Retro Synth Disco

as promised to those who pm'd me.

made approx 2006-07

Short Forgotten Produk  Trk Omc

When Paul Murphy released his critically acclaimed debut solo album, Claremont 56, in 2006, many thought it would be the first of many. In a way, it was, as in the years since he’s released a string of collaborative sets alongside Benjamin J Smith (as Smith & Mudd), and as part of underground ‘supergroups’ Paqua, Bison and Hillside. But that second solo album? Well, it just had to wait.

In early 2023, Murphy finally decided to scratch that itch, roping in some of his most trusted collaborators (keyboardist and bassist Michele Chiavarini, percussionist Patrick Dawes, guitarist Dave Noble and HF International’s Kashif included) to lay down a sumptuous set of tracks that not only showcases his now familiar (bit hard to pigeonhole) neo-Balearic sound, but also proves how much he has matured as a writer and producer since 2006.

In The Garden of Mindfulness is richly musically detailed, expertly arranged and full to bursting with fluid instrumental solos, with Murphy and his collaborators serving up tracks that brilliantly blur the boundaries between languid jazz-funk, downtempo, vintage synth-laden krautrock, dubby grooves and sun-splashed soundscapes.

It simply sparkles from the moment that opener ‘Eighty Three’ slowly rises like the morning sun, with gentle, undulating synth sounds ushering in a slow-motion jazz-funk excursion rich in twinkling electronics, spacey pads and warming bass. Recent single ‘Katanaboy’, a lusciously layered dub disco-infused dancefloor excursion in Murphy’s familiar style, raises the temperature a touch, before ‘Bonne Anse’ and the sublime ‘Unka Paw’ (whose combination of evocative fretless bass, extended electric piano solos, Clavinet licks and acoustic guitars is genuinely spellbinding) invite a combination of wavy shuffling and flat-on-the-back, eyes-closed appreciation.

And so it continues, with gorgeous title track ‘In The Garden of Mindfulness’ making way for the boogie-influenced, Japanese-British brilliance of ‘Hangsang’ (check the jaunty pianos, yearning breakdown and exotic melodies). Murphy’s long held love of warm, weighty bass, hypnotic disco grooves, colourful analogue synth sounds and jazzy guitars once again comes to the fore on ‘Afternoon Bob’ before the album reaches a fittingly triumphant conclusion with ‘Late In March’. 

A neat sonic summary of all that makes the set such a rewarding and entertaining experience, repeat listens reveals a wealth of musical details, from off-kilter triple-time drums and surprise bass guitar solos, to impeccable piano solos (provided by the immensely talented Chiavarini), fizzing jazz-funk synth doodles and stirring synth-strings. It’s a breathlessly brilliant way to end an album that was genuinely worth waiting for.

Hangsang

This is a compilation of the Attack of the Petscii Robots and Planet X3 soundtracks converted to MIDIfiles for The 8-Bit Guy's Commander X16 versions of the games. Original tracks have been converted to be compatible with General MIDI (GM) and made using the Roland SC-55 as a benchmark. There are even six new songs for Petscii Robots last levels (10-15) which hasn't been made into full songs like the original soundtrack (yet! ;)).

Attack of the Petscii Robots & Planet X3 MIDIfile Versions

Petscii Robots - Level 4 - The Islands (SC-55)

After a very long wait, we are thrilled to release our remix of the Supertramp classic, Take the Long way home!   For upcoming shows and all things Syrup: https://linktr.ee/lazysyruporchestra 

Artwork by facebook.com/dezinestudiovic

Thank you for all the support in 2018!    


Big love from the LSO <3

PS.  For anyone not on Spotify looking to download, send us a DM here or on Facebook and we'll provide a direct link :)

Free Download

Take the Long Way Home (Lazy Syrup Orchestra Remix)

buy/stream : https://idol.lnk.to/Eden_Remixes

Buy/stream

Automne (Remix by French 79)

Rmi Is All I Want

Electronic musician from Norway. I started playing piano/keyboards in the mid 80s. After a few years at the municipal music school, I quickly grew tired of the simple piano-only education and got to move on to classes with keyboards and synths. From the early beginning with Technics K-200 rhythm keyboard from 1983 via some Casios/Hohner keyboards, I evolved with the later Technics KN-1000 and KN-2000 before moving on to Roland XP-50. As the computer revolution made DAWs affordable, 1999 made sequencing using Cubase easy and the studio grew ever larger with more outboard gear. Today the studio has become a sizeable and functional MIDI/arranging studio with over 40 synths/modules and more centered around a MacPro with MOTU’s Digital Performer, and numerous more or less famous productions.

I have always had a musical approach towards sound engineering and composing, rooted mainly in vivid harmonic structures and saturated compositions. Inspiration has always been the likes of Jean Michel Jarre, Vangelis, Eric Serra to name a few giants in the electronic scene, but also a heart towards well produced pop music from the 70s and 80s as well as epic film scores from John Williams, Alan Silvestri and Hans Zimmer. The baby era of computer music from the late 80s and early 90s was also a heavy influence.

Petscii Robots - Level 4 - The Islands (SC-55)

Anders Enger Jensen