Depuis les marais du Berry, souffles de sorcières oubliées, et sursauts mélancoliques au milieu d'une obscurité qui aspire les âmes voulant s'émanciper des pièges.

2021
Cover : Clémentine Blaison
https://www.instagram.com/kemantian/?hl=fr

Stuck In Quicksand

Chill Pill Volume V

Dizzy (Live)

Sti.ll

Stil. (For Vibraphone & Bass Drum)

Taken from 'Elevations' (MFM068)
Buy Vinyl: https://www.musicfrommemory.com/
Buy Digital: https://music-from-memory.bandcamp.com/
© 2024 Music From Memory

Elevations

Pots

B2. Pots (ft. Abraham Parker)

Cassette/digital available from Imprec.com

“The Generous Law,” a new album by organist Jack Langdon and guitarist Anthony Vine, presents a glimpse of the inner voices and acoustical splendor of the Fisk Organ at Wellesley College, enlivened by the intuition of two improvisers. At the keyboards, Langdon crafts geometries of patiently braided lines and incisions, configuring the hues and shades of organ stops with an ear to the materiality of sound. Vine seizes on this, tuning his guitar to the organ and bringing his strings into alignment with the harmonics of the reeds and pipes, becoming an extension of the instrument, an organ stop of sorts. The guitar flows in and around Langdon’s angular counterpoint, like the shimmer between the divots of a jigsaw puzzle, illuminating its matrix. 

The tonal design of the Fisk Organ brings these interactions into vibrant relief through its quarter-comma meantone tuning and 17th c. Danish and German stops—giving organists access to sonorities only found in historic North European churches. Resurrecting a distant sonorous past echoes the design of Wellesley College's Houghton Chapel itself, a braiding of ecclesiastical motifs with no historical center, designed to impart a sense of old-world sacredness. Fisk’s ahistorical mélange yielded something extraordinary, not a cheap replica or period imitation, but an instrument of sui generis chroma and expressivity.

The musical idioverse of Langdon and Vine is defined less by interior imaginations, established style, and compositional formality, and more by the inexplicable pull of the organ, its guiding and grounding voice. In a letter to Ross Feld, Philip Guston speaks to this abstract, yet ubiquitous dynamic in artmaking with his notion of the “generous law,” the namesake for this collection:

“I think you are writing about the generous law that exists in art. A law which can never be given but only found anew each time in the making of the work. It is a law, too, which allows your forms (characters) to spin away, take off, as if they have their own lives to lead—unexpected too—as if you cannot completely control it all. I wonder why we seek this generous law as I call it. For we do not not know how it governs—and under what special conditions it comes into being. I don’t think we are permitted to know other than temporarily. A disappearance act. The only problem is how to keep away from the minds that close in and itch (God knows why) to define it.” -Philip Guston to Ross Feld

This music is not driven by concept, process, or system, but by the wanderlust of sound, time, and listening.

Jack Langdon & Anthony Vine - The Generous Law - 1  July 27, 2022 - 1pm

Atlas of Green

Age & Rain

Il y a une balade de confinement de https://soundcloud.com/melaine-dalibert au piano
Il y a https://soundcloud.com/ladrache de Bruxelles au chant polyphonique post-punk
Il y a la voix et le synthé ombrageux de https://soundcloud.com/elisaflores
Il y a les mélodies chaleureuses de https://soundcloud.com/fairiesareback
Il y a les ritournelles enveloppantes de https://soundcloud.com/finfilm composées dans le secret de sa voiture
Il y a une reprise par https://soundcloud.com/glabre d'une des plus belles chansons du monde
Et puis quelques morceaux d'artistes qui n'ont plus besoin d'être présenté-e-s, mais encore et toujours écouté-e-s, oui

Mix enregistré le 18 juin 2024

Image: https://www.instagram.com/camille.tsering/

Playlist:
Melaine Dalibert - 'Confinuum' 8
Ladr ache - Op Stilte
Unknown - Three More Times (= 3 times slower Britney cover)
Elisa Flores - As Cold As Warm
Calla - Elsewhere
Fairies Are Back - Cheval de fer
Glabre - The Sound Behind The Silence
Fin Film - It's a C
Clarice Jensen - Daily
Drekka - Sickness Subsides
Janis Joplin - All Is Loneliness
Explosions In The Sky - Remember Me As A Time Of Day
Ladr ache - Trafic de grues
Fin Film - Tripping Without A Trip
Fairies Are Back - Flowers Shall Grow
Low - Shots & Ladders

Mélancolie douce XXV

🌌 MEET ME IN ETERNITY 🌌

An odyssey beyond time, crafted by SYNTHTOPIA x QVANTVM

This album is a deep, cinematic journey through the cosmos — a meditation on infinity, light, and the eternal resonance of existence. Built from evolving synth pads, warm analog textures, and ethereal orchestral layers, each piece unfolds like a star-born hymn: expansive, transportive, and timeless.

From the shimmering stillness of THE QUIET BETWEEN THE SUNS to the soaring radiance of FIELDS OF STARLIGHT and the transcendental call of ARC OF INFINITY, this is music designed to dissolve boundaries between the human spirit and the infinite universe.

These soundscapes invite higher consciousness, deep reflection, and a sense of home among the stars. It is not just an album — it is a gateway.

✨ Enter the cosmos. Meet me in eternity. ✨

ARC OF INFINITY

Immerse yourself in the serene beauty of "Monologue," a captivating piano piece enriched with lush string arrangements. This track perfectly captures a mood of peaceful reflection and gentle introspection, making it an ideal companion for moments of quiet focus, meditation, or unwinding after a long day. Its elegant and emotional soundscape is perfect as background music for vlogs, documentaries, study sessions, or any content that benefits from a touch of sophisticated calm. Enjoy this No Copyright Music for content creators.


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Monologue

AIBRY – Cassette Tapes

This project is more than an album — it’s an artifact. A two-sided experience that plays like a lost tape rescued from the static. Side A hits fast and raw, with fractured memories and jagged rhythms. Side B slows down into the deep burn, echoing in distortion and decay.

Every track is a chapter — reels spinning, signals breaking through the noise. This is trauma, survival, and rebirth, pressed onto magnetic tape and left for anyone brave enough to press play.

📀 Track Order

Side A

Press Play 
Legacy/Cracks
Walkman Wounds
Signal in the Static
Loop Failure
Rewind Interlude

Side B
7. Ashes to Armor
8. Static Saints
9. Channel Burn
10. Sidewalk Gospel
11. Dead Air Interlude
12. I Stayed 
13. Outro

⚡ Explore the full interactive deck and message board: https://thelastcassette.neocities.org/

Outro

Physical: geographic-north.com/#/GN37-detail
Digital: geographicnorth.bandcamp.com/album/inversions
Catalog #: GN37
Enharmonic black cassette, limited to 100
Mastered by Sean McCann

Arp is the solo project of Alexis Georgopoulos, a composer/artist/producer based in New York City. Inversions is the latest chapter in Arp's evolving narrative, a diverse musical sprawl that has issued sets of captivating brilliance on the likes of RVNG Intl., Mexican Summer, and Smalltown Supersound. This cassette fortuitously bridges together Arp's shapeshifting identity, from avant-koscmische tinkerer to avant-classical composer and dance-floor modulator.

"Raga for Moog & Violin" and "Flamingo" were originally created for a sound installation presented at Jack Hanley Gallery in New York City in 2014. Both tracks were composed in the same key (C minor Dorian), chosen for its ability to be heard in great lengths of time, its root in cultures from ancient Greece to India, and its link to visions of futurism, Arp's sound installation reflects and refracts themes explored by both creative studio RO/LU and filmmaker Paul Clipson. 

Using a Moog synthesizer, and featuring Nicky Mao (who records under the name Hiro Kone) on violin and piano, the mode allows the listener/visitor to focus on sound at times and plays a subliminal, sometimes barely perceptible role, at others. Analog synthesizer overtones give way to violin, moving gradually at first, then building into a cascade of sound, before receding. This process regenerates over the course of the piece, each time doing so differently.

Inversions also includes "East of the Sun, West of the Moon," a track intended for the installation that was not used in the end. Here, it refinds its original companions.

Age & Rain

Dialect

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