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2LP
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MFM 046LP
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Music From Memory announce a retrospective of an artist long-loved by the label, Brazilian composer and multi-instrumentalist Priscilla Ermel. Origens Da Luz brings together a selection of recordings drawn from a body of work that was originally recorded between 1986 and 1994. Priscilla was raised in a musical family in São Paulo and learned the cello and guitar at an early age. She then embarked on a deeply personal musical journey that would travel from origins rooted in Tom Jobim and Chico Buarque to recording the music of the natural world and the communities around her. A film-maker and anthropologist by training, Priscilla is a lifelong student of a universal music. Disillusioned with contemporary European classical music, she spent long periods living with indigenous populations in Brazil, collecting instruments that she would later combine with synthesizers and field recordings. After studying with the renowned Taoist master Liu Pai Lin, she integrated the slow-moving pace of Tai Chi into a music that connects intimately with a multiplicity of cultures at the same time that it unmistakably reflects her Brazilian soul. Combining sounds drawn from the history of Brazil with her own explorations of analog sound technology, Priscilla's music opens up a mystical space, where ancient and modern evolves into a new language. Compiled by John Gómez and released on double-LP, Origens Da Luz offers a panoramic view of this artist's unique and mesmerizing sound world.
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MFM 044LP
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Music From Memory reissue the cult Spanish studio project Música Esporádica's incredible one off, self-titled album, originally released in 1985. 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 in 2018 (MFM 033LP). 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 fueled the recording of this amazing album.
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LP + 7"
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MFM 043LP
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Music From Memory's latest release sees the reissue of the lost art record Marea/Tide: Sound And Image Research Volume One by Italian Wave duo Alessandro Pizzin and Piergiuseppe Ciranna aka Ruins. Ciranna and Pizzin first conceived the Sound And Image Research series back in the early '80s, when they were involved in various multimedia projects in art galleries and unique exhibition spaces across Italy. In 1984 Ciranna and Pizzin came across the works of Italian artist Luigi Viola, a painter whose work was already known internationally and who was active in galleries worldwide. When the opportunity arose for the three to come together it quite naturally led to the creation and production of the album Marea/Tide -- a record not only inspired by the work of Viola but evolved in symbiosis with him. It was to be the first and sadly the only volume in Ruins' Sound Image series. Marea/Tide was released in early autumn 1984 and showcased on November 24th of the same year at an exciting one-off event, alongside exhibitions of the visual works and listening sessions at the well-known Villa Sagredo in Venice. Further showcases were performed at galleries across Italy by the duo alongside Viola's art. The records, for the most part were available solely at those events. The first (and only) edition of the album was limited to 600 copies, 200 of which also included an original screen-print of two different works by Viola; Cuore Veneziano/Venetian Heart, numbered and signed by the artist. Due to poor management and disagreements with the label which produced the record, 300 copies were held for many years in storage and then later sadly destroyed; Marea/Tide disappeared almost completely without trace. Includes bonus 7" with four stunning unreleased tracks, and printed insert with updated liner notes.
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MFM 042LP
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Broken Belief brings together a selection of recordings by Japanese multi-instrumentalist Toshfumi Hinata drawn from a body of work originally recorded between 1985-1987. Attending Berklee College of Music after spending time living in both the United States and the United Kingdom, Hinata would study under the tutelage of pianist Patricia Laliberte, graduating from the esteemed American school in 1982. Returning to Japan after becoming disillusioned with his classical training, Hinata experimented with many different forms of music. Moving away from depending simply on acoustic instruments, he would instead become entrenched in the possibilities of the latest analog synthesizers being developed at the time. Toshifumi Hinata's initial idea was to make his first album with just a Prophet 5 and Linn Drum Machine. Tweaking filters and creating intricate sequences, Hinata would record various sounds on analog tapes and overdub many different layers; recording violin, piano, and other accompaniments separately later on. It would become a method of working for the musician which he would apply almost entirely throughout this period. A deeply submerged process; one in which he would seek, as he himself puts it, to "weave musical images". Toshifumi Hinata would go on to record several more albums released only on CD throughout the late 1980s and 1990s, after which he focused mainly on music for TV dramas, commercials, and documentaries. Now living in Tokyo, he is almost exclusively focused on creating music for documentaries. The period of work released between 1985-1987 is one though that was not only a rich moment in the history of Hinata himself but of Japanese music and electronic music in general.
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12"
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MFM 039EP
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In the lead up to part two of the highly anticipated Outro Tempo compilation (MFM 041LP), Music From Memory drops this teaser EP with the never before heard cassette madness of São Paulo's Bruhahá Babélico and Individual Industry's ethereal electro pop on the flip.
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2LP
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MFM 041LP
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Repressed! Outro Tempo II: Electronic and Contemporary Music from Brazil, 1984-1996 is the second instalment of Music From Memory's Brazilian series. This volume picks up where the first Outro Tempo (MFM 016CD/LP, 2017) left off, shedding light on a new wave of experimentalism that emerged in Brazil in the late 1980s and 1990s. The twenty tracks collected uncover another area of Brazilian music that looked to the future for inspiration. This time it drifts beyond the rainforest and into the pulsating heart of Brazil's great cities, where it meets a generation of young artists eager to radically change the face of contemporary Brazilian music. In Outro Tempo II, the avant-garde and pop worlds meld in a haze of percussion and electronics. It presents another uncompromising and magnetic reinterpretation of the limits of Brazilian music. Outro Tempo II is compiled again by John Gómez and features original artwork by Alice Quaresma. Features May East, Dequinha E Zaba, Oharaska, Fausto Fawcett, R. H. Jackson, Edson Natale, Akira S, Low Key Hackers, Chance, Jorge Degas & Marcelo Salazar, Priscilla Ermel, Voluntários Da Pátria, Angel's Breath, Tetê Espíndola, Nelson Angelo, Jorge Mello, Júlio Pimentel, and Tião Neto.
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LP
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MFM 037LP
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Jonny Nash's Make A Wilderness was created over the course of 2017-2018 and is heavily influenced by descriptions of landscape and environment in the work of authors Shusaku Endo, J.G. Ballard, and Cormac McCarthy. Fragments from a land that is a largely silent place. An ancient place. A non-place. A wilderness.
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MFM 036LP
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Perceptions. That is what Garrett deals in. Not the kind that hit you from off a screen, the ones that emerge from the macro. He steps outside of himself during the recording process, so it's only right for the listener to do the same. This is for wide open spaces, open lanes, pulled off on the viewpoint of your psychological freeway. Some might call it a medication, you may find it better as an application to your everyday. Not a bite sized ready-for-review consumption. Let it drape over you like a cloak.
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12"
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MFM 030EP
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Originally pressed on a now very hard to find 7", Victor's Amerikan Dread crosses over the dub with disco with the rock and the wave. More Talking "Dreads" than Heads. Combining elements of New Wave, Dub and Boogie, Amerikan Dread sounds like little else from the time. Dug out for Music From Memory by Satoshi Yamamura. Comes with original, dub mix, and new remixes by Lipelis and Androo.
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2CD
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MFM 031CD
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Uneven Paths: Deviant Pop From Europe 1980-1991 is the second multiple artist compilation on Music From Memory. It's 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. Features Nightfall In Camp, Stroer Duo Howard Fine, Tony Hymas, Violet Eves, Miko & Mubare, Piscine Et Charles, John Makin & Friends, Nonobstant, Wolfgang Klingler, Thomas Heimes, Hans-Christian Mittag, Sound On Sound, Harte 10, Pete Brandt's Method, Lost Gringos, Patrick Forgas, Brenda And The Beachballs, Xavier Jouvelet, Lou Blic, Steve Beresford, Bill Nelson's Orchestra Arcana, Harte 10, and Monica Rypma.
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LP
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MFM 035LP
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Music From Memory's latest release sees the reissue of Gunther Beckers's Walkman album from 1982. A painter and musician from Aachen, Germany, Beckers created his third album Walkman to coincide with an exhibition of his latest body of artwork in 1982. Released on his very own Milky Music label with a run of just 500 copies and original pieces of artwork included with some copies, most copies of the album nonetheless remained amongst art collectors and with the painter himself. Rediscovered a few years ago through a friend of Music From Memory in the archives of a local radio station where all but one of the stations copies had been destroyed, it has been an album the label have been in love with since the first listen. Touring as a guitarist with ECM-affiliated jazz musicians such as Alex De Grassi, William Ackerman, Ralph Towner, and Larry Coryell to name but a few, Beckers also would record on a number of releases of Klaus Schulze's cult electronic music label Innovative Communication. Always exploring new ideas and the possibilities of technology within his music, Beckers would record Walkman utilizing the Kunstkopf technique of sound recording. Kunstkopf, or 'dummy head' recording is a 3-D audio recording technology that enables listeners to define each source of sound as if they were in the original recording situation itself. Using two microphones which are usually mounted in the ears of a mannequin, the technique exploits certain basic principles of human spatial hearing. Listeners to Kunstkopf recordings are in fact encouraged to listen to such recordings on headphones, as the 3-D perception is often greatly diminished on speakers. With the title Walkman, Beckers was very much hoping the album would be enjoyed on headphones, even portably through a Walkman. Minimalist variations around an acoustic guitar, guitar synth, rhythm box and with wordless female vocals, Walkman drifts in and out of moods; it is a unique and at times hauntingly beautiful album, which the Kunstkopf recording technique further adds to the album's often-otherworldly feeling.
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LP
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MFM 034LP
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Music From Memory return with a further six tracks from Dutch musician Richenel. Perfect Stranger, like La Diferencia (MFM 017EP, 2017) contains recordings taken from his debut mini-LP, also called La Diferencia, and originally released in 1982 on the cult Amsterdam cassette only label Fetisj. Music From Memory's second release from the artist, Perfect Stranger, includes alternate takes drawn from Richenel's personal copy of the album alongside a further composition which didn't make it onto the original Fetisj cassette. Studying set and costume design whilst making a name for himself as a singer and performer in Amsterdam's underground clubs, Richenel played with several disco acts and cultivated an extravagant cross-gender stage persona before connecting with members of the local label. Hooking up through their time together at the Rietveld art academy in Amsterdam, Fetisj was an experimental multi-media collective which revolved around a loose mix of various young artists and musicians. Having developed a house band with artists going by a number of different pseudonyms the label set up their own small makeshift studio and would produce and sell the cassettes through their distribution network and at events across the city. Recorded amongst the turmoiled punk and squatter scene of Amsterdam against a backdrop of drugs and social unrest, the La Diferencia sessions reflect a unique mix of punk aesthetics with a synthesized bedroom funkiness. A somewhat illustrious figure in Dutch pop history with his flamboyant appearance as well as having one of the more exceptional male voices to come out of the country, Richenel would go on to record a number of successful albums and hit singles in the Netherlands and beyond. This largely unknown album on Fetisj however, seems to embody the spirit of another time; a particularly unique and richly creative moment in Amsterdam's musical and cultural history and one that is deserving of a much wider audience. Perfect Stranger is co-compiled by Orpheu De Jong.
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LP
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MFM 033LP
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The subject of Music From Memory's compilation here focuses on Suso Saiz's output as part of the group Orquesta De Las Nubes, formed by Suso Saiz and percussionist Pedro Estevan when the two met whilst studying a course on "Techniques of Contemporary Composition" in Madrid. Following on from a retrospective compilation of solo work and an album of recent work in 2016, Music From Memory continue to explore the work of Spanish ambient and experimental pioneer Suso Saiz. Sharing a curiosity for American minimalist and non-western music, the pair began to share music through many listening sessions, during which the idea slowly evolved to try and make music together. Pedro's partner at the time, soprano singer María Villa, would later join the two on vocals. With Suso's sparse use of guitar loops, synthesizers, and drum computers in combination with the hypnotic percussion of Pedro Estevan and the wordless drifting vocals of María Villa, Orquesta De La Nubes would evolve as a group with a truly unique musical language; an ethereal and almost otherworldly musical realm. Developing at first as a live act, through a number of performances in Madrid and beyond, Orquesta De Las Nubes was very much connected with, and inspired by, the avant-garde arts scene in Madrid at the time. Throughout their shows, a close circle of friends, including a number of painters, sculptors, and designers, would collaborate with the trio to create unique imagery and elaborate stage sets for the group's performances. Yet, despite the growing fascination surrounding Orquesta De Las Nubes' live performances, the trio would however find it extremely difficult to find a label willing to release their music on record. The group's then manager Silvia Lovosevic therefore decided to set up her own label Linterna Música in order to make the work available. The group would release three albums between 1983-1987, two on the Linterna Musica label as well as an album and CD compilation of live tracks on the cult Spanish label Grabacionnes Accidentales. Between this period, the trio would also team up with American percussionist Glen Velez to record as the group Musica Esporadica; a one-off project in which they recorded a single album of the same name in 1985.
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MFM 032LP
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The Japanese producer and DJ Kuniyuki Takahashi is the subject of Music From Memory's latest retrospective compilation with Early Tape Works (1986-1993). Composed of two volumes, the compilations gather together a selection of tracks from a tiny run of privately released tape only albums, highlighting a fascinating early period in Kuniyuki's musical output, one of which little is known. After discovering the world of nightclubs in Japan around 1986, and the seemingly boundless freedom expressed there through music as well as art, Kuniyuki became inspired to experiment with electronic music. Excited by the possibilities of new music technology, he would begin to gather together a number of, at that time, reasonably accessible and inexpensive local keyboards, drum computers, and recording equipment. This became for a way for Kuniyuki to explore music not as such made for nightclubs, but certainly inspired by them. Setting up a home studio in his hometown of Saporro, Kuniyuki would record extensively during this period with the equipment he had gathered together, equipment such as Roland's Juno60, TR-606, TB-303, Casio FZ-1, Korg 770, Boss DE-200, Foster A8, and a Yamaha MT44 track cassette recorder. Driven to develop a musical language derived as much by an exploration of music technology and a desire to create new sounds, Kuniyuki was also looking to evolve the possibilities of what he refers to as a "new Oriental sound". Early Tape Works )1986-1993) then brings together two albums of material which not only highlights the evolution of Kuniyuki's own work but also of Japanese electronic music as a whole.
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LP
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MFM 029LP
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Music From Memory return with more Music From The Living Room (1983). Delving further into the archives of British musician Michal Turtle, Return To Jeka brings together eight previously unreleased works recorded between 1983 and 1985. Drawn from a larger archive of works the compilation highlights a fascinating period of material Michal recorded after the release of his only album. Working as an accompanist musician at The Laban Centre in New Cross at the time, Michal met Jonathan Smart who was currently studying dance. After being invited to add spoken word vocals to a few of Michal's tracks, Michal discovered Jonathan was also an accomplished guitarist; and Jonathan would add guitar to a number of recordings from this period. Vocalist Lucianne Lassalle who Michal was working with in local bands The Duplicates and The Wicked Kitchen Staff and who had worked with Michal on recordings for his album, would also collaborate with Michal again during this period. While some tracks were produced with the idea in mind of a follow up to his album Music From The Living Room which UK label Shout proposed but which would sadly not materialize, others were in fact demos written for student dance choreographies. Produced in the living room of his parents' home in Croydon, South London and later in his apartment in Camden Town, Michal Turtle's home recordings featured on Return To Jeka continue his unique musical explorations; drawing extensively on the use of percussion and electronics they bring together elements which were not only in many aspects visionary but also sound like little else.
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2LP
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MFM 031LP
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Repressed. Uneven Paths: Deviant Pop From Europe 1980-1991 is the second multiple artist compilation on Music From Memory. It's 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. Features Nightfall In Camp, Stroer Duo Howard Fine, Tony Hymas, Violet Eves, Miko & Mubare, Piscine Et Charles, John Makin & Friends, Nonobstant, Wolfgang Klingler, Thomas Heimes, Hans-Christian Mittag, Sound On Sound, Pete Brandt's Method, Lost Gringos, Vanakos, Brenda And The Beachballs, Patrick Forgas, Xavier Jouvelet, Lou Blic, Steve Beresford, Bill Nelson's Orchestra Arcana, Harte 10, and Monica Rypma.
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MFM 027LP
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The Japanese producer and DJ Kuniyuki Takahashi is the subject of a retrospective compilation from Music From Memory titled Early Tape Works (1987-1993) Vol 1. Composed of two volumes, the compilations gather together a selection of tracks from a tiny run of privately released tape-only albums, highlighting a fascinating early period in Kuniyuki's musical output, one of which little is known about. After discovering the world of nightclubs in Japan around 1986, and the seemingly boundless freedom expressed there through music as well as art, Kuniyuki became inspired to experiment with electronic music. Excited by the possibilities of new music technology, he would begin to gather together a number of, at that time, reasonably accessible and inexpensive local keyboards, drum computers and recording equipment. This became for Kuniyuki a way in which to explore music not as such made for nightclubs, but certainly inspired by them. Setting up a home studio in his hometown of Saporro, Kuniyuki would record extensively during this period with the equipment he had gathered together, equipment such as Roland's Juno60, TR-606, TB-303, Casio FZ-1, Korg 770, Boss DE-200, Foster A8, and a Yamaha MT44 track cassette recorder. Driven to develop a musical language derived as much by an exploration of music technology as a desire to create new sounds, Kuniyuki was also looking to evolve the possibilities of what he refers to as a "new Oriental sound". Early Tape Works brings together two albums of material which not only highlights the evolution of Kuniyuki's own work but also of Japanese electronic music as a whole.
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MFM 028LP
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Repressed. Terekke drifts gracefully onto Music From Memory with a long player of looping ambient pad pressure. Terreke explains: "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."
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12"
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MFM 026EP
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Music From Memory present a reissue of Dub Oven's self-released, 1983 EP Skin 'N' Bones. Pioneers in the post punk industrial and new wave scene in '80s San Francisco, Gary Miles (Voice Farm) and Blaise Smith (Minimal Man), met in December of 1982, and enlisted soul vocalist Celeste Miller for this EP. All three tracks embody a signature groove and an inventive synthesized abstraction to express a languishing urban unsettledness and spiritual awareness. Utilizing analog electronics and instrumentation, the record draws on elements of dub, new wave, soul, and funk to create an uncategorizable sound. Produced by Marco Perry (Björk).
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2LP
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MFM 025LP
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Music From Memory's final compilation of 2017 sees the release of the double album 1 By 1, which brings together the works of American experimental musician Geoffrey Landers. During a period spanning from 1979 to 1987, this Denver, Colorado based multi-instrumentalist, composer, record producer, and engineer conceived several solo albums. Only two of these, The Ever Decimal Pulse (1982) and Habitual Features (1983) along with the single Breedlove (1984) were ever released on vinyl. Being heavily involved in the local industrial/punk/new wave scene and wanting to create a recording studio "available to record artists regardless of their financial circumstances" Landers set up The Packing House Studio in 1981. This analog 8-track recording facility was located in a former slaughterhouse in the stockyards of Denver and was a place of significant activity for the next three years with the studio releasing recordings from numerous artists, most notably Allen Ginsberg. It was here that Geoffrey Landers also started his own aptly named Cauhaus label. Indicative of the underground/DIY culture, "Cauhaus" was a subsidiary of a label called Local Anaesthetics which was started as an in-store label by independent Denver record store Wax Trax. Typically Cauhaus releases were only pressed up in small quantities and independently distributed, making Lander's music essentially elusive to a wide audience. After relocating in 1984 to an art district of Denver Landers opened the "Cauhaus Institute of Recording" studio where he continued to produce music for soundtracks, art, and multi-media projects for the next three years, after which Landers stepped out of the music industry entirely. He currently creates and exhibits mixed-media glass art. Throughout the twenty tracks of 1 By 1, of which six previously appeared on CD only, Music From Memory are submerged into a wide diversity of musical approaches from Geoffrey Landers. From the proto-house track "Logarithms" and the heart breaking new-wave boogie/funk of "Say You'll Say So", to the more contemplative pieces such as the oriental-inspired "Nisei" and the drenched in sunshine dub/reggae track "Mack", Landers shies away from musical expectations again and again; searching continually for innovative and new forms of expression.
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2CD
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MFM 016CD
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Double CD release of the outstanding compilation, Outro Tempo: Electronic And Contemporary Music From Brazil, 1978-1992. Contains three tracks not included on the double LP version (MFM 016LP). For their first multi-artist compilation, Music From Memory take a trip to the heart of the Amazon rainforest. Outro Tempo: Electronic And Contemporary Music From Brazil, 1978-1992 explores the outer reaches of Brazilian music, where indigenous rhythms mix with synthesizers and where MPB mingles with drum computers. As Brazil faced the last years of its military dictatorship and transition to democracy, a generation of forward-thinking musicians developed an alternative vision of Brazilian music and culture. They embraced traditionally shunned electronic production methods and infused their music with elements of ambient, jazz-fusion, and minimalism. At the same time they referenced the musical forms and spirituality of indigenous tribes from the Amazon. The music they produced was a complex and mesmerizing tapestry that vividly evoked Brazilian landscapes and simultaneously reached out to the world beyond its borders. Features: Piry Reis, Nando Carneiro, Cinema, João De Bruçó & R. H. Jackson, Os Mulheres Negras, Fernando Falcão, Anno Luz, Andréa Daltro, Bené Fonteles, Maria Rita, Carlinhos Santos, Bené Fonteles, Priscilla Ermel, Carioca, Marco Bosco, and Luhli E Lucina.
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2CD
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MFMJP 001CD
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Japanese-released compilation of Music From Memory's finest moments according to compiler Chee Shimizu. Features a live recording of an exclusive Music From Memory DJ mix from Shimizu. Features: Suso Saiz, Joan Bibiloni, Workdub, Michal Turtle, Roberto Musci, Vito Ricci, Gigi Masin, and Gaussian Curve.
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12"
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MFM 024EP
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Music From Memory return with four tracks drawn from the St. Louis musician Virgil "Vincent" Work Jr.'s cassette debut from 1987, Fast Forward. Following a compilation taken from one of Virgil's collaborative projects, Workdub (MFM 012EP, 2016), this album reflects a more stripped back and raw musical approach. Experimenting with rhythm programming, midi, layering, sequencing, digital effects, and sound synthesis, the Fast Forward sessions grew from a series of late night jams with Vincent's brother Scott. The songs that would form Fast Forward evolved out of improvisation, lending a unique often spatial and searching quality to the tracks.
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MFM 020CD
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Following 2016's compilation of archival recordings by Suso Saiz titled Odisea (MFM 009CD/LP), Music From Memory mark their 20th release with an album of new works by the Spanish electronic music pioneer. Recorded in Madrid between January and February 2016, this is Suso Saiz's first release of new music in nearly ten years. Titled Rainworks, this double LP release was originally part of a commission from a Canary Islands water company. The first ideas for the compositions developed from a documentary that Suso had seen suggesting the possibility of water molecules having their own memory. As Suso himself explains, he became fascinated with the possibility of an eternal being, changing its cyclical condition from solid to gaseous state, travelling through and between the Earth and the Sky, as a witness and keeper of the true history of Earth and Mankind. Suso, his son Emil Saiz, and pianist Raph Killhertz set out to explore this metaphysical process of cyclical movement through music in Rainworks. Developing from the original commissioned tracks into a much more elaborate project, the album's process became something of a mystical journey, drawing on aspects of minimalism and modernism. The music is also embedded in textured natural soundscapes and spoken word passages which were recorded and processed by Suso himself. Despite having the immediacy of an improvised piece, Rainworks was in entirely composed by Suso. Whilst on one hand it appears very much as an electronic album there are in fact many acoustic elements to the recording. A resonant piano (a grand piano re-amplified using its resonant box and harp to generate effects) as well as guitars (with simple effects) are played in Suso's inimitable hypnotic way, slowly drawing the listener into a transportive state or lucid dream.
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2LP
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MFM 020LP
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Following 2016's compilation of archival recordings by Suso Saiz titled Odisea (MFM 009CD/LP), Music From Memory mark their 20th release with an album of new works by the Spanish electronic music pioneer. Recorded in Madrid between January and February 2016, this is Suso Saiz's first release of new music in nearly ten years. Titled Rainworks, this double LP release was originally part of a commission from a Canary Islands water company. The first ideas for the compositions developed from a documentary that Suso had seen suggesting the possibility of water molecules having their own memory. As Suso himself explains, he became fascinated with the possibility of an eternal being, changing its cyclical condition from solid to gaseous state, travelling through and between the Earth and the Sky, as a witness and keeper of the true history of Earth and Mankind. Suso, his son Emil Saiz, and pianist Raph Killhertz set out to explore this metaphysical process of cyclical movement through music in Rainworks. Developing from the original commissioned tracks into a much more elaborate project, the album's process became something of a mystical journey, drawing on aspects of minimalism and modernism. The music is also embedded in textured natural soundscapes and spoken word passages which were recorded and processed by Suso himself. Despite having the immediacy of an improvised piece, Rainworks was in entirely composed by Suso. Whilst on one hand it appears very much as an electronic album there are in fact many acoustic elements to the recording. A resonant piano (a grand piano re-amplified using its resonant box and harp to generate effects) as well as guitars (with simple effects) are played in Suso's inimitable hypnotic way, slowly drawing the listener into a transportive state or lucid dream.
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