MUSIC

Originally released on September 30, 1991, Orbital's eponymous debut album became known as "The Green Album" to distinguish it from their second album (known as "The Brown Album") The Green Album includes the seminal 'Belfast' and a live version of 'Chime', the landmark dance track that launched their career in 1990

Terre Thaemlitz’s precious 1994 debut album finally makes a vinyl appearance of sorts 30 years later, hailing its sublime downbeat highlight in three different versions that come with highest recommendations if you’re into classic Mo’ Wax, The KLF’s Chill Out, Urban Tribe, Blue Lines-era Massive Attack, DJ Sprinkles! Tranquilizer’s mesmerising centrepiece ‘Hovering Glows’ is here deployed in 3 different versions totalling almost half an hour of amniotic bliss. The original 9 minute depiction of crepuscular Midwest ambience and dusted dub is beloved of anyone acquainted with the album over the years, finding Terre’s feel for electro-acoustic sound sensitivity flooded with a rarified sense of deep blue soul distilled to near-perfection. It mines a similar path to Future Sound of London productions of the same era, and in its moody abstraction foreshadows 4hero’s ‘The Paranormal In 4 Forms’ that would follow a couple of years later. The OG is joined on by two alternative versions: a ‘Little Guy Mix’ that swerves the few minutes of sensuous atmospheric foreplay to slip right into the pendulous swing; and a longer ‘Vinyl Mix’ that duly opens out the intro with Terre’s unique grasp of subbass and tongue-tip atmospheric suss. Collected, they supply an extended session of beatdown ecstasy to discerning, romantic listeners who’ve awaited this release for decades, ‘cos as Comatonse fiends know, their releases always sound especially exquisite on vinyl.

12" compilation with new tracks by Eoism, Voertuig, Colkin and a lost gem by Peter Seiler featuring Sheryl Hackett. Picture sleeve with a bold artwork based on a sculpture by Hede Bühl. Limited to 500 copies. Colkin (Raw Soul, Mauke Club) kicks off the a-side with a spheric acid house meditation. Next is a track by Peter Seiler which could be found on the extended reissue of his 'Flying Frames' debut LP on Innovative Communication in 1989. It features the soulful voice of Sheryl Hackett. An extraordinary groover that is meandering between song and jazz improvisation. Eoism (Pulse Drift, Undersound, Inch By Inch) complete the a-side with some low-swung electro flavors, driving you straight into sunset. On the b-side Voertuig (Tonal Oceans, Cobra Club) hit us with a serious and raw acid jam - dark and dirty. On the following track they show us their experimental jazzy side and cool things down again. A track the 1990s downbeat era was missing. Eoism close the first volume of FUTUR with a floating, futuristic banger from their lab. Benedikt Meger's aspiration for funkscapes was always to feature funk grooves, old and new, fresh and relevant for today. Whether some rare, not so rare or just under the radar recordings from the past or new productions from today's artists across different electronic genres. This idea now culminates into the selection for the compilation FUTUR. Enjoy the ride.

Synth wizard, soundtrack composer, and Zombi member, Steve Moore expands further on his stark and drama filled cosmic sound with a new six track lp. These tracks call to mind to his early-L.I.E.S. releases, where Moore focused on cold arppegations and basic beat constructions to fuel his epic productions which center around pristine soaring synthscapes. A master of the genre, Moore gives us an equal mix of explosive, creepy home at the end of a dark street floor fodder as well as slower tempo cosmic headcrushers, all capable of getting your head or niteclub in a frenzy. Beyond epic!!!

Six years after the release of the “A Parade, In The Place I Sit, The Floating World (& All Its Pleasures)” EP on anno Records, Brian Leeds, aka Huerco S., returns to the Loidis project with his debut album “One Day” on Incienso.

‘Sun & Smoke’ is originally a 2-hour self-produced mix uploaded to Youtube and Soundcloud in 2018 by Greek artist, Theef. Consisting of unreleased productions, the set was uploaded as a safe space, with zero expectations of it ever gaining attention or release. After many late-night listening sessions, ASIP contacted Theef to discuss how a release might come to life. Originally consisting of 21 tracks in total –with two subsequently released on Morevi Records in 2022– ASIP had the honor of curating and sequencing an album from the remaining 19 unreleased productions, finally landing on those that best represented the intention of the original mix and the feelings it evoked upon those first moments of discovery. The appeal of Sun & Smoke can be found in its purity. Built with no intention or audience in mind, the album traverses core elements of deep techno, trance, and downtempo. Progressive atmosphere building, addictive underlying grooves, and expansive moments of euphoria; as a mixtape, Sun & Smoke is a zero-visibility haze of eyes-closed, body-moving, forward momentum. As an album, each track is now allowed the space to deliver on its own defining atmosphere. From the ambient beginnings of Sky Textures and the title track, Sun & Smoke, to the electro tinges of Primal Age, and the metallic swirls and glistening synths in Approaching Stars, the parts now have the chance to become greater than the sum of its original whole. Mastered by Giuseppe Tillieci (Neel / Voices From The Lake) with artwork photography by Juan Fernandez (edited by ASIP), Sun & Smoke is available on Transparent Red/Orange Smoke Gatefold 2LP + digital.

Official re-release of this 'lost' 6-track mini album by New Yorker Ben Cenac (of Newcleus fame). Recorded and released in 1990, this is an absolute gem of a record - very much in the vein of Larry Heard's best recordings. Now available again for the first time in 22 years, remastered + full artwork. A truly dreamy, beautiful classic deep-house mini-album from the golden-post-Larry Heard era.

Respekt! Sex Tags Mania, Karolin, Laton, Tage Tombola, Don Papa - The Genuin Of Moss Hip-Hop, Engvaal & The Rygge Family, Lene B., Kambo Super Sound & Family, The Endless Dynamic of Dynamo Dreesen, Brian Not Brian - Going Good And Axin' It Fo' Real - Salik Zia, SVN, Nupi & General Elektro, Bjørn Torske, L.A. Morillo, Fit Detroid, Skatebård, A-Bucci, Camila 575, Dåple-Pera, Benji, Atle, Vilunki 666, Queens Only - Madteo - Keeping It A Level Higher Than The Rest, Geir & Søssa, Rat Salad, Mor & Jerry, Eupraxia, Ringvold Gasta, Unit 6Q, DJ Gilb'R & Versatile Crew With I:Cube, Sähkö & The Keys Of House Life, Winklez, Peng! Ossia, Nell & The Dennis Bros., Roland Lifjell, Paleo & The Bhakti Crew, "70 CPS" Bailey, Bodhi Beats, Pyramide Phillips, Samir M'Kadmi, Thug Records, Audio-In Crew, King 909, Graff Et Grill, Paint House, 411, Nbm, Done, Pol, Sol, Yre, Culos, Kvam, Sau 2, Coats, Buba, 1999, Tmb, Crew - Skredderåsen, Moss! It's Not What You Play - But How You Play. Recorded and digitally edited at the 6th-EonMANIA-fract2 STD between 2012-2014. Original session for Side B recorded at Pyramide Studio, Frankfurt 2010. Vocals on Side C recorded at Inna Di Bu Studio, Moss 2013. Graffiti Can't Be Stopped

Guangzhou-based producer and DJ COLA REN released her debut LP, 'Hailu' in June 2023, a fulsome ambient, balearic, and downtempo brew with a gorgeous sense of melody and spirituality that offers a soothing escape. To celebrate the release, we have invited 8 talented musicians to the enchanting realm of ‘Hailu'. This remix compilation serves as a metaphorical exploration akin to the "Chakras," symbolizing the diverse energy centers within the human body. Through the collective reinterpretation of Hailu's original composition by 8 musicians, each imbuing it with unique hues and symbols, the remix reflects varied spiritual essences and elemental qualities.

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.

ダウンビート経由のディープ・ハウス/チルアウト・エレクトロニクス秀逸作！〈Tax Free〉を主宰するベルリンのダウンビート/ブレイクス名手Max Graefによる最新アルバム『Natural Element』が、Space GhostやNu Genea、Zopelarらの作品も知られるダウンビート/モダン・ファンクの一大聖地〈Tartelet Records〉からアナログ・リリース。低音重視の空想と繊細なダンスフロアの冒険をテーマとしたジャンルを超えたリスニング・トリップ。今回は、煌めく才能と伝染的なその魅力的なサウンドを、バックルームのビーンバッグに心地よく収まったサイケデリックで夢見心地のジャムへと落とし込んだものとなっています。

Light, textural daydream house from Edmonton’s Dylan Khotin-Foote, whose debut 1080p release under the Khotin title lands in the middle of close, bedroom zones and more club-friendly grooves. Since his initial moves towards house and techno genre experiments two years ago, Khotin has refined his unique slant on gentle acid and blurred yet effervescent hybrid house, with a stack of hardware: Roland TR-505, 606, 707, SH-101, Juno 106, Korg MS-10, Yamaha DX7, and various casio keyboards. Khotin’s lightly dusted grooves are inflected with a bedroom pop sensibility as much as reverence for heavy techno greats, scattering samples over breezy house rhythms. Loose themes of flight and brightness coast in and out of each side (mixed live); loose house drifters like “Flight Theme” and title track “Hello World” float on gentle bongos and hi-hats and brightly hued melodies (that are consistently focal and catchy across the record) while darker techno heavy hitters like “Why Don’t We Talk” and “Infinity Jam” bring a distinct take on cosmic hardware vibes.

With Lucifer, Kompakt presents an album of rare beauty from two masters of modern music. A family affair, it’s a collaboration between the Italian father-and-son duo of Luciano Michelini and Lorenzo Dada, whose combined histories bring to Lucifer a depth of experience alongside clarity of vision and a finely tuned, neatly developed combined compositional voice. A lovely, beguiling suite of music that combines the electronic and the acoustic, the urban and the pastoral, its gorgeous night-eye vision and tender melancholy sits neatly within the Kompakt universe, while offering the curious listener some rich new perspectives. There is already plenty to know both artists by. Lorenzo Dada creates across multiple fields – a techno producer and DJ who has already worked with the likes of Jay Haze, Fete, Leo Benassi, and Der, he’s released a small clutch of stylish, smartly designed EPs, and a solo album, Second Life (2018). His complementary background in classical music and composition informs his ensemble project, Tears Of Blue (who appear on Lucifer), where Dada paints with neo-classical tones for a quartet of violin, viola, cello and grand piano, supplemented by electronics for live performance. Luciano Michelini’s history is yet richer. He may be best known, to many, for his piece “Frolic”, the theme to Larry David’s Curb Your Enthusiasm series; it was also sampled by Snoop Dogg for 2022’s “Crip Ya Enthusiasm”. But there’s much more to Michelini’s story. A successful soundtrack composer, Michelini both studied and taught at the Conservatoro di Santa Cecilia, and worked for RCA from the sixties to the eighties; his soundtracks from this period are gorgeous examples of the form, particularly his work for Il Decamerone Nero (1972), L’Isola Degli Uomini Pesce (1979), and the devastatingly gorgeous Dimensione Donna (1977). In the eighties, Michelini and his wife Anna Gutling founded the Electronic Music Division studio and academy in Rome, which is where the majority of Lucifer was recorded. Dada reflects on the experience: “We never worked together before, so it was all new for both of us,” with Michelini adding, “I truly love this experience with my son. He’s a talented pianist and composer. I am not very familiar with electronic music nowadays, but we did it fluently.” There’s certainly a familial energy at play through Lucifer, and you can hear how Dada and Michelini, through exploration and experiment, find a shared language, balancing Dada’s tendency toward minimalism, and Michelini’s composerly voice. Lucifer flows as a suite that interweaves electronic music with acoustic instruments: the lonely sigh of saxophone; Michelini’s lush, verdant piano; the weeping strings of Tears Of Blue (recorded at the studio of Michelini’s friend, the late Maestro, Ennio Morricone). These multiple voices are located within the electronic sighs and swarms from Dada’s kit; there are moments of propulsion, and passages of lambent drift, where the album revels in its tonal sweetness. If it flows so effortlessly, that’s because Lucifer was designed that way, as a suite or a sonata of sorts. And the title? Dada reflects, “Lucifer was an angel who decided not to be one anymore. The miracle of life is that we can decide what we want to be, even if we are born as angels or vice versa.” This feels somehow apposite: there’s certainly something of the transformative, and the transportive, in Lucifer, a unique family collaboration of rare poetry and sensitivity, where two generations meet in the modern crucible that is the electronic music studio.

This whole text about a compilation of legit chill slippers could be over with one quote of drummer Aaron Sterling. The John Mayer band member and studio guru called Basso (our compiler) the „ECM of chill wave“. As we all know, even if some words may be hollow, good quotes help to tell a story. And that is definitely a great quote and if someone has a good story to tell, it is Basso. Best known for his label Growing Bin and probably even more so for the online record shop of the same name, he is one of those miraculous figures in music or record culture who can be called a true believer. Helplessly addicted to collecting music nonstop (hence Growing Bin) from all corners of the spectrum and with an uncanny knack of finding precious little diamonds, where others only assume slop, his shop features everything from original trance tapes to fake reggae and plain private press folly. Much to the pleasure of his devoted customers and even more so to the nickel nursers who use his website for window shopping and go bargain hunting in the dusty canyons and wide plains of the internet. Unfair, you might think, because knowledge like that comes with a commitment. A commitment that is not only financial in nature, but also involves time, dedication, thrift store and flea market visits and hardships (lacerated cuticles especially). Sitting in Trees for International Feel is a sampling demonstration of this commitment. Devotees of his previous compiling efforts Proper Sunburn (Music For Dreams) and Lucky Are Those Who Hear The Birds Sing (Growing Bin), know what to expect: some of the best songs you have never heard before, some you would probably never hear without this and even some that you did not know you would even like. Even self-proclaimed record diggers might not recognize more than Mystery Voice by smooth jazz new agers Dancing Fantasy. It is a world of merry music that pretty much is boundary- and genre-free and includes sunshine stepper like Beau Michael’s Move Away. Patrick Jahn’s and Erobique’s previously unreleased Moonlight Shuffle (the soundtrack to a lost Schimanski Tatort) and Christian Ch. Kneisel’s impossible-to-find Balearic digi gem Jungle Connection. All contextualized, explained and wonderfully described with meticulous liner notes by the king of record descriptions himself: Basso. But what else would you expect from a DJ turned trip-hop-producer turned artiste turned record sommelier? Magic moments galore that won’t make you move away!

The first in a series of mini compilations exploring instrumental Dub versions of sought after and long out of print titles from the world of Reggae, Disco, Boogie and House. Many of these versions still contain vocals, snippets here and there drenched in delay or reverb, a style you’ll recognise from many of the Jura Soundsystem edits on the label. The late Glen Adams & Finesse open proceedings with their Island Disco cover of Marvin Gaye’s classic, followed on the A2 by a super rare UK Boogie/Brit Funk mix of Tippa Irie’s ‘Panic’ (shouts to Tippa for personally helping to push through the license) and the A side closes with the 80’s leaning ‘Yes I Do’ from Belgium’s Special Occasion. The first half of the B side comes from Carol Williams with the Special Club Dub mix of ‘Can’t Get Away’, originally a one sided promo only 10” from 1983 complete with spoken word intro from Carol thanking New York’s Metro DJs for their support of the song. The LP closes with a Jura Soundsystem Dubby Edit of La Palace De Beaute’s ‘Sin’ pulling back on the vocal and going heavy on the delay.

The latest by Chicago trio Purelink unspools an alchemical suite of fractal ambient, dusted dub tech, and interstitial electronica, born from a spirit of unity and flux: “All hands on the mixer, forever finding the sound.” Since forming in 2020, Tommy Paslaski (aka Concave Reflection), Ben Paulson (aka kindtree), and Akeem Asani (aka Millia) have convened regularly in a shared studio to workshop, swap samples, and hone their collective muse via “the endless possibilities of a laptop,” seeking “something different than we would make on our own.” Distilled from extended compositions prepared and performed across 2022 in Chicago, Kansas City, New York, and Los Angeles, Signs captures their chemistry at its most liquid and immaterial, mapped in mutating systems of glitch, glass, rhythm, and space. It’s music alternately subdued and subterranean, elevated and remote, attuned to the flickering sentience of outer spheres.

Here is the debut, self-titled album from a.s.o., singer/songwriter Alia Seror-O’Neill, and producer Lewie Day. ‘a.s.o.’ is a thematic consolidation of the previous three singles and an impressive artistic progression. Day and Seror-O’Neill show they’ve mastered the format of the radio-friendly pop song and found how to subvert it completely. Across eleven songs, they have built a rich and compelling body of work. We know where we are now, emotionally complex, trip-hop torch songs for club freaks. But the palette has broadened to encompass ethereal dream pop à la Cocteau Twins, slow-burning AOR-soul, and dubwise stylings. As a result, ‘a.s.o.’ is a satisfyingly coherent listen but never a musical monoculture. Variously there are nods toward Julee Cruise, Fleetwood Mac, and the uneasy listening of Portishead. It’s an album that wears its influences lightly, is never weighed down by them, and always sure of its own identity. It’s anchored by Alia’s unique voice. Her words speak of restraint and release, taking us from the elegiac to the euphoric. This elegantly crafted, perfect pop music sounds like it has had enough of your shit. And Day’s music is the perfect foil; deep, slightly menacing, restrained, and powerful. The album has a cinematic texture, as with David Lynch; the seemingly familiar becomes uncanny and strange the closer we look. a.s.o. take our emotions for a joyride before leaving us floating in space. ‘a.s.o.’ is a journey; by its end, we all are changed.

Two new songs from Khotin ideal for soundtracking slow dewy mornings.

Paige Emery is an ecological artist interweaving music, painting, and plants through healing rituals to explore ways of remembering the Earth. She catalyzes ritual to illuminate the way our practices co-write our cosmologies and to find cyclical resonances that bring us back home. Works such as sound pieces to guide ecological journeys, paintings alchemized with herbal concoctions, ecopoetic tea ceremonies, plant remedies, and starting mutual aid guerrilla gardens with her community are among the ways this practice manifests itself. Intercommunications follows a cyclical journey of healing with plants. The album was seeded from her ritual of singing to her plants every morning after she meditated with them. As an inquiry into communicating with the nonhuman, the songs grew through deconstruction of language layered with sounds of the environment, a communication shaped by honest forms of harmony and chaos, death and rebirth. Each song represents a different state of connecting with plants, while the album as a whole serves as an arc through a healing journey with their medicine - opening, sensing, letting, washing, waking, dancing, calling, following, swelling, enduring, decomposing, which in the end leads to another opening. These states of being sing along with the cycles of nature that we can continue to learn from.

Rod Modell returns as Deepchord for his first solo release on Astral Industries since inaugurating the label with his sought-after ‘Lanterns’ EP. Consisting of two stunning long-form pieces split on one side each, 'Immersions' captures the emotive, halcyon sound that Rod has long become synonymous with. Opening with glistening ambient textures, ‘Immersion I’ grows into an 18-minute piece of deep rolling dub techno. On the other side ‘Immersion II’ paints pristine soundscapes of soft, lapping waves, underpinned by submerged pulsations that rise to the surface to continue its deep space explorations. Two highly refined and inspiring tracks that sit on the apogee of this sound.

My Noise is Nothing’ is the collaborative LP between Lord of The Isles and Scottish poet Ellen Renton, set for release on the 29th September 2023. For the pair, both the poems and music came to them in a quick and concentrated period. Renton's poems were written during 2020 and capture something of that time- that feeling of having no obstacles between ourselves and our emotions. Especially the feeling of anger, which is expressed by Renton as a feeling that is not wholly negative but complicated, necessary, unifying and even joyful. Likewise, Lord Of The Isles’ dusky and unfurling production refuses obstacles- embracing experimental live recordings using pedals and vintage synths. It is warm and fuzzy, but most importantly organic, with all the imperfections and character of a living entity.

Downtempo, Experimental, IDM … Knopha steps out on Mood Hut Records with ‘Kwong’. Ranging in tone from downtempo drum and bass to Herbert-like cut up house tunes, from esoteric pop to digital abstractions.

Mix Mup & Kassem Mosse mark a decade since their rudely offbeat debut with a 19-track, 1hr+ payload of woodcut drums and groggy samples tessellated in beatdown mode for fans of Theo Parrish, STL, Actress Back in 2012, MM/KM’s s/t maiden voyage was a staple round our ways, beloved for its odd bag of skewed grooves. After leaving us with only a 3-track EP ‘Have You Seen Them’ in the interim, the German duo return with ‘Ich sehe Vasen’, or ‘I See Vases’, making up for the big pause in duo production with a heavy satisfying session of loping, peg-legged rhythms, off-the-cuff keyboard lines and hiccuping ambient wobbles that feel right back at home amid the screwballs on TTT. The expanded run time of ‘Ich sehe Vasan’ allows for a far mazier and demonstration of their intuitive, lo-fi style, peppered with numerous beatless nuts and bolts that join the up the club workouts like a game of snakes and ladders on K. Roll the dice and expect to encounter the haziest, Theo Parrish-like Detroit house one minute, then trip down wormholes of lush ambient, or whirling percussive derives the next, popping out along the line at wheezing Actress-like grog, all primed for slinging on at the afters to regular calls of “what the fuck is playing, man?” until the sun goes down again.

Incorrectly perceived as simply an Autechre side-project, Gescom in fact exists as a platform for a number of aligned artists to work in various different combinations, whilst remaining otherwise-anonymous. Personnel in Gescom has varied from release to release and even track to track. Quote from the Autechre FAQ: "Actually the whole Gescom crew consists of almost 20 people. Sean Booth calls it an 'umbrella-project'."