually, consistent as a whole. Yu Su is in a class of her own, dodging the obvious while combining sounds and inspirations of various origins into a new destination that sounds like her home in the here and now. It's a release that is constantly in motion and moves fluently between contemporary pop, ethereal sound compositions and dance-floor experiments.
'Yellow River Blue' comes as part of a collaboration with Yu Su's co-founded new label bié Records and will be released as MFM052 in vinyl format by Music From Memory on January 25th 2021, after seeing a full digital album release via bié on January 22nd in the new Year of the Ox, according to the Chinese zodiac. Both formats come in different exclusively designed artworks. More
Music From Memory are excited to present the debut LP of Kaifeng born, Vancouver based artist Yu Su in collaboration with Chinese label bié Records. Titled 'Yellow River Blue' it is our first release of 2021 and the second collaboration between label and artist, following up on the strongly received EP 'Roll With The Punches' from 2019 on Second Circle.
Named after the world’s most heavily silted river, 'Yellow River Blue' is Yu Su's personal musical autobiography, constructed around stories of chasing something inconceivable. Written and recorded in different continents in between August 2019 and March 2020, all songs seek to musically translate years of moving and touring, temporarily settling, and the feelings of both being turned away and accepted. In her own words, “The world is my home and it isn’t, but as long as there is generosity of water and mud...” It is an homage to her home beside the Yellow River.
Yu Su's debut album consists of eight songs that are versatile in both writing and aesthetics. Versatile individually, consistent as a whole. Yu Su is in a class of her own, dodging the obvious while combining sounds and inspirations of various origins into a new destination that sounds like her home in the here and now. It's a release that is constantly in motion and moves fluently between contemporary pop, ethereal sound compositions and dance-floor experiments.
'Yellow River Blue' comes as part of a collaboration with Yu Su's co-founded new label bié Records and will be released as MFM052 in vinyl format by Music From Memory on January 25th 2021, after seeing a full digital album release via bié on January 22nd in the new Year of the Ox, according to the Chinese zodiac. Both formats come in different exclusively designed artworks. More
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The Habitat Ensemble - Two Voices In The Field
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The Habitat Ensemble - Maringotka
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The Habitat Ensemble - Rounded Edges
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The Habitat Ensemble - Clay
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The Habitat Ensemble - Moments
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The Habitat Ensemble - Male Kapky
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The Habitat Ensemble - Vitr A Ja
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The Habitat Ensemble - Die Vergessenen Orte
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The Habitat Ensemble - And Bamboo
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The Habitat Ensemble - Let Magicien De La Foret
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The Habitat Ensemble - Outro
Repress!
Self-titled debut album of Habitat Ensemble, a new musical collective headed up by musician Marius Houschayer.
The collective originates deep in the south of the Czech Republic, on the border with Austria, amongst the idyllic hills and fields of a village called Maríž, where a summer school of outsiders and creatives have been gathering since the 1990s. Enriching each other through intercultural exchange, summer school participants have created a unique gathering of artistic expression and interdisciplinary research.
Originally grown out of the idea of translating the unique energy of the community and its environment into a musical journey where each member makes their own individual contribution, during the summer of August 2022, The Habitat Ensemble became an exciting vehicle for connection and co-creation.
Whether it be musical experimentation, composition, poetry, song or dance, Habitat Ensemble, having started as a series of multidisciplinary workshops, slowly developed into a unique musical recording. The album serves to conjure the unique nature, community, experimentation surrounding the school and the collective’s search for harmony across all of these, both musical and spiritual. More
Self-titled debut album of Habitat Ensemble, a new musical collective headed up by musician Marius Houschayer.
The collective originates deep in the south of the Czech Republic, on the border with Austria, amongst the idyllic hills and fields of a village called Maríž, where a summer school of outsiders and creatives have been gathering since the 1990s. Enriching each other through intercultural exchange, summer school participants have created a unique gathering of artistic expression and interdisciplinary research.
Originally grown out of the idea of translating the unique energy of the community and its environment into a musical journey where each member makes their own individual contribution, during the summer of August 2022, The Habitat Ensemble became an exciting vehicle for connection and co-creation.
Whether it be musical experimentation, composition, poetry, song or dance, Habitat Ensemble, having started as a series of multidisciplinary workshops, slowly developed into a unique musical recording. The album serves to conjure the unique nature, community, experimentation surrounding the school and the collective’s search for harmony across all of these, both musical and spiritual. More
Label:Music From Memory
Cat-No:MFM063
Release-Date:28.07.2023
Genre:Alternative/Electronic
Configuration:LP
Label:Music From Memory
Cat-No:MFM063
Release-Date:28.07.2023
Genre:Alternative/Electronic
Configuration:LP
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Philipp Otterbach - The Dahlem Diaries Pt. 1
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Philipp Otterbach - Half Brain Naked
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Philipp Otterbach - Left Hand Society
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Philipp Otterbach - Talkoot
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Philipp Otterbach - Small Town Nights
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Philipp Otterbach - Geoluread
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Philipp Otterbach - Gottischlag Ft. Gatto Fritto
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Philipp Otterbach - Solid Maybe
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Philipp Otterbach - Malarkeys
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Philipp Otterbach - Happy And I Skipped
The new LP by Krefeld-born, Berlin-based artist Philipp Otterbach entitled 'The Dahlem Diaries'.
Recorded in a little-visited corner of the German capital, 'The Dahlem Diaries' is a convergence of ideas, sketches and tracks, both old and new, most of which were produced between 2020-2022. Whilst eerie atmospheres, electronics and drums have played a pivotal role in Philipp’s earlier releases, his latest is a rather more introspective affair, in which the guitar takes a leading role. A role Otterbach uses to quietly bring light and hope to his music.
Speaking about his writing process, Philipp explains that, based around his original compositions, “Friends were nice enough to contribute additional parts on their instruments which I then reworked, put together and re-contextualized. The recordings encapsulate a very specific moment in time, one that would have sounded perhaps very different the day before or after.”
Combined with a strong use of effects and field recordings, 'The Dahlem Diaries' feels somewhat like a scene or fragment from a story, in which the narrative remains undefined. It is a playful album that is something of a blurred underwater adventure, sounding as bright as it is hazy, even psychedelic at times, yet with an almost melancholic positivity. In Philipp’s own words: “It could be an album about friendship and being at one with myself, whilst at the same time bringing a certain seriousness to my music, but not necessarily to myself; there is also a playful humour hidden in there. ”
Artwork by David McFarline. More
Recorded in a little-visited corner of the German capital, 'The Dahlem Diaries' is a convergence of ideas, sketches and tracks, both old and new, most of which were produced between 2020-2022. Whilst eerie atmospheres, electronics and drums have played a pivotal role in Philipp’s earlier releases, his latest is a rather more introspective affair, in which the guitar takes a leading role. A role Otterbach uses to quietly bring light and hope to his music.
Speaking about his writing process, Philipp explains that, based around his original compositions, “Friends were nice enough to contribute additional parts on their instruments which I then reworked, put together and re-contextualized. The recordings encapsulate a very specific moment in time, one that would have sounded perhaps very different the day before or after.”
Combined with a strong use of effects and field recordings, 'The Dahlem Diaries' feels somewhat like a scene or fragment from a story, in which the narrative remains undefined. It is a playful album that is something of a blurred underwater adventure, sounding as bright as it is hazy, even psychedelic at times, yet with an almost melancholic positivity. In Philipp’s own words: “It could be an album about friendship and being at one with myself, whilst at the same time bringing a certain seriousness to my music, but not necessarily to myself; there is also a playful humour hidden in there. ”
Artwork by David McFarline. More
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Dream Dolphin - Gaia (Ethereal Fantasy)
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Dream Dolphin - Stars
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Dream Dolphin - Tour 5 Modern Blue Asia ~ Soundscapes For Ocean Therapy (Like A Music Therapy)
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Dream Dolphin - Healing Moon - Tsuki No Iyashi Umi No Mahou
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Dream Dolphin - The Genesis: Yoga (New Age Ambience)
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Dream Dolphin - Voyage (Dive To The Future Sight)
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Dream Dolphin - Iruka Tachi To Asonda Kioku / Under Water
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Dream Dolphin - Rain
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Dream Dolphin - L.E.A. (Mirror Coordinate Mix)
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Dream Dolphin - The Rebirth / (Jinsei Nante Konnamono) Sou Omotta Shunkan Ni Jinsei Wa Owaru
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Dream Dolphin - Cosmic Blue Image-Repsect-Love Anata Ga Jiyu Ni
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Dream Dolphin - Naru Toki / Into The Blue (Haha Naru Umi Ga Rhythm De Oshiete Kureru Koto)
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Dream Dolphin - Love Ate Alien
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Dream Dolphin - Daichi No Uta
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Dream Dolphin - Island Humming
Gaia: Selected Ambient & Downtempo Works (1996-2003)’ is a new in-depth compilation of works by Japanese musician Dream Dolphin. Co-compiled by Eiji Taniguchi, it draws from a vast discography of music oscillating between IDM, Pop and Electronic Dance Music. First appearing on Eiji’s compilation ’Heisei No Oto - Japanese Left-field Pop From The CD Age (1989-1996)’, this selection of rediscoveries, further shines a light on the singular musician known as Dream Dolphin and her place in Japan’s rich electronic music legacy.
Dream Dolphin was originally an Ambient and Electronic project by the Japanese artist referred to simply as Noriko, who moved from studying classic Italian songs as a child, to increasingly being inspired by artists such as PIL, Yellow Magic Orchestra, KLF and movies such as ‘2001: A Space Odyssey’ and ‘Le Grand Bleu’. The music she released under the name Dream Dolphin, from the age of sixteen, is unique and versatile in style, encompassing Ambient, IDM, Techno, Trance and Drum & Bass, whilst fusing natural sounds with her own spoken word lyrics.
Dream Dolphin released an incredible twenty albums in just eight years. In addition to her own projects, she has also put together a number of fascinating compilations herself, as well as composing ambient music to be used in hospitals and other caring contexts. ‘Gaia: Selected Ambient & Downtempo Works (1996-2003)’ contains 15 tracks thoughtfully selected from various albums that until now were only released on CD format. More
Dream Dolphin was originally an Ambient and Electronic project by the Japanese artist referred to simply as Noriko, who moved from studying classic Italian songs as a child, to increasingly being inspired by artists such as PIL, Yellow Magic Orchestra, KLF and movies such as ‘2001: A Space Odyssey’ and ‘Le Grand Bleu’. The music she released under the name Dream Dolphin, from the age of sixteen, is unique and versatile in style, encompassing Ambient, IDM, Techno, Trance and Drum & Bass, whilst fusing natural sounds with her own spoken word lyrics.
Dream Dolphin released an incredible twenty albums in just eight years. In addition to her own projects, she has also put together a number of fascinating compilations herself, as well as composing ambient music to be used in hospitals and other caring contexts. ‘Gaia: Selected Ambient & Downtempo Works (1996-2003)’ contains 15 tracks thoughtfully selected from various albums that until now were only released on CD format. More
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Androo - Preface Bonjour
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Androo - Shhhht Introduction
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Androo - Wyatt Revolt
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Androo - Autonomia
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Androo - Ah Balbec
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Androo - Obsessions. Etoiles. Neurones
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Androo - Giant Steps Alternate Take
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Androo - Bcp De Bruit Pr Rien Si Jav Sus
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Androo - Equipments Guattarix Mix
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Androo - Clou Vis
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Androo - Moments Notice Part 1
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Androo - Moments Notice Part 2
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Androo - Judso Danc Theate
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Androo - Club Geography
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Androo - Original J Dub
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Androo - Djs Argen Capital Plus-Valuxe
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Androo - Subversion Seduction
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Androo - Histories Sans Livres
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Androo - Tout Ca
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Androo - Outro En Finir Avec Les Clubs
Swiss based artist Androo, who previously released on MFM sub label Second Circle, returns with his debut LP 'Club Salon Theatre'.
Far from an album in traditional form, 'Club Salon Theatre' explores its potential as a musical collage of sound. Recorded during 2021 and the beginning of 2022, it is the result of Androo's desire to draw connections between diverse fragments of music and art.
Originally born out of the Dub sound-system scene in Geneva and with a continued love for the modal music of the likes of John and Alice Coltrane and Pharoah Sanders, Androo has long put improvisation at the center of his practice. His understanding of dub music as an integral part of the experimental music tradition, with ties to the school of Musique Concrète for instance, and with trap music as another vital ingredient, has as much to do with the form as with the method. With the studio as a laboratory for experimentation, Androo utilizes a variety of outboard instruments as well as working in-the-box, but it’s his classic “dub style” technique of mixing at the hardware console that leaves its quintessential mark throughout the whole record.
'Club Salon Theatre' is a rich patchwork of imagined scenes, emotive melodies, flying rhythms, harmonic changes, loose improvisations, with an almost romantic thread running through it. Like a collection of musical poems, gently arranged in what is sometimes sparse musical language. Far from a patchwork of scattered and disjointed inspirations, there is a real unity and singularity at work, resulting in a record which can be enjoyed as a collection of sonic poems, simultaneously nonchalant and earnest, sentimental and playful.
Full Tracklisting:
A0. Préface, Bonjour
A1. (shhhht) Introduction
A2. Wyatt revolt
A3. Or,
A4. Autonomia
A5. – Ah balbec!
A6. Obsessions. étoiles. neurones
A7. Giant steps (alternate take)
A8. Bcp de bruit pr rien (si jav sus)
A9. Pensées
A10. Equipments (guattarix mix)
A11. Clou, vis
A12. Moment’s notice (part 1)
B1. Moment’s notice (part 2)
B2. Judso Danc Theate
B3. Club géography
B4. Original J dub
B5. Djs, Argen, capital, plus-valuxe
B6. Subversion, seduction
B7. Histoires sans livres
B8. Tout ça
B9. UZI
B10. Outro (en finir avec les clubs) More
Far from an album in traditional form, 'Club Salon Theatre' explores its potential as a musical collage of sound. Recorded during 2021 and the beginning of 2022, it is the result of Androo's desire to draw connections between diverse fragments of music and art.
Originally born out of the Dub sound-system scene in Geneva and with a continued love for the modal music of the likes of John and Alice Coltrane and Pharoah Sanders, Androo has long put improvisation at the center of his practice. His understanding of dub music as an integral part of the experimental music tradition, with ties to the school of Musique Concrète for instance, and with trap music as another vital ingredient, has as much to do with the form as with the method. With the studio as a laboratory for experimentation, Androo utilizes a variety of outboard instruments as well as working in-the-box, but it’s his classic “dub style” technique of mixing at the hardware console that leaves its quintessential mark throughout the whole record.
'Club Salon Theatre' is a rich patchwork of imagined scenes, emotive melodies, flying rhythms, harmonic changes, loose improvisations, with an almost romantic thread running through it. Like a collection of musical poems, gently arranged in what is sometimes sparse musical language. Far from a patchwork of scattered and disjointed inspirations, there is a real unity and singularity at work, resulting in a record which can be enjoyed as a collection of sonic poems, simultaneously nonchalant and earnest, sentimental and playful.
Full Tracklisting:
A0. Préface, Bonjour
A1. (shhhht) Introduction
A2. Wyatt revolt
A3. Or,
A4. Autonomia
A5. – Ah balbec!
A6. Obsessions. étoiles. neurones
A7. Giant steps (alternate take)
A8. Bcp de bruit pr rien (si jav sus)
A9. Pensées
A10. Equipments (guattarix mix)
A11. Clou, vis
A12. Moment’s notice (part 1)
B1. Moment’s notice (part 2)
B2. Judso Danc Theate
B3. Club géography
B4. Original J dub
B5. Djs, Argen, capital, plus-valuxe
B6. Subversion, seduction
B7. Histoires sans livres
B8. Tout ça
B9. UZI
B10. Outro (en finir avec les clubs) More
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Terekke - Unother
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Terekke - Nuwav2
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Terekke - Wav1
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Terekke - Ambien
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Terekke - Arrpfaded
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Terekke - Soft G
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Terekke - 220 G
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Terekke - L8r H8r
Repress!
Terekke drifts gracefully onto Music From Memory with a long player of looping ambient pad pressure...BIG TIP!'The recording of Improvisational Loops began in 2012 during yoga classes at Body Actualized Center in NYC. In the spirit of past ’New Age’ or Minimal music, it aims to open up a space within the room giving the listener a chance to explore inward or outward. It was recorded using a digital synthesizer, reverb, and looper." Terekke, January 2018' More
Terekke drifts gracefully onto Music From Memory with a long player of looping ambient pad pressure...BIG TIP!'The recording of Improvisational Loops began in 2012 during yoga classes at Body Actualized Center in NYC. In the spirit of past ’New Age’ or Minimal music, it aims to open up a space within the room giving the listener a chance to explore inward or outward. It was recorded using a digital synthesizer, reverb, and looper." Terekke, January 2018' More
Gaia: Selected Ambient & Downtempo Works (1996-2003)’ is a new in-depth compilation of works by Japanese musician Dream Dolphin.
Co-compiled by Eiji Taniguchi, it draws from a vast discography of music oscillating between IDM, Pop and Electronic Dance Music. First appearing on Eiji’s compilation ’Heisei No Oto - Japanese Left-field Pop From The CD Age (1989-1996)’, this selection of rediscoveries, further shines a light on the singular musician known as Dream Dolphin and her place in Japan’s rich electronic music legacy.
Dream Dolphin was originally an Ambient and Electronic project by the Japanese artist referred to simply as Noriko, who moved from studying classic Italian songs as a child, to increasingly being inspired by artists such as PIL, Yellow Magic Orchestra, KLF and movies such as ‘2001: A Space Odyssey’ and ‘Le Grand Bleu’. The music she released under the name Dream Dolphin, from the age of sixteen, is unique and versatile in style, encompassing Ambient, IDM, Techno, Trance and Drum & Bass, whilst fusing natural sounds with her own spoken word lyrics.
Dream Dolphin released an incredible twenty albums in just eight years. In addition to her own projects, she has also put together a number of fascinating compilations herself, as well as composing ambient music to be used in hospitals and other caring contexts. ‘Gaia: Selected Ambient & Downtempo Works (1996-2003)’ contains 15 tracks thoughtfully selected from various albums that until now were only released on CD format. More
Co-compiled by Eiji Taniguchi, it draws from a vast discography of music oscillating between IDM, Pop and Electronic Dance Music. First appearing on Eiji’s compilation ’Heisei No Oto - Japanese Left-field Pop From The CD Age (1989-1996)’, this selection of rediscoveries, further shines a light on the singular musician known as Dream Dolphin and her place in Japan’s rich electronic music legacy.
Dream Dolphin was originally an Ambient and Electronic project by the Japanese artist referred to simply as Noriko, who moved from studying classic Italian songs as a child, to increasingly being inspired by artists such as PIL, Yellow Magic Orchestra, KLF and movies such as ‘2001: A Space Odyssey’ and ‘Le Grand Bleu’. The music she released under the name Dream Dolphin, from the age of sixteen, is unique and versatile in style, encompassing Ambient, IDM, Techno, Trance and Drum & Bass, whilst fusing natural sounds with her own spoken word lyrics.
Dream Dolphin released an incredible twenty albums in just eight years. In addition to her own projects, she has also put together a number of fascinating compilations herself, as well as composing ambient music to be used in hospitals and other caring contexts. ‘Gaia: Selected Ambient & Downtempo Works (1996-2003)’ contains 15 tracks thoughtfully selected from various albums that until now were only released on CD format. More
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RAMZi - Awakenin
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RAMZi - Foggi Ft. Priori
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RAMZi - Mille Et une Nuits
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RAMZi - Chantilli
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RAMZi - Smooshi
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RAMZi - Megafauna
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RAMZi - Égrégores
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RAMZi - Fly To Me
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RAMZi - Nightquest
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RAMZi - Afloat Ft. Nap
New album by Montreal based artist Phoebé Guillemot aka RAMZi. Featuring ten mind-melting tracks 'hyphae' is RAMZi's latest sonic quest and is based around sketches she originally made as a score for a documentary about mushrooms called 'Fun Fungi' (directed by Frederic Lavoie).
Recorded between November 2021 and May 2022, writing 'hyphea' began as an attempt to transcend boredom and frustrations imposed by severe restrictions during the pandemic. For Phoebé the album was a way to reconnect with her alter ego RAMZi; who's energy brought her back to uniquely mystical feelings and hope for future magical adventures.
RAMZi is a uniquely wild spirit from the forest and refers to a parallel autonomous world that keeps evolving. In Phoebé's own words: "The music remains as a doorway to that world. It has never been about me, I always see that entity bigger than myself. The process of writing 'hyphea' was rather intuitive. I don't think about styles of music before producing tracks. Those are more like an adventure in itself, each one set in a different ecosystem."
Artwork by Marinka Grondel. More
Recorded between November 2021 and May 2022, writing 'hyphea' began as an attempt to transcend boredom and frustrations imposed by severe restrictions during the pandemic. For Phoebé the album was a way to reconnect with her alter ego RAMZi; who's energy brought her back to uniquely mystical feelings and hope for future magical adventures.
RAMZi is a uniquely wild spirit from the forest and refers to a parallel autonomous world that keeps evolving. In Phoebé's own words: "The music remains as a doorway to that world. It has never been about me, I always see that entity bigger than myself. The process of writing 'hyphea' was rather intuitive. I don't think about styles of music before producing tracks. Those are more like an adventure in itself, each one set in a different ecosystem."
Artwork by Marinka Grondel. More
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The Zenmenn And John Moods - Out Of My Mind
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The Zenmenn And John Moods - Into The Heart Of The Matter
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The Zenmenn And John Moods - The Invisible Landscape
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The Zenmenn And John Moods - Fantasy Again
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The Zenmenn And John Moods - Ordinary Time
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The Zenmenn And John Moods - Everytime
Hidden Gem' is the Zenmenn's first full album produced together with songwriter and vocalist John Moods and follows their much-loved debut record, 'Enter The Zenmenn'. Named after a country song that didn't quite make it to the final selection, 'Hidden Gem' is the result of an extended jam session at a friend’s studio, in a field of mystical meadows somewhere south of Hamburg, in which the band would experience a series of inexplicable phenomena.
It was their earlier collaboration on the future classic, 'Homage To A Friend' that kickstarted their idea to team up with John Moods again, and in the late summer of 2021 the band set to work on a full album of material together. Using The Zenmenn's trusted drum kit, good old DX7, an unusual Ukrainian bass and an almost discarded pedal steel guitar, combined with Moods’ uniquely fragile voice, the outcome resulted in six timeless songs. The resulting harmonic sound is, as the band put it, “something like Adult Oriented Rock with a teaspoon of Celtic sentimentalism, a pinch of big city Country wrapped in a late night '70s style jam”.
'Hidden Gem’, much like their previous LP, was recorded without pre-arranged songs or any fixed musical concept. Instead, it captures fleeting moments of creativity and reflects the joint musical sentiments of the band members at the time. “Some artists are amazing at vision and curating, our work-flow is opposite to that. We are pretty messy and all over the place in our creation, as in life. It has its advantages and disadvantages, but hopefully it comes out all right in the end.” More
It was their earlier collaboration on the future classic, 'Homage To A Friend' that kickstarted their idea to team up with John Moods again, and in the late summer of 2021 the band set to work on a full album of material together. Using The Zenmenn's trusted drum kit, good old DX7, an unusual Ukrainian bass and an almost discarded pedal steel guitar, combined with Moods’ uniquely fragile voice, the outcome resulted in six timeless songs. The resulting harmonic sound is, as the band put it, “something like Adult Oriented Rock with a teaspoon of Celtic sentimentalism, a pinch of big city Country wrapped in a late night '70s style jam”.
'Hidden Gem’, much like their previous LP, was recorded without pre-arranged songs or any fixed musical concept. Instead, it captures fleeting moments of creativity and reflects the joint musical sentiments of the band members at the time. “Some artists are amazing at vision and curating, our work-flow is opposite to that. We are pretty messy and all over the place in our creation, as in life. It has its advantages and disadvantages, but hopefully it comes out all right in the end.” More
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Musica Esporadica - No Title
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Musica Esporadica - No Title
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Musica Esporadica - No Title
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Musica Esporadica - No Title
2024 Repress!
MFM044 sees the reissue of the cult Spanish studio project Música Esporádica with their incredible one off, self-titled album.
Another Suso Saiz side project, this one grew out of his work with his band Orquesta De Las Nubes, who were themselves the subject of a Music From Memory compilation last year.
The idea of getting Orquesta De Las Nubes to collaborate with Glen Velez and Layne Redmond arose after the two American musicians visited Spain during a series of seminars on frame drum techniques in 1985. Having met Glen Velez some years before in Madrid whilst Glen was performing with the Steve Reich Ensemble, Suso Saiz and Glen Velez quickly formed a strong friendship over their mutual love of non-Western music and the potentials of repetition within music. The two would play, talk and drinks for many hours in Suso’s studio space whenever Glen was in Madrid.
During one such session in 1985, Glen and Suso would be joined by Orquesta De Las Nubes and Spanish friend and musician Miguel Herrero. With exciting new ideas flowing quickly and easily, Suso decided to immediately call Track Studios in Madrid to see if they might have a space to record some of the material. With just a few days available the group would record for about 12, with what Suso would describe as ‘incredible fluency’, by which time they would have recorded the album they would later title Música Esporádica.
After its release 34 years ago Música Esporádica sounds as stunning as ever and Music From Memory are delighted to be able to share the fluency, spontaneity and close friendship which fuelled the recording of this amazing album. More
MFM044 sees the reissue of the cult Spanish studio project Música Esporádica with their incredible one off, self-titled album.
Another Suso Saiz side project, this one grew out of his work with his band Orquesta De Las Nubes, who were themselves the subject of a Music From Memory compilation last year.
The idea of getting Orquesta De Las Nubes to collaborate with Glen Velez and Layne Redmond arose after the two American musicians visited Spain during a series of seminars on frame drum techniques in 1985. Having met Glen Velez some years before in Madrid whilst Glen was performing with the Steve Reich Ensemble, Suso Saiz and Glen Velez quickly formed a strong friendship over their mutual love of non-Western music and the potentials of repetition within music. The two would play, talk and drinks for many hours in Suso’s studio space whenever Glen was in Madrid.
During one such session in 1985, Glen and Suso would be joined by Orquesta De Las Nubes and Spanish friend and musician Miguel Herrero. With exciting new ideas flowing quickly and easily, Suso decided to immediately call Track Studios in Madrid to see if they might have a space to record some of the material. With just a few days available the group would record for about 12, with what Suso would describe as ‘incredible fluency’, by which time they would have recorded the album they would later title Música Esporádica.
After its release 34 years ago Música Esporádica sounds as stunning as ever and Music From Memory are delighted to be able to share the fluency, spontaneity and close friendship which fuelled the recording of this amazing album. More
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- Spec: 2 x LP in paper inners, in 5mm outer sleeve with download card insert.
Tucked away in the great depths of the Warp catalogue is this elegant, liquid heartache of a record. An album credited to the late James Stinson, one half of cult-Detroit techno unit (alongside Gerald Donald) Drexciya, Lifestyles... stands as one of the remarkable records of the genre. Stinson died a year after release, lending this already beautiful work endless resonance.
Where the dystopian aqua-tronics of previous Drexciya were often jet-black, cold, brittle and abrasive this is a yearning soul music, played out down rain soaked streets, the buzzing lights of industry flickering in the darkness, the warm blue of a new day ready to break. This is a record where techno reached its raw, most emotive peak... Sustained pads paint minor-key melodies while electroid-vocals are buried deep in the hydrothermal mass of squelching bass-clusters and funky-filtered bleeps. At its skittering percussion core, a stripped back 808 tapestry, sequenced into myriad jazz-inflected shapes, a pulsing kick drum the snapping heartbeat, ticking hi-hats bursting from every angle.
All this tingles with the ghosts of records past, of Kraftwerkian humanoids, of first-wave Detroit, of refracted Hancock and Ayres, but as Stinson intones on the fifth track, ‘let me be what I wanna be’, Lifestyles is a creation all of its own special making, a sound that would inspire the latter day deep-house machinations of Omar S, Jus-Ed, Moodymann and influence –however indirectly- a wealth of current UK/US bass operators including Actress and Kyle Hall. More importantly it remains a beguiling epitaph to Stinson’s sadly distinguished life. More
Tucked away in the great depths of the Warp catalogue is this elegant, liquid heartache of a record. An album credited to the late James Stinson, one half of cult-Detroit techno unit (alongside Gerald Donald) Drexciya, Lifestyles... stands as one of the remarkable records of the genre. Stinson died a year after release, lending this already beautiful work endless resonance.
Where the dystopian aqua-tronics of previous Drexciya were often jet-black, cold, brittle and abrasive this is a yearning soul music, played out down rain soaked streets, the buzzing lights of industry flickering in the darkness, the warm blue of a new day ready to break. This is a record where techno reached its raw, most emotive peak... Sustained pads paint minor-key melodies while electroid-vocals are buried deep in the hydrothermal mass of squelching bass-clusters and funky-filtered bleeps. At its skittering percussion core, a stripped back 808 tapestry, sequenced into myriad jazz-inflected shapes, a pulsing kick drum the snapping heartbeat, ticking hi-hats bursting from every angle.
All this tingles with the ghosts of records past, of Kraftwerkian humanoids, of first-wave Detroit, of refracted Hancock and Ayres, but as Stinson intones on the fifth track, ‘let me be what I wanna be’, Lifestyles is a creation all of its own special making, a sound that would inspire the latter day deep-house machinations of Omar S, Jus-Ed, Moodymann and influence –however indirectly- a wealth of current UK/US bass operators including Actress and Kyle Hall. More importantly it remains a beguiling epitaph to Stinson’s sadly distinguished life. More
1
The Trip - Fantazia (Spray Remix)
2
The Trip - Don't Panic (Aldonna Remix)
3
The Trip - Big Buzz (Liquid Earth Remix)
4
The Trip - For the Record (Adam Collins Backspin Remix)
Off the back of their three releases in 2023, The Trip present their first remix EP. Inviting some of their favourite artists including Spray, Aldonna, Liquid Earth and Adam Collins, each have taken it in turn to remix a track from their back catalog on Tessellate. Got all bases covered here, a bit of tribal, bit of more techy stuff, some prog and some acid thrown in for good measure.
More
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Nala Sinephro - Space 1
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Nala Sinephro - Space 2
3
Nala Sinephro - Space 3
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Nala Sinephro - Space 4
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Nala Sinephro - Space 5
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Nala Sinephro - Space 6
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Nala Sinephro - Space 7
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Nala Sinephro - Space 8
Caribbean-Belgian composer, producer and musician Nala Sinephro announces her debut album Space 1.8 with lead track “Space 3”. Space 1.8 will be released on 3rd September via Warp Records.
The instrumental “Space 3” is a short clip from a 3 hour improvised session with drummer Eddie Hick (Sons of Kemet) and producer/multi-instrumentalist Dwayne Kilvington on synths bass (Wonky Logic, Steam Down) culminating in a synth driven, particle-splitting, rapture. Speaking about the track, Sinephro explains: “We recorded it in the start of spring, it was a magical day. The day after recording I collaged the drums, added fifteen synths, produced and mixed it at home and it was all done.”
Sinephro’s music fuses meditative sounds, jazz sensibilities, folk and field recordings. Her musical practice is rooted in the study of frequency and geometry and guided by the premise that sound moves matter. Her debut album Space 1.8 takes shape as a metaphysical structure, where each curative space is a womb-like cocoon created by Sinephro in service of relief and affirmative, ecstatic freedom. Space 1.8 was composed, produced, performed, engineered, recorded, mixed by Sinephro at age 22. On the album, she plays modular synths and pedal harp alongside her friends James Mollison, Shirley Tetteh, Nubya Garcia, Eddie Hick, Dwayne Kilvington, Jake Long, Lyle Barton, Rudi Creswick and more.
Following electrifying live performances across the London scene, word of Nala Sinephro’s playing quickly spread throughout the UK jazz scene, consequently landing her performances as part of the celebrated jazz night Steam Down, alongside playing with and supporting the likes of Demae, Eun, Coby Sey, Rosie Turton, Robert Ames, London Contemporary Orchestra, Touching Bass, Spitfire Audio, Nadeem Din-Gabisi. She was touted as one of The Guardian’s artists to watch in 2020, has garnered support from the likes of Gilles Peterson; and is a resident DJ on NTS sharing monthly selections of celestial sounds. In 2021, she joined the innovative Warp Records roster where she continues to weave her unique sound world.
- Specs Black vinyl 12" in printed inner in printed 3mm spine outer with download card insert
TRACKLIST:
A1. Space 1
A2. Space 2
A3. Space 3
A4. Space 4
A5. Space 5
B1. Space 6
B2. Space 7
B3. Space 8
QUOTES:
“A benchmark in ambient jazz featuring outstanding players and delicately woven arrangements” - 8.3 - Pitchfork (Best New Music)
“Space 1.8 is a healing sound bath full of rigorous psychoacoustic knowledge and elegant playing” - The Observer (One to watch)
“Very few records have this capacity to make you temporarily fearless, but on Space 1.8, Sinephro harnesses the power of sound to move and heal the listener in ways that are real, and expansive.” - 9/10 - Loud & Quiet
"What sticks with Space 1.8 is the focus of its vision: precise like mathematics but imbued with a rich cosmic breadth." - 9/10 - UNCUT
'Her debut album sits at a slight angle to anything else you may have heard coming out of the UK in recent years” - Stereogum
"A calming, restorative and mind-expanding blend of jazz and ambient" - Resident Advisor (RA Recommends) More
The instrumental “Space 3” is a short clip from a 3 hour improvised session with drummer Eddie Hick (Sons of Kemet) and producer/multi-instrumentalist Dwayne Kilvington on synths bass (Wonky Logic, Steam Down) culminating in a synth driven, particle-splitting, rapture. Speaking about the track, Sinephro explains: “We recorded it in the start of spring, it was a magical day. The day after recording I collaged the drums, added fifteen synths, produced and mixed it at home and it was all done.”
Sinephro’s music fuses meditative sounds, jazz sensibilities, folk and field recordings. Her musical practice is rooted in the study of frequency and geometry and guided by the premise that sound moves matter. Her debut album Space 1.8 takes shape as a metaphysical structure, where each curative space is a womb-like cocoon created by Sinephro in service of relief and affirmative, ecstatic freedom. Space 1.8 was composed, produced, performed, engineered, recorded, mixed by Sinephro at age 22. On the album, she plays modular synths and pedal harp alongside her friends James Mollison, Shirley Tetteh, Nubya Garcia, Eddie Hick, Dwayne Kilvington, Jake Long, Lyle Barton, Rudi Creswick and more.
Following electrifying live performances across the London scene, word of Nala Sinephro’s playing quickly spread throughout the UK jazz scene, consequently landing her performances as part of the celebrated jazz night Steam Down, alongside playing with and supporting the likes of Demae, Eun, Coby Sey, Rosie Turton, Robert Ames, London Contemporary Orchestra, Touching Bass, Spitfire Audio, Nadeem Din-Gabisi. She was touted as one of The Guardian’s artists to watch in 2020, has garnered support from the likes of Gilles Peterson; and is a resident DJ on NTS sharing monthly selections of celestial sounds. In 2021, she joined the innovative Warp Records roster where she continues to weave her unique sound world.
- Specs Black vinyl 12" in printed inner in printed 3mm spine outer with download card insert
TRACKLIST:
A1. Space 1
A2. Space 2
A3. Space 3
A4. Space 4
A5. Space 5
B1. Space 6
B2. Space 7
B3. Space 8
QUOTES:
“A benchmark in ambient jazz featuring outstanding players and delicately woven arrangements” - 8.3 - Pitchfork (Best New Music)
“Space 1.8 is a healing sound bath full of rigorous psychoacoustic knowledge and elegant playing” - The Observer (One to watch)
“Very few records have this capacity to make you temporarily fearless, but on Space 1.8, Sinephro harnesses the power of sound to move and heal the listener in ways that are real, and expansive.” - 9/10 - Loud & Quiet
"What sticks with Space 1.8 is the focus of its vision: precise like mathematics but imbued with a rich cosmic breadth." - 9/10 - UNCUT
'Her debut album sits at a slight angle to anything else you may have heard coming out of the UK in recent years” - Stereogum
"A calming, restorative and mind-expanding blend of jazz and ambient" - Resident Advisor (RA Recommends) More
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Nuclear Waste - Bad Habit
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Nuclear Waste - Infinite Stroke
3
Corp - 106 Program
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Corp - Unknown Desire
We are ecstatic to announce the fifth release on Cupula Recordings, featuring the powerhouse collaboration of Nuclear Waste and Corp. This release infuse the best elements of New Beat, EBM, and Synth Pop into a cohesive narrative.
“Nuclear Corporation" is an auditory explosion defying genre conventions. More
“Nuclear Corporation" is an auditory explosion defying genre conventions. More
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Damian Dalla Torre - A1)Ago
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Damian Dalla Torre - A2) Solo
3
Damian Dalla Torre - A3) Santi
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Damian Dalla Torre - A4) Battery
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Damian Dalla Torre - B1) I Can Feel My Dreams
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Damian Dalla Torre - B2) Soup
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Damian Dalla Torre - B3) Acryl
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Damian Dalla Torre - B4) Domenica
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Damian Dalla Torre - B5) Memo
LP
Special remarks:
180g
Tracklist:
A1) Ago 01:22 min
A2) Solo 03:57 min
A3) Santi 03:59 min
A4) Battery 03:23 min
B1) I Can Feel My Dreams 03:35 min
B2) Soup 01:11 min
B3) Acryl 02:53 min
B4) Domenica 04:00 min
B5) Memo 04:01 min
Info:
After his debut album 'Happy Floating' in 2022, Leipzig-based producer Damian Dalla Torre returns to Squama with 'I Can Feel My Dreams'. Developed during a residency in Santiago, Chile, it incorporates electronic, jazz and ambient influences utilizing Andean quena flutes, synthesizers and field recordings and again centering on collaborations with fellow artists like Ruth Goller, Miriam Adefris and Christian Balvig.
A wistful haze runs throughout the album, coming out at the end, there's both light and darkness and no need to choose.
More
Special remarks:
180g
Tracklist:
A1) Ago 01:22 min
A2) Solo 03:57 min
A3) Santi 03:59 min
A4) Battery 03:23 min
B1) I Can Feel My Dreams 03:35 min
B2) Soup 01:11 min
B3) Acryl 02:53 min
B4) Domenica 04:00 min
B5) Memo 04:01 min
Info:
After his debut album 'Happy Floating' in 2022, Leipzig-based producer Damian Dalla Torre returns to Squama with 'I Can Feel My Dreams'. Developed during a residency in Santiago, Chile, it incorporates electronic, jazz and ambient influences utilizing Andean quena flutes, synthesizers and field recordings and again centering on collaborations with fellow artists like Ruth Goller, Miriam Adefris and Christian Balvig.
A wistful haze runs throughout the album, coming out at the end, there's both light and darkness and no need to choose.
More
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Nu Genea - Bar Mediterraneo
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Nu Genea - Tienate
3
Nu Genea - Gelbi (with Marzouk Mejri)
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Nu Genea - Marechia (with Celia Kameni)
5
Nu Genea - Straniero
6
Nu Genea - Vesuvio
7
Nu Genea - Rire
8
Nu Genea - La Crisi
Four years after Nuova Napoli, Nu Genea are back with Bar Mediterraneo, a new album and journey, which projects the
sounds of the Neapolitan duo formed by Massimo Di Lena and Lucio Aquilina even further.
Nu Genea's Bar Mediterraneo is an idea of a shared place where people meet and fuse together; a space that leaves its
doors open to travellers and their lives, always exposed to the whims of fate. Some of this can be experienced through the
multitude of sounds that come together in the tracks, layers of different acoustic instruments, voices and synthesizers
merging in a unique musical blend.
Opening up to the voices of many different people, separated by languages but united by the sea and the music, Nu
Genea's hometown, Napoli, becomes a true place of encounter.
You can hear this all along. In "Gelbi", a gorgeously deep and propulsive Ney flute plunges into murky waters of the
melancholic Tunisian dialect sung by Marzouk Mejri. In "Marechia'", unbridled happiness and sun ooze from the delicate
vocals of Célia Kameni and create an acrobatic bridge between French and Neapolitan language. In "Straniero", your
soul is arrested from the moment the slow spell-binding mandolin ignites the hypnotic patterns recorded by the legendary
Afrobeat drummer Tony Allen. In "Bar Mediterraneo", the title track, bittersweet guitar’s riffs, analog waves and choirs are
overwhelming the song giving you what you would like to hear on a boat trip along the Amalfi Coast.
Nu Genea couldn't afford to overlook their firmly anchored roots into the Neapolitan culture and its dialect with "Tienaté",
where the power of neapolitan language (interpreted by Fabiana Martone) supports those quarter-tone strings and the
uncessant folk-disco groove that spreads to the entire song. In "Praja Magia", repetitive mandolin riffs lead the song,
giving space to a choral yet tight vocal line that speaks of Varcaturo, a village close to Napoli. In "Rire", a volley of poetic,
deceptively laidback, lyrical fury interpreted by Sicilian Marco Castello intimately combines with a highly musical, multitextured
instrumental backbone and the swoon of a chanson in its heart. In "La Crisi'', the lyrics of a Raffaele Viviani’s
poem from 1930 have been adapted to a laidback jazz-funk groove in full NG style. In "Vesuvio", revaluing the evocative
verses and powerful mantra of Vesuvio, Nu Genea re-adapted to the dancefloor a folk song by the working-class band E’
Zezi from Pomigliano D'Arco, combining the voices of a school choir with Jupiter-6 arpeggios and bold percussions.
Bar Mediterraneo is the place where people constantly return to transform curiosity into participation, tradition into
sharing, unfamiliar into familiar. When travellers come through its “doors”, carrying their treasures of words and emotions,
they aren’t strangers any more. They take part in a shared experience, enriching themselves and others by leading to
unexpected musical journeys.
TRACKLIST:
A1. Bar Mediterraneo
A2. Tienaté
A3. Gelbi (with Marzouk Mejri)
A4. Marechià (with Célia Kameni)
A5. Straniero
B1. Praja Magia
B2. Vesuvio
B3. Rire
B4. La Crisi More
sounds of the Neapolitan duo formed by Massimo Di Lena and Lucio Aquilina even further.
Nu Genea's Bar Mediterraneo is an idea of a shared place where people meet and fuse together; a space that leaves its
doors open to travellers and their lives, always exposed to the whims of fate. Some of this can be experienced through the
multitude of sounds that come together in the tracks, layers of different acoustic instruments, voices and synthesizers
merging in a unique musical blend.
Opening up to the voices of many different people, separated by languages but united by the sea and the music, Nu
Genea's hometown, Napoli, becomes a true place of encounter.
You can hear this all along. In "Gelbi", a gorgeously deep and propulsive Ney flute plunges into murky waters of the
melancholic Tunisian dialect sung by Marzouk Mejri. In "Marechia'", unbridled happiness and sun ooze from the delicate
vocals of Célia Kameni and create an acrobatic bridge between French and Neapolitan language. In "Straniero", your
soul is arrested from the moment the slow spell-binding mandolin ignites the hypnotic patterns recorded by the legendary
Afrobeat drummer Tony Allen. In "Bar Mediterraneo", the title track, bittersweet guitar’s riffs, analog waves and choirs are
overwhelming the song giving you what you would like to hear on a boat trip along the Amalfi Coast.
Nu Genea couldn't afford to overlook their firmly anchored roots into the Neapolitan culture and its dialect with "Tienaté",
where the power of neapolitan language (interpreted by Fabiana Martone) supports those quarter-tone strings and the
uncessant folk-disco groove that spreads to the entire song. In "Praja Magia", repetitive mandolin riffs lead the song,
giving space to a choral yet tight vocal line that speaks of Varcaturo, a village close to Napoli. In "Rire", a volley of poetic,
deceptively laidback, lyrical fury interpreted by Sicilian Marco Castello intimately combines with a highly musical, multitextured
instrumental backbone and the swoon of a chanson in its heart. In "La Crisi'', the lyrics of a Raffaele Viviani’s
poem from 1930 have been adapted to a laidback jazz-funk groove in full NG style. In "Vesuvio", revaluing the evocative
verses and powerful mantra of Vesuvio, Nu Genea re-adapted to the dancefloor a folk song by the working-class band E’
Zezi from Pomigliano D'Arco, combining the voices of a school choir with Jupiter-6 arpeggios and bold percussions.
Bar Mediterraneo is the place where people constantly return to transform curiosity into participation, tradition into
sharing, unfamiliar into familiar. When travellers come through its “doors”, carrying their treasures of words and emotions,
they aren’t strangers any more. They take part in a shared experience, enriching themselves and others by leading to
unexpected musical journeys.
TRACKLIST:
A1. Bar Mediterraneo
A2. Tienaté
A3. Gelbi (with Marzouk Mejri)
A4. Marechià (with Célia Kameni)
A5. Straniero
B1. Praja Magia
B2. Vesuvio
B3. Rire
B4. La Crisi More
1
Solomun - Can't Stop
2
Solomun - Follow The Disco Ball
3
Solomun - Can't Stop (Dub)
Can't Stop .There seems no better way to describe the work, party and music ethic of Solomun. Carrying the mirror ball on his shoulders like Atlas, it is impossible to imagine the modern disco world without his dynamics. While his countless DJ sets give fresh impetus to the many shades of house, techno and their siblings, conversely they are a driving force behind his studio and remix excursions. Can't Stop provides an impressive insight into his musical universe.
Resulting from a rather casual after-dinner-listening-session during a car ride on Ibiza with a zesty Gerd Janson, who coaxed the title track out of Solomun making use of their friendship to full capacity, it is a triptych of direct, functional and free-spirited dance floor approach. After some back and forth in the search of the missing pieces to make it so, Solomun managed to deliver the perfect Running Back peak time record.
While Can't Stop channels UK dance music highs through German engineering values, which makes it perfect for dance hall and car rides (yes, indeed!) alike, its heavy dub is constructed with fearless techno DJs in mind who like new beat excerpts, rave stabs and a lot of bass in equal parts. Follow The Disco Ball leads us back to the aforementioned Greek titan and can be read as a love letter to the genre that can be found in its name. Catchy, compelling and cool, it is a masterclass in user-friendly, yet edgy arrangement and dancing shoe compatibility. We repeat: the perfect Running Back peak time record. Can't Stop, won't stop!
Short: Solomun on Running Back. Dance floor fanatics at work. A triptych of fun, friendship and functionality. Can't Stop channels UK dance music highs through German engineering values. Perfect for dance hall and car rides alike. Its heavy dub is constructed with fearless techno DJs in mind who like new beat excerpts, rave stabs and a lot of bass in equal parts. Follow The Disco Ball can be read as a love letter to the genre that is found in its name. Catchy, compelling and cool, it is a masterclass in user-friendly, yet edgy arrangement and dancing shoe compatibility. The perfect Running Back peak time record. Can't Stop, won't stop! More
Resulting from a rather casual after-dinner-listening-session during a car ride on Ibiza with a zesty Gerd Janson, who coaxed the title track out of Solomun making use of their friendship to full capacity, it is a triptych of direct, functional and free-spirited dance floor approach. After some back and forth in the search of the missing pieces to make it so, Solomun managed to deliver the perfect Running Back peak time record.
While Can't Stop channels UK dance music highs through German engineering values, which makes it perfect for dance hall and car rides (yes, indeed!) alike, its heavy dub is constructed with fearless techno DJs in mind who like new beat excerpts, rave stabs and a lot of bass in equal parts. Follow The Disco Ball leads us back to the aforementioned Greek titan and can be read as a love letter to the genre that can be found in its name. Catchy, compelling and cool, it is a masterclass in user-friendly, yet edgy arrangement and dancing shoe compatibility. We repeat: the perfect Running Back peak time record. Can't Stop, won't stop!
Short: Solomun on Running Back. Dance floor fanatics at work. A triptych of fun, friendship and functionality. Can't Stop channels UK dance music highs through German engineering values. Perfect for dance hall and car rides alike. Its heavy dub is constructed with fearless techno DJs in mind who like new beat excerpts, rave stabs and a lot of bass in equal parts. Follow The Disco Ball can be read as a love letter to the genre that is found in its name. Catchy, compelling and cool, it is a masterclass in user-friendly, yet edgy arrangement and dancing shoe compatibility. The perfect Running Back peak time record. Can't Stop, won't stop! More
1
The Parallax Corporation - Shadow Figures
2
Robert Bergman - Hot On Wheels
3
Ron Morelli - Acid Tape 88
4
Redray - Early Swang
A special HEAT release as it marks the comeback of The Parralax Corporation (I-F & Ingergalactic Gary) after a 20 year hiatus(!!), alongside works by Ron Morelli, Robert Bergman and Redray.
4 trks of tried & tested cuts from the infamous real life gatherings assembled to a single disc for maximum impact. Essential gear for those who test the winds.
This record is as strong as it is diverse. Ready for each body of water you're traversing, however deep it may be.
*Korenwijn not included with the record* More
4 trks of tried & tested cuts from the infamous real life gatherings assembled to a single disc for maximum impact. Essential gear for those who test the winds.
This record is as strong as it is diverse. Ready for each body of water you're traversing, however deep it may be.
*Korenwijn not included with the record* More
Warp present the the first three full length offerings from Autechre; Incunabula, Amber & Tri Repetae. Having been unavailable on vinyl since 2001, these recordings reveal the geometry of the duo's early transcripts from post-acid house electronica through sparse, hypnotic ambience and into the b-boy flavour that characterised their mid-nineties excavations of jungle, industrial and hip-hop.
Tri Repetae, the third album from Autechre finally made available again on vinyl, having been out of print on vinyl since 2001. On reflection, Tri Repeate stands tall as one of the most out-there (and if you know what that means...) and boundary-pushing releases from Ae ever. Going back to the group's roots as b-boy's, Tri... features ten variations on street sounds from hip-hop and techno to industrial and jungle. Released at a time when producers were ripe with ideas for cosmic breakbeat experimentation, Tri... mixed the glitchy twisted dynamics of EPs such as the criminal justice bill protest Anti and sculpted a long player that resembles some of the most 'floor friendly' Ae to ever grace a packed nightclub soundsystem. The ten tracks pulled influence from previous outings, from the glacial Amber chug of Overand to the Incunabula acid of Leterel. But the overall sound is one of mixing influence from the avant-garde of Iannis Xenakis, Edgard Varese & Tod Dockstar with the mid 90's post-hardcore sound of jungle.For anyone looking to get to grips with Ae but wanting something that bridges the gap between the early analogue escapism and the latter deconstructionist stance of elseq, Tri Repetae is the perfect point to dive into. Mixing elements of groups such as Coil at their most industrial, the austere techno of the Downwards crew and the cold yet funky electro of Man Parrish, they composed an album that still, twenty one years since its release, has one of the most singular sounds for anything resembling electro techno, and what other group can you think of who have you can say have ever managed that?
Spec: 2LP in printed inners in widespine sleeve with postcard size download card More
Tri Repetae, the third album from Autechre finally made available again on vinyl, having been out of print on vinyl since 2001. On reflection, Tri Repeate stands tall as one of the most out-there (and if you know what that means...) and boundary-pushing releases from Ae ever. Going back to the group's roots as b-boy's, Tri... features ten variations on street sounds from hip-hop and techno to industrial and jungle. Released at a time when producers were ripe with ideas for cosmic breakbeat experimentation, Tri... mixed the glitchy twisted dynamics of EPs such as the criminal justice bill protest Anti and sculpted a long player that resembles some of the most 'floor friendly' Ae to ever grace a packed nightclub soundsystem. The ten tracks pulled influence from previous outings, from the glacial Amber chug of Overand to the Incunabula acid of Leterel. But the overall sound is one of mixing influence from the avant-garde of Iannis Xenakis, Edgard Varese & Tod Dockstar with the mid 90's post-hardcore sound of jungle.For anyone looking to get to grips with Ae but wanting something that bridges the gap between the early analogue escapism and the latter deconstructionist stance of elseq, Tri Repetae is the perfect point to dive into. Mixing elements of groups such as Coil at their most industrial, the austere techno of the Downwards crew and the cold yet funky electro of Man Parrish, they composed an album that still, twenty one years since its release, has one of the most singular sounds for anything resembling electro techno, and what other group can you think of who have you can say have ever managed that?
Spec: 2LP in printed inners in widespine sleeve with postcard size download card More
1
nu guinea - No Title
2
nu guinea - No Title
3
nu guinea - No Title
4
nu guinea - No Title
5
nu guinea - No Title
6
nu guinea - No Title
7
nu guinea - No Title
1
Bartosz Kruczynski - Dream I
2
Bartosz Kruczynski - Dream II
3
Bartosz Kruczynski - Dream III
4
Bartosz Kruczynski - Dream IV
5
Bartosz Kruczynski - V
6
Bartosz Kruczynski - VI
7
Bartosz Kruczynski - Dream VII
8
Bartosz Kruczynski - Whisper I
9
Bartosz Kruczynski - Whisper II
10
Bartosz Kruczynski - Whisper III
11
Bartosz Kruczynski - Whisper IV
12
Bartosz Kruczynski - Whisper V
13
Bartosz Kruczynski - Whisper VI
14
Bartosz Kruczynski - Whisper VII
We’ve always been careful not to call Balmat an ambient label, because we like having the freedom to move, to drift, to morph. But with our 11th release, we turn our ears—proudly, blissfully—to a strain of ambient at its most timeless. The appropriately titled Dreams & Whispers comes from Warsaw’s Bartosz Kruczynski, who has recorded under a number of guises, Earth Trax, as well as his own name. Over the years, he’s touched upon deep house, breakbeats, acid, techno, electro, IDM, and more; often, the throughline running through a given album is simply the refusal to remain in any one place for long—well, that, and his unusually nuanced ear for harmony and texture.
Those qualities come to the fore on Dreams & Whispers, which might be the most focused encapsulation of Kruczynski’s atmospheric sensibilities to date.. Across 14 stripped-down tracks for shimmer and pulse, Kruczynski evokes overlapping styles in ambient—warm vibraphones, taut arps, massing strings, lonesome delay chains —but always with his own twist. Fitting the album’s title, the album is loosely divided into two distinct moods: The A-side, “Dreams,” is charged with subtle movement, rhythms spreading out like rings around skipped stones, while the B-side, “Whispers,” plunges into a zone of shadows and hush. The two complementary moods flow into one another like the faces of a Moebius strip, yielding an album that’s intuitively shaped and rich in emotion. More
Those qualities come to the fore on Dreams & Whispers, which might be the most focused encapsulation of Kruczynski’s atmospheric sensibilities to date.. Across 14 stripped-down tracks for shimmer and pulse, Kruczynski evokes overlapping styles in ambient—warm vibraphones, taut arps, massing strings, lonesome delay chains —but always with his own twist. Fitting the album’s title, the album is loosely divided into two distinct moods: The A-side, “Dreams,” is charged with subtle movement, rhythms spreading out like rings around skipped stones, while the B-side, “Whispers,” plunges into a zone of shadows and hush. The two complementary moods flow into one another like the faces of a Moebius strip, yielding an album that’s intuitively shaped and rich in emotion. More