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Cat-No:MFM068
Release-Date:03.05.2024
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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
More records from Contours
7"
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Cat-No:BOTW004
Release-Date:22.10.2021
Configuration:7"
Barcode:658556053126
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1
Contours - The Programme
2
Contours - Conga Quinto (Dub Version)
Band on the Wall's latest 7" release is from producer, musician & DJ Contours. Known for applying his own percussive dexterity, his sound is placed within the intersection of House, Jazz, Broken-Beat and percussive experimentation. Double A-side 'The Programme / Conga Quinto (Dub)' is the latest in an ongoing sonic evolution for Contours, having released music on labels including Rhythm Section, Tru-Thoughts, Anma Records, in turn receiving praise from the likes of Gilles Peterson, Mr Scruff, Alex Nut and Bradley Zero. Premiered by Gilles Peterson on BBC Radio 6 Music, covered by The Vinyl Factory, Music is My Sanctuary, Stamp the Wax, Resident Advisor, Bolting Bits. Airplay from Laani on Worldwide FM, Gilles Peterson on BBC Radio 6 Music.
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Last in:20.03.2020
Label:Anma
Cat-No:anma011
Release-Date:13.03.2020
Genre:House
Configuration:12"
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1
Contours - Balafon
2
Contours - Batterie
3
Contours - Returning
4
Contours - Returning (K15 remix)
Contours, a UK based DJ and producer, known for bubbling dance rhythms and undertone melodies focuses on a wide range of organic percussion on this 4 track EP.
A1 opens up with its most prominent instrument, the balafon, creating a hypnotic vibe in which keys and broken beat intertwine creating a swinging rhythm. The second track, Batterie, slows down the groove and allows plenty of space for the keys to lay over the depth of bass-heavy drum pattern.
The flip side of the record pitches up the tempo and sees layers of Latin infused rhythms mix with London scene defining broken beat riffs, synths and melodies. The record finishes up with a remix from one of the London underground scene’s key contemporary figures, K15, adding a darker tone to the flow of the track while upping the dancefloor energy of the groove. More
A1 opens up with its most prominent instrument, the balafon, creating a hypnotic vibe in which keys and broken beat intertwine creating a swinging rhythm. The second track, Batterie, slows down the groove and allows plenty of space for the keys to lay over the depth of bass-heavy drum pattern.
The flip side of the record pitches up the tempo and sees layers of Latin infused rhythms mix with London scene defining broken beat riffs, synths and melodies. The record finishes up with a remix from one of the London underground scene’s key contemporary figures, K15, adding a darker tone to the flow of the track while upping the dancefloor energy of the groove. More
Label:Shall not fade
Cat-No:snf007
Release-Date:29.11.2016
Genre:House
Configuration:12"
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Label:Shall not fade
Cat-No:snf007
Release-Date:29.11.2016
Genre:House
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After the success of the Henry Wu & Chaos in the CBD releases, Rhythm Section International present their 9th offering, from Mancunian newcomer 'Contours’. ‘Technician' is a percussion led rhythmic exploration, spanning 6 tracks which take in down-tempo grooves to up-beat workouts, all held together by a smooth, lucid sonic palette and arresting, unorthodox live percussive elements. Already an accomplished drummer and percussionist, Contours manages to combine driving rhythm, lush textures and hypnotic melodies to create a sound that feels very much at home as part of the Rhythm Section imprint, while simultaneously pushing it forward into new, undiscovered territory. One for the Heads, one for the Dancers, one for the warm up, one for the afterparty.
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Label:Music From Memory
Cat-No:MFM067
Release-Date:02.08.2024
Configuration:12"
Barcode:0731628580796
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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
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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
2LP
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Label:Music From Memory
Cat-No:MFM031
Release-Date:26.04.2024
Genre:Alternative/Electronic
Configuration:2LP
Barcode:0783024551337
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Genre:Alternative/Electronic
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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
Label:Music From Memory
Cat-No:MFM003
Release-Date:26.04.2024
Genre:Soul/Funk
Configuration:LP
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Label:Music From Memory
Cat-No:MFM003
Release-Date:26.04.2024
Genre:Soul/Funk
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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
Label:Music From Memory
Cat-No:MFM066
Release-Date:15.12.2023
Configuration:2LP
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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
Label:Music From Memory
Cat-No:MFM052
Release-Date:01.12.2023
Genre:House
Configuration:LP
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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
Label:Music From Memory
Cat-No:MFM065
Release-Date:17.11.2023
Configuration:LP
Barcode:0731628580765
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Cat-No:MFM065
Release-Date:17.11.2023
Configuration:LP
Barcode:0731628580765
1
The Habitat Ensemble - Two Voices In The Field
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The Habitat Ensemble - Maringotka
3
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
Barcode:
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Genre:Alternative/Electronic
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1
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
2LP
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Label:Music From Memory
Cat-No:MFM062
Release-Date:23.06.2023
Genre:World Music
Configuration:2LP
Barcode:0731628580727
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Release-Date:23.06.2023
Genre:World Music
Configuration:2LP
Barcode:0731628580727
1
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
Label:music from memory
Cat-No:MFM064
Release-Date:09.06.2023
Configuration:LP
Barcode:0731628580758
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1
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
18
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
12"
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Label:Music From Memory
Cat-No:MFM028
Release-Date:26.05.2023
Configuration:12"
Barcode:0783024551320
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Cat-No:MFM028
Release-Date:26.05.2023
Configuration:12"
Barcode:0783024551320
1
Terekke - Unother
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Terekke - Nuwav2
3
Terekke - Wav1
4
Terekke - Ambien
5
Terekke - Arrpfaded
6
Terekke - Soft G
7
Terekke - 220 G
8
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
2CD
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Label:Music From Memory
Cat-No:MFM062CD
Release-Date:17.03.2023
Genre:World Music
Configuration:2CD
Barcode:0731628580734
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Genre:World Music
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Barcode:0731628580734
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
Label:Music From Memory
Cat-No:MFM061
Release-Date:16.12.2022
Genre:Electronic
Configuration:LP
Barcode:0731628580710
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Label:Music From Memory
Cat-No:MFM061
Release-Date:16.12.2022
Genre:Electronic
Configuration:LP
Barcode:0731628580710
1
RAMZi - Awakenin
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RAMZi - Foggi Ft. Priori
3
RAMZi - Mille Et une Nuits
4
RAMZi - Chantilli
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RAMZi - Smooshi
6
RAMZi - Megafauna
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RAMZi - Égrégores
8
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
Label:Music From Memory
Cat-No:MFM060
Release-Date:09.12.2022
Configuration:LP
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1
The Zenmenn And John Moods - Out Of My Mind
2
The Zenmenn And John Moods - Into The Heart Of The Matter
3
The Zenmenn And John Moods - The Invisible Landscape
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The Zenmenn And John Moods - Fantasy Again
5
The Zenmenn And John Moods - Ordinary Time
6
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
Label:Music From Memory
Cat-No:MFM044
Release-Date:30.11.2022
Configuration:LP
Barcode:
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1
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
LP
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Label:music from memory
Cat-No:MFM032
Release-Date:30.11.2022
Configuration:LP
Barcode:0783024551368
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Label:music from memory
Cat-No:MFM032
Release-Date:30.11.2022
Configuration:LP
Barcode:0783024551368
1
kuniyuki takahashi - Island
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kuniyuki takahashi - Your Home
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kuniyuki takahashi - Asia
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kuniyuki takahashi - Echoes Of The Past
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kuniyuki takahashi - Ai Iro
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kuniyuki takahashi - Sakura No Mizu
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kuniyuki takahashi - Imagination
*repress 2023**
The Japanese producer and DJ Kuniyuki Takahashi is the subject of Music From Memory’s latest retrospective compilation with ‘Early Tape Works - 1986-1993’. Composed of two volumes, the compilations gather together a selection of tracks from a tiny run of privately released tape only albums, highlighting a fascinating early period in Kuniyuki’s musical output, one of which little is known."After discovering the world of nightclubs in Japan around 1986, and the seemingly boundless freedom expressed there through music as well as art, Kuniyuki became inspired to experiment with electronic music. Excited by the possibilities of new music technology, he would begin to gather together a number of, at that time, reasonably accessible and inexpensive local keyboards, drum computers and recording equipment. This became for Kuniyuki a way in which to explore music not as such made for nightclubs, but certainly inspired by them. Setting up a home studio in his hometown of Saporro, Kuniyuki would record extensively during this period with the equipment he had gathered together, equipment such as Roland’s Juno60, TR-606, TB-303, Casio FZ-1, Korg 770, Boss DE-200, Foster A8 and a Yamaha MT44 track cassette recorder. Driven to develop a musical language derived as much by an exploration of music technology and a desire to create new sounds, Kuniyuki was also looking to evolve the possibilities of what he refers to as a ‘new Oriental sound’. Early Tape Works - 1986-1993’ then brings together two albums of material which not only highlights the evolution of Kuniyuki’s own work but also of Japanese electronic music as a whole." More
The Japanese producer and DJ Kuniyuki Takahashi is the subject of Music From Memory’s latest retrospective compilation with ‘Early Tape Works - 1986-1993’. Composed of two volumes, the compilations gather together a selection of tracks from a tiny run of privately released tape only albums, highlighting a fascinating early period in Kuniyuki’s musical output, one of which little is known."After discovering the world of nightclubs in Japan around 1986, and the seemingly boundless freedom expressed there through music as well as art, Kuniyuki became inspired to experiment with electronic music. Excited by the possibilities of new music technology, he would begin to gather together a number of, at that time, reasonably accessible and inexpensive local keyboards, drum computers and recording equipment. This became for Kuniyuki a way in which to explore music not as such made for nightclubs, but certainly inspired by them. Setting up a home studio in his hometown of Saporro, Kuniyuki would record extensively during this period with the equipment he had gathered together, equipment such as Roland’s Juno60, TR-606, TB-303, Casio FZ-1, Korg 770, Boss DE-200, Foster A8 and a Yamaha MT44 track cassette recorder. Driven to develop a musical language derived as much by an exploration of music technology and a desire to create new sounds, Kuniyuki was also looking to evolve the possibilities of what he refers to as a ‘new Oriental sound’. Early Tape Works - 1986-1993’ then brings together two albums of material which not only highlights the evolution of Kuniyuki’s own work but also of Japanese electronic music as a whole." More
Label:music from memory
Cat-No:MFM018
Release-Date:30.11.2022
Genre:Electronic
Configuration:LP
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Cat-No:MFM018
Release-Date:30.11.2022
Genre:Electronic
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1
gaussian curve - Breathe
2
gaussian curve - Suspended Motion
3
gaussian curve - The Distance
4
gaussian curve - Ceremony
5
gaussian curve - T.O.R
6
gaussian curve - Four For You
7
gaussian curve - Dancing Rain
8
gaussian curve - Another Place
**2022 Repress* The now classic LP from Gigi Masin, Jonny Nash and Young Marco. Highly Recommended!In the spring of 2016, Gigi Masin, Jonny Nash and Marco Sterk got together in the studio for the first time since they recorded Clouds, the critically acclaimed debut album from their Gaussian Curve project. By the time they reconvened in Sterk's new studio in Amsterdam, a stone's throw away from the temporary, second-â€floor space where they recorded Clouds, much had changed. When they first got together in March 2014, it was for a spontaneous, weekend-â€long exploration of shared musical passions. They were merely three new friends expressing themselves, and having huge amounts of fun in the process. By the time they got together again last year, the album they recorded on that famous weekend had taken on a life of its� own. To their surprise and delight, Clouds had become one of the most admired ambient albums of the 21st century. They�d initially reconvened in the studio to rehearse for their first live performances. It soon become clear that all three members were brimming with ideas for new Gaussian Curve material. Over the four days that followed, and fuelled by the same spontaneous working method that drove Clouds, a new album began to take shape. Although their methodology remained the same, the inspirations were different. Whereas Clouds was intimate by design, The Distance reflects more on spaciousness, distance and time. It is instantly recognizable as a Gaussian Curve record, but feels different in scope and tone. The Distance is a different musical beast to its� predecessor, but shares the same timeless, emotion-�â€rich feel that made Clouds such a hit. While the fundamental ingredients remain the same � Masin�s masterly piano and synthesizer work, Nash�s blissful, meandering guitar
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2LP
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Label:music from memory
Cat-No:MFM014
Release-Date:30.11.2022
Genre:Alternative/Electronic
Configuration:2LP
Barcode:0783024551009
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Label:music from memory
Cat-No:MFM014
Release-Date:30.11.2022
Genre:Alternative/Electronic
Configuration:2LP
Barcode:0783024551009
1
roberto musci - Improbably Musica
2
roberto musci - Nexus On The Beach
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roberto musci - Lidia After The Snow
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roberto musci - Water Music
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roberto musci - Woman Of Water And Music
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roberto musci - Lullabies... Mother Sings... Father Plays
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roberto musci - Rackrailway To...
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roberto musci - Tamatave
9
roberto musci - semar
10
roberto musci - Tower Of Silence
11
roberto musci - Claudia, Wilhem R. And Me
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roberto musci - Voices Of The Ancient
13
roberto musci - Blue Garden
14
roberto musci - When A Dolphin Saves A Baby
15
roberto musci - Katak dance for H
16
roberto musci - night music
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roberto musci - The Way Of Discreet Zen
18
roberto musci - ghost train
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roberto musci - Kioko's Deck
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roberto musci - Shadow Player
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roberto musci - Empty Boulevard
22
roberto musci - The Ups & Downs Of Chewing Gum
23
roberto musci - a tale for
*2023 repress* Traveling extensively across Asia and Africa between 1974-1985 to study music, Roberto made many field recordings and collected many instruments on his travels which he would then combine with synthesizers and electronics back in Italy. BIG TIP!Music From Memory returns with their penultimate release of 2016, this time bringing together a compilation of works by the Italian composer and musician Roberto Musci. Whilst studying guitar and saxophone in his hometown of Milan, Musci developed a deep fascination for non-western music and set out to travel across India, Asia and Africa, which he would do extensively between 1974-1985. During his many journeys Roberto would become deeply embedded in each unique world of rhythms, scales and approaches to making and performing music. Throughout this period of travel he would make many field recordings as well as collect and study many traditional and indigenous instruments that he would then later combine with synthesizers and electronics on his return to Italy. Combining personal documents of music and sounds deeply connected to the history and cultures of those lands, with his own explorations and experiments with cutting edge sound technology Roberto Musci would develop through his music a very unique and at times wholly mystical space, where ancient and modern would evolve into a new musical language. As well as making his own music, during the 1980�s and 1990�s Roberto would also regularly broadcast radio shows of experimental and indigenous music on Italian radio stations such as Rai and Radio Popolare. Deeply connected to the arts he would also compose and perform numerous pieces of music for theatre, dance and performance art pieces as well as soundtracks for film and television. �Tower of Silence� brings together a double LP of material from Roberto Musci�s solo recordings commencing with the Loa of Music sessions from 1984 up until later very recent works. The compilation also includes a number of collaborative pieces, many performed and written in collaboration with Giovanni Venosa, such as material taken from their �Water Messages On Desert Sand�, which as an album was Grammy-nominated in in the UK in 1987. A unique and at times intensely mesmerising musical world �Tower of Silence� offers an introduction to the work of a unique and visionary artist.
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Label:We Release Jazz
Cat-No:WRJ010LTD
Release-Date:16.07.2021
Genre:Nu Jazz
Configuration:LP Excl
Barcode:4251804125499
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Cat-No:WRJ010LTD
Release-Date:16.07.2021
Genre:Nu Jazz
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Barcode:4251804125499
1
Hiroshi Suzuki - A1. Shrimp Dance
2
Hiroshi Suzuki - A2. Kuro To Shiro
3
Hiroshi Suzuki - B1. Walk Tall
4
Hiroshi Suzuki - B2. Cat
5
Hiroshi Suzuki - B3. Romance
No sales to Japan!
LP: 180g vinyl, half speed mastered, heavy sleeve, obi, gold ink
Genre: Jazz, Fusion, Funk
Tracklisting LP
A1. Shrimp Dance
A2. Kuro To Shiro
B1. Walk Tall
B2. Cat
B3. Romance
Info
We Release Jazz is ecstatic (purrrr!) to announce the official reissue of Hiroshi Suzuki's glorious jazz-fusion-funk Holy Grail Cat (originally released in 1976), sourced from the original masters and available on limited edition 180 gram vinyl mastered at half speed for full audiophile sound, as well as on digipack CD. Both versions come with liner notes by Teruo Isono.
Cat was recorded in October 1975 at at Nippon Columbia Studio, while Hiroshi Suzuki was visiting his home country of Japan after moving to Las Vegas in 1971 to play with Buddy Rich and perfect his craft. Back on his old stomping grounds, the man known as Neko (Cat) immediately reunited with his dear friends for an epic two day session of groove magic. The chemistry was still intact. The skills and style had grown.
The result, Cat, is a smooth masterpiece, a deep and soulful affair where stunning trombone solos by Hiroshi Suzuki flirt with Takeru Muraoka's heavenly saxophone and the sensual rhythm section of Hiromasa Suzuki (keyboards), Kunimitsu Inaba (bass), and Akira Ishikawa (drums).
Celebrated in jazz collectors circles, in the lofi beat scene, and among music diggers around the world, Cat has become one of the most sought-after Japanese jazz albums of all time and, much like Ryo Fukui's Scenery, has fascinated old and young generations alike.
Points of interests
- For fans of jazz, fusion, funk, trombone, Japanese jazz, smooth rides, cats, allure.
- Official reissue of the glorious jazz-fusion album by Japanese trombonist extraordinaire Hiroshi "Neko" Suzuki.
- 10th release from We Release Jazz, following Ryo Fukui's Scenery, Mellow Dream, A Letter from Slowboat, and Ryo Fukui in New York, the soundtrack of Le Cercle Rouge by Eric Demarsan, Stuff Combe 5 + Percussion, Marc Moulin's Placebo Live 1971 and Boillat Thérace Quintet albums. We Release Jazz is the sister-label of Geneva-based WRWTFWW Records (Midori Takada's Through The Looking Glass and Lunar Cruise with Masahiko Sato, Pierre Barouh's Le Pollen, Jun Fuka-machi's Nicole, Grauzone's discography, …)
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LP: 180g vinyl, half speed mastered, heavy sleeve, obi, gold ink
Genre: Jazz, Fusion, Funk
Tracklisting LP
A1. Shrimp Dance
A2. Kuro To Shiro
B1. Walk Tall
B2. Cat
B3. Romance
Info
We Release Jazz is ecstatic (purrrr!) to announce the official reissue of Hiroshi Suzuki's glorious jazz-fusion-funk Holy Grail Cat (originally released in 1976), sourced from the original masters and available on limited edition 180 gram vinyl mastered at half speed for full audiophile sound, as well as on digipack CD. Both versions come with liner notes by Teruo Isono.
Cat was recorded in October 1975 at at Nippon Columbia Studio, while Hiroshi Suzuki was visiting his home country of Japan after moving to Las Vegas in 1971 to play with Buddy Rich and perfect his craft. Back on his old stomping grounds, the man known as Neko (Cat) immediately reunited with his dear friends for an epic two day session of groove magic. The chemistry was still intact. The skills and style had grown.
The result, Cat, is a smooth masterpiece, a deep and soulful affair where stunning trombone solos by Hiroshi Suzuki flirt with Takeru Muraoka's heavenly saxophone and the sensual rhythm section of Hiromasa Suzuki (keyboards), Kunimitsu Inaba (bass), and Akira Ishikawa (drums).
Celebrated in jazz collectors circles, in the lofi beat scene, and among music diggers around the world, Cat has become one of the most sought-after Japanese jazz albums of all time and, much like Ryo Fukui's Scenery, has fascinated old and young generations alike.
Points of interests
- For fans of jazz, fusion, funk, trombone, Japanese jazz, smooth rides, cats, allure.
- Official reissue of the glorious jazz-fusion album by Japanese trombonist extraordinaire Hiroshi "Neko" Suzuki.
- 10th release from We Release Jazz, following Ryo Fukui's Scenery, Mellow Dream, A Letter from Slowboat, and Ryo Fukui in New York, the soundtrack of Le Cercle Rouge by Eric Demarsan, Stuff Combe 5 + Percussion, Marc Moulin's Placebo Live 1971 and Boillat Thérace Quintet albums. We Release Jazz is the sister-label of Geneva-based WRWTFWW Records (Midori Takada's Through The Looking Glass and Lunar Cruise with Masahiko Sato, Pierre Barouh's Le Pollen, Jun Fuka-machi's Nicole, Grauzone's discography, …)
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Label:M.A.D Records
Cat-No:MAD009X
Release-Date:24.05.2024
Genre:House
Configuration:12"
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Label:M.A.D Records
Cat-No:MAD009X
Release-Date:24.05.2024
Genre:House
Configuration:12"
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1
North 90 - Euro Trash
2
North 90 - We Can Only Imagine
3
North 90 - Tap Track
4
North 90 - Isabell
Welcoming North 90 to the M.A.D family, the couple DJ / Production duo from Liverpool make music we want to play. Euro Trash is a hot contented for tune of the summer!
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Label:Time Is Now
Cat-No:TIN061
Release-Date:24.05.2024
Genre:2step/garage
Configuration:12"
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Label:Time Is Now
Cat-No:TIN061
Release-Date:24.05.2024
Genre:2step/garage
Configuration:12"
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1
Xander - You Take Me (so far)
2
Xander - Feeling
3
Xander - The Underground
Tracklisting
A1 Xander - You Take Me (so far)
A2 Xander - Feeling
B1 Xander - The Underground
Sales Note
Xander makes his debut on Shall Not Fade sub-label Time Is Now with three 90s driven garage house anthems!
Feeling EP drops May 24th via Time Is Now. More
A1 Xander - You Take Me (so far)
A2 Xander - Feeling
B1 Xander - The Underground
Sales Note
Xander makes his debut on Shall Not Fade sub-label Time Is Now with three 90s driven garage house anthems!
Feeling EP drops May 24th via Time Is Now. More
2LP
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Label:Chicago Bee
Cat-No:CB1988-08
Release-Date:25.11.2022
Genre:Acid House
Configuration:2LP
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Last in:01.03.2023
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Label:Chicago Bee
Cat-No:CB1988-08
Release-Date:25.11.2022
Genre:Acid House
Configuration:2LP
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1
Postelektrik - SW1
2
Derek Carr - No Surrender
3
Type 303 - Stairway To Jupiter
4
Monofonix - Omega
5
Ivan Golac - Floated
6
Iron Blu - Valtra
7
Fear-E - Heaven't You Heard
8
Forgotten Corne - Maen Land
9
iNFO - Dreams Of Andromeda
10
A-Eno-Acid - Greek Town Casino
Being somewhat of a conceptual experiment. All the artists on this album were asked to imagine fusing Acid and House with the Virtualsex LP which was released on Buzz in 1993. A 303 sound would be welcomed but not essential with an emphasis on soulful emotion and melody.
Each record comes with a individual digital download code More
Each record comes with a individual digital download code More
Label:Casa Voyager
Cat-No:twr03
Release-Date:23.01.2020
Genre:Electro
Configuration:12"
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Last in:18.05.2020
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Label:Casa Voyager
Cat-No:twr03
Release-Date:23.01.2020
Genre:Electro
Configuration:12"
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1
Detroit's Filthiest - No Title
2
Detroit's Filthiest - No Title
3
Detroit's Filthiest - No Title
4
Detroit's Filthiest - No Title
Detroit's Filthiest closes his past (private stock) present (prime cuts) and future (premium content) trilogy, celebrating 20 years of Motor City Electro Company's excellence together with Casa Voyager presenting his outstanding electro funk works.
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Label:Tresor Records
Cat-No:tresor365
Release-Date:14.06.2024
Genre:Techno
Configuration:12" Excl
Barcode:4251804180801
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Cat-No:tresor365
Release-Date:14.06.2024
Genre:Techno
Configuration:12" Excl
Barcode:4251804180801
1
Fireground - The Element 05:13
2
Fireground - Riva 05:26
3
Fireground - Love Letter 05:57
4
Fireground - Etereo 05:40
FORMAT: 12" vinyl, generic sleeve artwork,
10x15cm postcard inlay, dl code
TRACKLIST
1. / A1 The Element 05:13
2. / A2 Riva 05:26
3. / B1 Love Letter 05:57
4. / B2 Etereo 05:40
Fireground’s live sets brim with joy and Mediterranean warmth so, as we have now passed the vernal equinox in the Northern Hemisphere and are well on en route to leave the long, cold winter behind, what could be more fitting than a new release from the duo?
As with their three previous releases on Tresor (Dualism, Refreshing Part 1, and Dreams) for Love Letter Angela and Daniele have created a heady melange of styles of techno synonymous with the turn of the century with such outrageous elan and jubilation that they practically embody the musical term giocoso:
“We had the "summer" concept in mind from the beginning, this pushed us to create a message in our sound making it uplifting and engaging, capable of conveying a positive, romantic and warm vibe. In our productions we always give priority to the harmonic parts such as melodies, pads, piano and guitar riffs, the peculiarity of this EP is that all the tracks were born first from these elements, and only at the end the groove was crafted, not due to a difference in importance, rather to ensure that the rhythmic part paid as much respect as possible to the harmonic part.”
This decision to build upwards from the harmonics has paid dividends: the entrance of a string section provokes visions of a rapt club crowd cheering with exultation; a looped groove stimulates a connection to such gleeful nostalgia that is almost certain to be heard at many festivals in coming months; a blissful pad sweeps over a
track like the first rays of sun in the morning; a filtered synth rises to be met with a xylophone-like countermelody…every track has a moment where the music overflows with some form of happiness. Together the collection promises, and perhaps even delivers, a summer both ecstatic and joyful.
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10x15cm postcard inlay, dl code
TRACKLIST
1. / A1 The Element 05:13
2. / A2 Riva 05:26
3. / B1 Love Letter 05:57
4. / B2 Etereo 05:40
Fireground’s live sets brim with joy and Mediterranean warmth so, as we have now passed the vernal equinox in the Northern Hemisphere and are well on en route to leave the long, cold winter behind, what could be more fitting than a new release from the duo?
As with their three previous releases on Tresor (Dualism, Refreshing Part 1, and Dreams) for Love Letter Angela and Daniele have created a heady melange of styles of techno synonymous with the turn of the century with such outrageous elan and jubilation that they practically embody the musical term giocoso:
“We had the "summer" concept in mind from the beginning, this pushed us to create a message in our sound making it uplifting and engaging, capable of conveying a positive, romantic and warm vibe. In our productions we always give priority to the harmonic parts such as melodies, pads, piano and guitar riffs, the peculiarity of this EP is that all the tracks were born first from these elements, and only at the end the groove was crafted, not due to a difference in importance, rather to ensure that the rhythmic part paid as much respect as possible to the harmonic part.”
This decision to build upwards from the harmonics has paid dividends: the entrance of a string section provokes visions of a rapt club crowd cheering with exultation; a looped groove stimulates a connection to such gleeful nostalgia that is almost certain to be heard at many festivals in coming months; a blissful pad sweeps over a
track like the first rays of sun in the morning; a filtered synth rises to be met with a xylophone-like countermelody…every track has a moment where the music overflows with some form of happiness. Together the collection promises, and perhaps even delivers, a summer both ecstatic and joyful.
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Label:Sin Sistema
Cat-No:SINS001
Release-Date:15.03.2024
Genre:Techno
Configuration:12"
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Label:Sin Sistema
Cat-No:SINS001
Release-Date:15.03.2024
Genre:Techno
Configuration:12"
Barcode:
1
Sansibar - We Rise
2
Sansibar - Elastic
3
Sansibar & Denzel - Sonic Minds
4
Sansibar - 2K
There’s a time for everything. To fill in another piece of the puzzle. To make the matrix make sense. Trying not to hide it, trying not to fight it. Just trying to recognize it and keep on going.
This four-tracker, the first release on Sansibar’s 'Sin Sistema' imprint, borrows the best elements of formulas we love, and for a good reason.
‘We Rise’ a spiraling, mesmerizing infusion of yearning pads and a twisting acidic wormhole that leaves no room for doubt: this is Sans on form, and we have lift-off.
‘Elastic’ continues the lysergic theme, turning the dials towards a more sinister entity. Growing, realizing one’s power, and using it.
And on to the B-side, joining forces with Denzel, becoming ‘Sonic Minds’, getting into Techy territory. This is strictly festival business. Tried and tested throughout summer ’23 to devastating effect. Call an ambulance.
The final track ‘2k’ ups the Tech ante and sprinkles some murky UK Garage dust on top: skippy drums, a bouncy bass section, and dubby atmospheric More
This four-tracker, the first release on Sansibar’s 'Sin Sistema' imprint, borrows the best elements of formulas we love, and for a good reason.
‘We Rise’ a spiraling, mesmerizing infusion of yearning pads and a twisting acidic wormhole that leaves no room for doubt: this is Sans on form, and we have lift-off.
‘Elastic’ continues the lysergic theme, turning the dials towards a more sinister entity. Growing, realizing one’s power, and using it.
And on to the B-side, joining forces with Denzel, becoming ‘Sonic Minds’, getting into Techy territory. This is strictly festival business. Tried and tested throughout summer ’23 to devastating effect. Call an ambulance.
The final track ‘2k’ ups the Tech ante and sprinkles some murky UK Garage dust on top: skippy drums, a bouncy bass section, and dubby atmospheric More
Label:Active Life Worldwide
Cat-No:alife003
Release-Date:01.03.2024
Genre:House
Configuration:12"
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Label:Active Life Worldwide
Cat-No:alife003
Release-Date:01.03.2024
Genre:House
Configuration:12"
Barcode:
1
DJ Sommer - Darling I Pray
2
DJ Sommer - All My Love
3
DJ Sommer - Heartbeat
4
DJ Sommer - So Happy
Tracklisting
A1 DJ Sommer - Darling I Pray
A2 DJ Sommer - All My Love
B1 DJ Sommer - Heartbeat
B2 DJ Sommer - So Happy
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A1 DJ Sommer - Darling I Pray
A2 DJ Sommer - All My Love
B1 DJ Sommer - Heartbeat
B2 DJ Sommer - So Happy
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Label:Unsure
Cat-No:unsure003
Release-Date:28.06.2024
Genre:Space Disco/House
Configuration:12" Excl
Barcode:4251804144308
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Cat-No:unsure003
Release-Date:28.06.2024
Genre:Space Disco/House
Configuration:12" Excl
Barcode:4251804144308
1
Giuseppe Leonardi - Suzi Wong (05:35 min)
2
Giuseppe Leonardi - Anti Narcotics Police (03:21 min)
3
Giuseppe Leonardi - Both (02:51 min)
4
Giuseppe Leonardi - Wonder Girls (02:41 min)
5
Giuseppe Leonardi - Deadline (04:18 min)
6
Giuseppe Leonardi - Wondering (03:14 min)
7
Giuseppe Leonardi - Rrrrrrr (03:32 min)
12", mini album
GENRE/S: Dub, Disco, House, Electronica, Pop
TRACKLIST:
Seite A
A1. Suzi Wong (05:35 min)
A2. Anti Narcotics Police (03:21 min)
A3. Both (02:51 min)
Seite B
B4. Wonder Girls (02:41 min)
B5. Deadline (04:18 min)
B6. Wondering (03:14 min)
B7. Rrrrrrr (03:32 min)
SHORT INFO:
There has been some waiting for new music by Giuseppe Leonardi since his highly-praised releases for Second Circle and, well… now the waiting is over, here it is: Seven amazing tracks form the aptly titled mini-album 7, out now on (still quite) new label Unsure. 7 starts with the in every way unexpected Suzi Wong, a highly addictive (and unusual) kind of reggae- and dub-influenced mutant disco adventure with amazing vocals and unbelievably tripping grooves. Anti Narcotics Police follows this road of raw and playful coolness, but Giuseppe of course has way more to offer: Both and Rrrrrrr are uplifting House Music with a quirky touch of Pop, the compelling rhythms and basslines of Wonder Girls and Wondering remind a little of Stefan Schwanders new thing While My Sequencer Gently Bleeps and the funkiness and sweetness of Deadline and its magical melodies brighten the gloomiest day. A unique pleasure!
More
GENRE/S: Dub, Disco, House, Electronica, Pop
TRACKLIST:
Seite A
A1. Suzi Wong (05:35 min)
A2. Anti Narcotics Police (03:21 min)
A3. Both (02:51 min)
Seite B
B4. Wonder Girls (02:41 min)
B5. Deadline (04:18 min)
B6. Wondering (03:14 min)
B7. Rrrrrrr (03:32 min)
SHORT INFO:
There has been some waiting for new music by Giuseppe Leonardi since his highly-praised releases for Second Circle and, well… now the waiting is over, here it is: Seven amazing tracks form the aptly titled mini-album 7, out now on (still quite) new label Unsure. 7 starts with the in every way unexpected Suzi Wong, a highly addictive (and unusual) kind of reggae- and dub-influenced mutant disco adventure with amazing vocals and unbelievably tripping grooves. Anti Narcotics Police follows this road of raw and playful coolness, but Giuseppe of course has way more to offer: Both and Rrrrrrr are uplifting House Music with a quirky touch of Pop, the compelling rhythms and basslines of Wonder Girls and Wondering remind a little of Stefan Schwanders new thing While My Sequencer Gently Bleeps and the funkiness and sweetness of Deadline and its magical melodies brighten the gloomiest day. A unique pleasure!
More
Label:Born Bad Records
Cat-No:BB141LP
Release-Date:21.05.2021
Genre:Alternative/Electronic
Configuration:LP
Barcode:
backorder
Last in:01.06.2021
+ Show full info- Close
backorder
Last in:01.06.2021
Label:Born Bad Records
Cat-No:BB141LP
Release-Date:21.05.2021
Genre:Alternative/Electronic
Configuration:LP
Barcode:
1
Henri Salvador - The`me Du Bateau
2
Henri Salvador - Siffler En Travaillant
3
Henri Salvador - Et Des Mandolines
4
Henri Salvador - L'amour, Va, Ça Va
5
Henri Salvador - Kissinger Le Duc Tho
6
Henri Salvador - J'aime Tes Genoux
7
Henri Salvador - Sex Man
8
Henri Salvador - On N'est Plus Chez Nous
9
Henri Salvador - Hello Mickey
10
Henri Salvador - Pauvre Jesus Christ
11
Henri Salvador - Le Bilan
12
Henri Salvador - Marjorie
13
Henri Salvador - Le Temps Des Cons
14
Henri Salvador - Rock Star
15
Henri Salvador - Un Jour Mon Prince Viendra
16
Henri Salvador - On L'a Dans L'baba
Wonderful and utterly nuts home studio genius...with artwork to boot (includes printed inner sleeve). A gem. BIG TIP!
" A pop star who turned his back to show business to become an independent
artist, steered by the revolutionary ideas of his wife Jacqueline in
1960's France; these are the outlines of Henri Salvador's unusual
musical career. It made him into a star then led him to entirely
dissociate from the record industry, preferring to make music in his
living room with his guitars. At 50, Salvador starts experimenting with
synths and drum machine, multi-track recorders and altered voice
collages. He takes up editing and mixing, and solitarily makes songs for
young and old from his home in Paris' Place Vendôme.
"Unfortunately, it's not beautiful songs that make an amazing
career. These are songs that will exist after I die." (1969)
How can one even begin to tell the story of Salvador? Seventy years of
music, a thousand of creations of all styles. He has known each and
every genre and trend, appropriated some and invented yet new ones.
Sometimes associated to ye-ye singers, he's also known to have brought
rock to France (in 1956, with Boris Vian). Yet he's 26 years older
than Johnny Hallyday. He's 47 when _Zorro est arrivé_ is released in
1964... and 83 at the release of _Jardin d'hiver_. Seen with today's
eyes it's all very dizzying. You never know whether he's young or
old, or under which label to file him: jazzman, crooner, entertainer,
composer, guitar player, children song singer...
As a kid he picks up the guitar without any theoretical basics and
becomes so talented he plays with Django Reinhardt. He learns to sing
and compose on his own. The 30s are the years of his training; the 40s
of his emancipation within musical ensembles which are to see his
talents flourish. He finds his public and perfects his tricks: laughter
and seduction. In the 50s he rediscovers the songs of the islands where
he grew up, revisits jazz, swing, blues and sings for children. It's
the years of his unforgettable "sweet song", and his voice changes.
His cheeky humour makes way for a multifaceted talent, he fills up
venues, surrounds himself with serious lyricists and accumulates
classics: _Le blues du dentiste, Dans mon île,_ _Syracuse._
"My wife has come to understand me so well that she can now think in
my place. When she has an idea it's, so to speak, my own idea!"
(Télé Magazine, 1972)
Jacqueline shapes and emancipates him. When they marry in 1950, she's
a quiet and cultivated young lady who's to progressively take charge
of his career. She enforces her views and frantic pace. A spectator in
the world of show business, Jacqueline realises that the artists, left
out of professional conversations, often get cheated. Henri undoes the
chains binding him to Philps, Vogue, Barclay, his editor, his manager
and his impresario, and becomes independent. The Salvadors get to know
the inner workings of production, edition, record pressing, distribution
and promotion. They always have material to record a demo at hand. Their
apartment is full of recorders: one at the bed end for the guitar, yet
another in Henri's office for the Steinway. He's on all fronts; he
accumulates hits, invents, mocks, adapts, and produces.
Place Vendôme sees the birth of the label Rigolo. Why Rigolo (French
for "funny")? "Because it's funny", he used to answer.
Homemade clips are broadcasted in TV shows they self-produce: Salves
d'Or (a play on words sounding like "Salvador" meaning "bursts
of gold") and Dimanche Salvador. Their approach turns out to be
profitable. The Salvador couple enters the 70s with confidence.
At times, Henri takes out the cabriolet along with his colporteurs on
record shop tours. Meanwhile Jacqueline is a formidable businesswoman.
Disney threatens to sue the singer over his use of the name Zorro: she
turns the situation to her advantage and cashes in on a Disney-Salvador
contract. The decade will see them release five records: _Les
Aristochats ("The Aristocats")_, _Blanche-Neige ("Snow White")_,
_Le petit Poucet ("Hop-o'-My-Thumb")_, _Robin des Bois ("Robin
Hood")_ and _Pinocchio_. Ever reinventing themselves, the Salvadors
intend to do without studios, engineers, producers and musicians
altogether.
"I started working with just a tiny recorder. Now I've gotten to
sixteen tracks. I have electronic drums and my instruments. I can give
the impression of a full orchestra. It's amazing, I have as many
musicians as I want at my disposal, at whichever time of day and
night" (1972)
They install a high-end recording studio in their living room they
nickname the PAM – referring to the name of their company, Productions
Artistiques et Musicales. Louis Chedid remembers, "there was a huge
mixer, custom made I believe, a 3M tape recorder. They must have had the
very first drum machines, the ones that accompanied organs for example,
inspired by the Ace Tone; they came with pre-recorded beats like 'samba'
or 'biguine' [pressing two keys simultaneously you could combine them].
Plus there were quite a few guitars. What I do remember very well is his
guitar playing. He was seen as an entertainer but, really, he was a
virtuoso."
Using his mixer and reels, Henri endlessly multiplies and harmonises his
voice. Everything is done hastily though with care. He plays around with
the offbeat sounds of the synths, has a blast with the drum machines. He
uses all of the pre-recorded beats, loops the "fillers" to generate
more beats, fiddles with the speeds, programs his own, sometimes goofy
rhythms. This creative shift changes his musical groove. Salvador
invented a mechanical jazz for himself, one that gathered its swing from
the guitars and its energy from the vocals. He worked around his
weakness on the bass with his strings and Moog keyboard. To get his
public used to this new style, the PAM first produces a few singles'
B-sides – _On n'est plus chez nous_, which recounts the story of two
scat-men interrupted by a passerby looking for Place de l'Opéra in
Paris. Then an A-side: _Ah ce qu'on est bien quand on est dans son
bain_, (which could be translated as "Oh how nice it feels to
bathe"), which was recorded straight from the bathroom and became
1970's Christmas hit. And finally the first self-released album: _Les
Aristochats_, rewarded by the Charles Cros Academy in 1971. Many things
are in Jacqueline's hands: the lead, the books, and even the keys of
the studio: at times Henri would get locked in to compose, let out only
to work on his TV shows.
Under his contract with Disney, he's required to produce
family-friendly records. Along with his authors he creates songs about
Uncle Scrooge, Sneezy and Mickey. He combines them to other, very
peculiar, pieces: _Les voisins_ ("The neighbours"), an old hater
complains about the noise; _Petit Lapin_ ("Little Bunny"), a city
man advises a rodent not to settle in town; _Voilactus_, (from "voie
lactée", French for the Milky Way) an alien mocks our banking system;
_J'ai envie de Lucie_, in which the narrator explains how he's
always longing for Lucie; _Maman Papa_, a spoiler for kids on how to
hate theirs parents later on in life; but also _Le temps des cons
_("The time of the jerks"), a harsh commentary on French society.
"I make kids laugh. I love to belong to this audience, the most
righteous and the most severe. If they like you, they tell you; if they
don't like you, they tell you, too." (Télé-Star, 1977)
These LPs are also full of tender songs, dance floor baits and
environmentalist vignettes - a hodgepodge less well regarded than his
sixties period. And yet it's a boisterous collection of gems, with a
peculiar signature and many fresh ideas. _Siffler en travaillant_
("Whistle While You Work") is a brilliant reinterpretation of one of
_Snow White_'s theme song, which a young Salvador had already
performed with Ray Ventura's Orchestra in the 40s; _Hello Mickey_, a
catchy, spirited ska_; J'aime tes g'noux_, a great cover of Shirly
and Co's _Shame shame shame_; on _Un jour mon prince viendra_, he
makes a beat borrowed from Suicide and a Les Paul solo collide.
Meanwhile Rigolo also releases less family-oriented singles. After all,
Salvador's in for a bit of fun. He takes up eroticism, the financial
crisis, and the negotiations between the US and Vietnam. He writes some
luminous ballads such as _Marjorie_ and catchy classics like _Pauvre
Jésus Christ_. Some tracks are the result of unbridled experimentation,
like _Sex Man_ – particularly innovative – or _Et des mandolines_,
an ode to cool eyeing on the side of Lucio Battisti. He makes the score
of a messy film, _L'explosion_. The soundtrack was only released in
Canada though it's full of wonderful material like _Thème du bateau_
or the depressing though dazzling _Le bilan_, written by his friend, the
drummer Moustache.
Should he have kept recording in his living room beyond 1975, where
would have Salvador ended up? Would he have been found to be one of the
pioneers of rap or techno? In 1975 Jacqueline is diagnosed with a
cancer. As she manages, decides and initiates everything, Rigolo starts
idling. The year's only release, _Pinocchio_, is finished in a rush
and poorly distributed. The Salvadors accumulate medical consultations
but the following year Jacqueline passes away. It's the end of an era,
the end of the home studio. Weary and beat, Henri doesn't feel like
playing in his empty house anymore. He lets all of their projects die
out: the TV show, the label, the musical editions, the PAM. It's a
free-for-all; the labels and editors scramble at his door. He's robbed
and pressed for more Disney albums. _Peter Pan_ is on the way, _Bernard
et Bianca_ ("The Rescuers") and _Mary Poppins_ should be next, but
nothing comes out. His old impresario Marouani helps him back on his
feet and takes him to the other side of the globe to drown his sorrows.
Henri had never gotten on a plane before.
"He's my man, my child, my baby and my islands' memories. I'm
his shadow and alter ego. I live for him." (Jacqueline Salvador, 1973)
Back in line, he records _Salvador 77_ with a handful of producers. He
slips in two oldies from his home-studio period: _Rock star_, a Johnny
Hallyday parody made for their TV show at the time and _L'amour, va,
ça va_, made in his crooner style. The latter is an outsider with its
sloppy arrangements. The synth is so saturated on the record it seems
the speakers might just blow up. In 1978, for RCA still, he records _On
l'a dans l'baba_ in the studio. It resembles a typical electronic
track with a Vocoder – the beat though doesn't emanate from a drum
machine but from a flesh-and-blood drummer. Here again however the irony
didn't bother Salvador. And neither us – we included the song as the
closing-track of our compilation.
In 1980, he handwrites _"Si vous ne l'aimez pas, allez vous faire
foutre"_ (literally, _"If you don't like it, go fuck
yourselves"_) on the sleeve of his latest album. We'll never know
whether it was meant for the journalists or his label. He records the
same hits again, releases dull singles. All the same, he remains a great
performer who can get the whole of Paris dancing, as well as a champion
for the youth (_Emilie Jolie, La petite sirène_). The 90s may prove to
be artistically poor, they are emotionally rich for Salvador: he meets
his last wife, Catherine. Lifted and lit up once again, he makes his
comeback in the 2000s with _Chambre avec vue_.
"In the 60s, the artists were getting ripped off with ridiculous
rates. In the 80s, the lawyers got involved. The economy changed and
non-recoverable advance payments emerged. Labels started financing
artists so they wouldn't end up doing like Salvador did." (Louis
Chedid)
Together with Jacqueline, Henri Salvador should've set an example for
other artists: one of independence against an unfair and unyielding
system. An inspiration not to end up enslaved by contracts signed too
early, or to feed a bunch of comatose owners clenching onto millions of
publishing rights. Be glad, music-consumer friends: tonight a pen-pusher
will offer himself an entrecote thanks to the money you kindly invested
in this compilation. Happy listening. More
" A pop star who turned his back to show business to become an independent
artist, steered by the revolutionary ideas of his wife Jacqueline in
1960's France; these are the outlines of Henri Salvador's unusual
musical career. It made him into a star then led him to entirely
dissociate from the record industry, preferring to make music in his
living room with his guitars. At 50, Salvador starts experimenting with
synths and drum machine, multi-track recorders and altered voice
collages. He takes up editing and mixing, and solitarily makes songs for
young and old from his home in Paris' Place Vendôme.
"Unfortunately, it's not beautiful songs that make an amazing
career. These are songs that will exist after I die." (1969)
How can one even begin to tell the story of Salvador? Seventy years of
music, a thousand of creations of all styles. He has known each and
every genre and trend, appropriated some and invented yet new ones.
Sometimes associated to ye-ye singers, he's also known to have brought
rock to France (in 1956, with Boris Vian). Yet he's 26 years older
than Johnny Hallyday. He's 47 when _Zorro est arrivé_ is released in
1964... and 83 at the release of _Jardin d'hiver_. Seen with today's
eyes it's all very dizzying. You never know whether he's young or
old, or under which label to file him: jazzman, crooner, entertainer,
composer, guitar player, children song singer...
As a kid he picks up the guitar without any theoretical basics and
becomes so talented he plays with Django Reinhardt. He learns to sing
and compose on his own. The 30s are the years of his training; the 40s
of his emancipation within musical ensembles which are to see his
talents flourish. He finds his public and perfects his tricks: laughter
and seduction. In the 50s he rediscovers the songs of the islands where
he grew up, revisits jazz, swing, blues and sings for children. It's
the years of his unforgettable "sweet song", and his voice changes.
His cheeky humour makes way for a multifaceted talent, he fills up
venues, surrounds himself with serious lyricists and accumulates
classics: _Le blues du dentiste, Dans mon île,_ _Syracuse._
"My wife has come to understand me so well that she can now think in
my place. When she has an idea it's, so to speak, my own idea!"
(Télé Magazine, 1972)
Jacqueline shapes and emancipates him. When they marry in 1950, she's
a quiet and cultivated young lady who's to progressively take charge
of his career. She enforces her views and frantic pace. A spectator in
the world of show business, Jacqueline realises that the artists, left
out of professional conversations, often get cheated. Henri undoes the
chains binding him to Philps, Vogue, Barclay, his editor, his manager
and his impresario, and becomes independent. The Salvadors get to know
the inner workings of production, edition, record pressing, distribution
and promotion. They always have material to record a demo at hand. Their
apartment is full of recorders: one at the bed end for the guitar, yet
another in Henri's office for the Steinway. He's on all fronts; he
accumulates hits, invents, mocks, adapts, and produces.
Place Vendôme sees the birth of the label Rigolo. Why Rigolo (French
for "funny")? "Because it's funny", he used to answer.
Homemade clips are broadcasted in TV shows they self-produce: Salves
d'Or (a play on words sounding like "Salvador" meaning "bursts
of gold") and Dimanche Salvador. Their approach turns out to be
profitable. The Salvador couple enters the 70s with confidence.
At times, Henri takes out the cabriolet along with his colporteurs on
record shop tours. Meanwhile Jacqueline is a formidable businesswoman.
Disney threatens to sue the singer over his use of the name Zorro: she
turns the situation to her advantage and cashes in on a Disney-Salvador
contract. The decade will see them release five records: _Les
Aristochats ("The Aristocats")_, _Blanche-Neige ("Snow White")_,
_Le petit Poucet ("Hop-o'-My-Thumb")_, _Robin des Bois ("Robin
Hood")_ and _Pinocchio_. Ever reinventing themselves, the Salvadors
intend to do without studios, engineers, producers and musicians
altogether.
"I started working with just a tiny recorder. Now I've gotten to
sixteen tracks. I have electronic drums and my instruments. I can give
the impression of a full orchestra. It's amazing, I have as many
musicians as I want at my disposal, at whichever time of day and
night" (1972)
They install a high-end recording studio in their living room they
nickname the PAM – referring to the name of their company, Productions
Artistiques et Musicales. Louis Chedid remembers, "there was a huge
mixer, custom made I believe, a 3M tape recorder. They must have had the
very first drum machines, the ones that accompanied organs for example,
inspired by the Ace Tone; they came with pre-recorded beats like 'samba'
or 'biguine' [pressing two keys simultaneously you could combine them].
Plus there were quite a few guitars. What I do remember very well is his
guitar playing. He was seen as an entertainer but, really, he was a
virtuoso."
Using his mixer and reels, Henri endlessly multiplies and harmonises his
voice. Everything is done hastily though with care. He plays around with
the offbeat sounds of the synths, has a blast with the drum machines. He
uses all of the pre-recorded beats, loops the "fillers" to generate
more beats, fiddles with the speeds, programs his own, sometimes goofy
rhythms. This creative shift changes his musical groove. Salvador
invented a mechanical jazz for himself, one that gathered its swing from
the guitars and its energy from the vocals. He worked around his
weakness on the bass with his strings and Moog keyboard. To get his
public used to this new style, the PAM first produces a few singles'
B-sides – _On n'est plus chez nous_, which recounts the story of two
scat-men interrupted by a passerby looking for Place de l'Opéra in
Paris. Then an A-side: _Ah ce qu'on est bien quand on est dans son
bain_, (which could be translated as "Oh how nice it feels to
bathe"), which was recorded straight from the bathroom and became
1970's Christmas hit. And finally the first self-released album: _Les
Aristochats_, rewarded by the Charles Cros Academy in 1971. Many things
are in Jacqueline's hands: the lead, the books, and even the keys of
the studio: at times Henri would get locked in to compose, let out only
to work on his TV shows.
Under his contract with Disney, he's required to produce
family-friendly records. Along with his authors he creates songs about
Uncle Scrooge, Sneezy and Mickey. He combines them to other, very
peculiar, pieces: _Les voisins_ ("The neighbours"), an old hater
complains about the noise; _Petit Lapin_ ("Little Bunny"), a city
man advises a rodent not to settle in town; _Voilactus_, (from "voie
lactée", French for the Milky Way) an alien mocks our banking system;
_J'ai envie de Lucie_, in which the narrator explains how he's
always longing for Lucie; _Maman Papa_, a spoiler for kids on how to
hate theirs parents later on in life; but also _Le temps des cons
_("The time of the jerks"), a harsh commentary on French society.
"I make kids laugh. I love to belong to this audience, the most
righteous and the most severe. If they like you, they tell you; if they
don't like you, they tell you, too." (Télé-Star, 1977)
These LPs are also full of tender songs, dance floor baits and
environmentalist vignettes - a hodgepodge less well regarded than his
sixties period. And yet it's a boisterous collection of gems, with a
peculiar signature and many fresh ideas. _Siffler en travaillant_
("Whistle While You Work") is a brilliant reinterpretation of one of
_Snow White_'s theme song, which a young Salvador had already
performed with Ray Ventura's Orchestra in the 40s; _Hello Mickey_, a
catchy, spirited ska_; J'aime tes g'noux_, a great cover of Shirly
and Co's _Shame shame shame_; on _Un jour mon prince viendra_, he
makes a beat borrowed from Suicide and a Les Paul solo collide.
Meanwhile Rigolo also releases less family-oriented singles. After all,
Salvador's in for a bit of fun. He takes up eroticism, the financial
crisis, and the negotiations between the US and Vietnam. He writes some
luminous ballads such as _Marjorie_ and catchy classics like _Pauvre
Jésus Christ_. Some tracks are the result of unbridled experimentation,
like _Sex Man_ – particularly innovative – or _Et des mandolines_,
an ode to cool eyeing on the side of Lucio Battisti. He makes the score
of a messy film, _L'explosion_. The soundtrack was only released in
Canada though it's full of wonderful material like _Thème du bateau_
or the depressing though dazzling _Le bilan_, written by his friend, the
drummer Moustache.
Should he have kept recording in his living room beyond 1975, where
would have Salvador ended up? Would he have been found to be one of the
pioneers of rap or techno? In 1975 Jacqueline is diagnosed with a
cancer. As she manages, decides and initiates everything, Rigolo starts
idling. The year's only release, _Pinocchio_, is finished in a rush
and poorly distributed. The Salvadors accumulate medical consultations
but the following year Jacqueline passes away. It's the end of an era,
the end of the home studio. Weary and beat, Henri doesn't feel like
playing in his empty house anymore. He lets all of their projects die
out: the TV show, the label, the musical editions, the PAM. It's a
free-for-all; the labels and editors scramble at his door. He's robbed
and pressed for more Disney albums. _Peter Pan_ is on the way, _Bernard
et Bianca_ ("The Rescuers") and _Mary Poppins_ should be next, but
nothing comes out. His old impresario Marouani helps him back on his
feet and takes him to the other side of the globe to drown his sorrows.
Henri had never gotten on a plane before.
"He's my man, my child, my baby and my islands' memories. I'm
his shadow and alter ego. I live for him." (Jacqueline Salvador, 1973)
Back in line, he records _Salvador 77_ with a handful of producers. He
slips in two oldies from his home-studio period: _Rock star_, a Johnny
Hallyday parody made for their TV show at the time and _L'amour, va,
ça va_, made in his crooner style. The latter is an outsider with its
sloppy arrangements. The synth is so saturated on the record it seems
the speakers might just blow up. In 1978, for RCA still, he records _On
l'a dans l'baba_ in the studio. It resembles a typical electronic
track with a Vocoder – the beat though doesn't emanate from a drum
machine but from a flesh-and-blood drummer. Here again however the irony
didn't bother Salvador. And neither us – we included the song as the
closing-track of our compilation.
In 1980, he handwrites _"Si vous ne l'aimez pas, allez vous faire
foutre"_ (literally, _"If you don't like it, go fuck
yourselves"_) on the sleeve of his latest album. We'll never know
whether it was meant for the journalists or his label. He records the
same hits again, releases dull singles. All the same, he remains a great
performer who can get the whole of Paris dancing, as well as a champion
for the youth (_Emilie Jolie, La petite sirène_). The 90s may prove to
be artistically poor, they are emotionally rich for Salvador: he meets
his last wife, Catherine. Lifted and lit up once again, he makes his
comeback in the 2000s with _Chambre avec vue_.
"In the 60s, the artists were getting ripped off with ridiculous
rates. In the 80s, the lawyers got involved. The economy changed and
non-recoverable advance payments emerged. Labels started financing
artists so they wouldn't end up doing like Salvador did." (Louis
Chedid)
Together with Jacqueline, Henri Salvador should've set an example for
other artists: one of independence against an unfair and unyielding
system. An inspiration not to end up enslaved by contracts signed too
early, or to feed a bunch of comatose owners clenching onto millions of
publishing rights. Be glad, music-consumer friends: tonight a pen-pusher
will offer himself an entrecote thanks to the money you kindly invested
in this compilation. Happy listening. More
Label:trax
Cat-No:tx163
Release-Date:29.10.2015
Genre:Chicago House
Configuration:12"
Barcode:
backorder
Last in:28.11.2017
+ Show full info- Close
backorder
Last in:28.11.2017
Label:trax
Cat-No:tx163
Release-Date:29.10.2015
Genre:Chicago House
Configuration:12"
Barcode:
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4
laurent x - Drowning In A Sea Of House - Original 12 Club Mix
Made by Mark Imperial & Vinnie Devine as Laurent X, "Machines" was conceived in a 16 track studio with an unquestionable Roland TB-303, but also a TR-808, TR-909, a Juno 106, some FX and a bucket of rib tips. According to Mark Imperial, he and his friends (specially Vinnie Devine) had a mad fun playing with gear. "I was DJing Italo imports since 1980, and as a regular on the Chicago DJ scene, naturally I became involved in DJ International Records from the beginning", says Mark about how the whole thing started. It was what we call a 'thinktank', and these young producers all experimented with gear. Mark Imperial's exposure to the acid sounds of TB-303 came from his dear friend Adonis (the one responsible for "No Way Back"), and Mark's exposure to the Juno 106 from Dane Roewade. About the equipment he made use at that time, Mark also stated: "I visited Detroit and was exposed to the Yamaha DX-100, a mere toy that was a staple to the Detroit sound at the time" (Derrick May, for example, did several of his early tunes' basslines with it, and Kenny Larkin confessed it was the equipment through which he made the etheral pianos of 'Yennek - Serena X' classic). Mark Imperial continued: "Although I didn't visit Detroit until 1989, Derrick May showed admiration for my track "Jason's Revenge" which I did in 1986", a fact that made Mark believe he was making "Techno" at its very early days. "Machines" was very, very influential tune as well. In 1988, he thought they were making "Acid", but it also became a quintessential masterpiece to other kinds of House music that appeared since then...
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Label:djs classic mastercut
Cat-No:djs240
Release-Date:04.08.2011
Genre:Chicago House
Configuration:12"
Barcode:
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Last in:24.04.2023
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Last in:24.04.2023
Label:djs classic mastercut
Cat-No:djs240
Release-Date:04.08.2011
Genre:Chicago House
Configuration:12"
Barcode:
Djs is a label focused on releasing original material from timeless artists. our releases will be only for djs / limited edition,for our 6th release, we bring you the best of the best & obviously the rarest 12 inches around again !Amazing 3 tracks ep from 1990 feat. one of the original deep house creators VINCENT FLOYD.A side comes up with the fantastic “cruising” (long ride), we guess the words deep has been created for records like this. A rare chance to get this in your dj bag for a decent price, close to EUR 100 on ebay. A cornerstone for today’s timeless djs.Then, on B1 we have isolation & silent noise, those tracks are so modern in terms of production that it still fit in any techno or house dj set without a doubt.
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