From the full-length album Lost to the Sea
WolfRiverMusic.com  
memoryfield.net

Back To Light  (MFiT Super High Res 96k 24bit)

Lost To The Sea - Part 1 (MFiT Super High Res 96k 24bit)

Into The Fray (MFiT Super High Res 96k 24bit)

Moonage Daydream (MFiT Super High Res 96k 24bit)

Lost To The Sea PART II (MFiT Super High Res 96k 24bit)

How Could You Know (MFiT Super High Res 96k 24bit)

Closer (MFiT Super High Res 96k 24bit)

The Rain Song(MFiT Super High Res 96k 24bit)

Meant To Be(MFiT Super High Res 96k 24bit)

Like a cross between the horn section of 70's Chicago (the band) and early 80's New Order (the band), memoryfield blends genres on this instrumental piece and creates a sound all their own that is both modern and retro, upbeat and slightly off-kilter.

Manchester (by memoryfield)

memoryfield takes on the poetic, epic classic by David Bowie.  Not to be interpreted literally as a man in a drifting spaceship, the song (first released in 1969) deals with feelings of isolation, loneliness, coming to terms with mortality and the resignation of one's own smallness in the grand realm of the bigger universe.

Words and Music by David Bowie, Essex Music International.  
Sample credits:  Celldroid (for radio voices)via Freesound.org

"Billy R. Preston and Juliet Gamero of memoryfield have been fans of David Bowie and his music forever.  This song in particular is very special to both of them and they have each stated that the lyrics are especially touching as they have detected the deeper meaning(s) to be found within them.  Their approach to take on this classic "psychedelic space-folk" song, originally released in 1969, was with the use of low impact acoustic instruments and just a touch of synthetic noises to add a feeling of ambience and texture into the mix.  The acoustic guitar and the vocals are unassuming and rather understated, allowing the bass and the darkened piano to interweave with one another, creating a feeling of warmth and color.  What Preston and Gamero lack in the area of vocal dynamics they make up for with honesty and simplicity, making it a point to never attempt to "upstage" the story being told by the original author of the song.  The drums (Jason Jones) hold the piece together with military-like marching rolls and flourishes but like the vocals, never attempt to overplay their role in the larger ensemble.  The final minute concludes with an outpouring of vocal emotion by Preston/Gamero and also features Gamero and her keyboard skills.  She purposefully leaves a healthy and thoughtful amount of space between notes, allowing the sound of resonance from the piano to be felt and only slightly heard.  Some of her notes are only implied.  She keeps the song from becoming overly busy with her choice to underplay rather than show off or draw attention to herself, although with her well-known skills in this department she could easily do so.  The song comes across as smooth and almost folky, jazz-like with a smoky feel.  A valiant effort by memoryfield and they should be commended for not attempting to completely "re-create" this well-known and beloved classic by purposefully pushing it into a genre that it might not be suited for.  They paid homage to Bowie and his music by respecting boundaries and not trying overly hard to impress or make this version of the song more about themselves.  The three-part vocal harmonies also add a nice touch."   -Wolf River Music 9/30/14
https://www.youtube.com/watch?v=_Q_D7uHvzPQ&list=UUeiYxeup1_TEGIuA9rITEQA

David Bowie - Space Oddity (cover by memoryfield)

A remixed version of the David Bowie song released by memoryfield in September of 2014.  The band took out the drums and all the sound effects from the original mix and refocused the emphasis on the acoustic guitar, piano and vocal harmonies.  Here are the results of that remix.

Words and music by David Bowie.

David Bowie - Space Oddity Acoustic Remix (cover by memoryfield)

dizzybloom's take on the 1973 Aerosmith classic.  Recorded in 2011.

Aerosmith - Dream On (cover by dizzybloom)

Slightly reminiscent of Led Zeppelin's more acoustic third album but also featuring dark and mysterious lyrics similar to the interests and subject matter of Jim Morrison, a Pink Floyd-esque arrangement and a few guitar licks ala Boston.  Mix in a Theremin and a bass line straight out of Geddy Lee's playbook and there you have it.  "Song of the River" by memoryfield.

Song of the River (by memoryfield)

This time around we have a leaner and somewhat meaner mix where that booming low end has given way to a bit more energy in the mid-range.  The mix just pops more rather than rumbling the windows in your basement.  But more importantly, a new voice belonging to Utah native IRIS has been added and an entirely different vocal dynamic comes to light.

Can't Get To You (2016 Remix) Featuring IRIS

IRIS and memoryfield have teamed up once again and this time it's her material they focus on.   "Wolves" is a high energy little burner that has a distinct Latin flair, timbales in the rhythm section and the flamenco style electric guitar of Billy R. Preston.
In the early summer of 2015 memoryfield had a string of live shows lined up in and around their hometown area of Provo, Utah.  Wanting to add a little variety to these performances, Billy R. Preston and Juliet Gamero sought out an additional vocalist who could also add a few original songs into the setlist.  With the help of their management IRIS (aka Britney Holman and previously unknown to them) was found to live close by and while her style seemed a bit of a stretch for traditional memoryfield material, possibly even a mismatch, the three came to terms and decided to pursue these events and then keep it on a "wait and see" basis.  Fast forward to February of 2016... they obviously hit it off and since that time have managed to record four songs together and were still in the middle of production on two different music videos with several more planned.  Their musical writing style(s) are still quite different but so far it seems to be working out well for everyone involved.  Being alleviated of the burden of singing ALL vocals, Preston is now able to focus more intently on the guitar work, bass and the highly detailed technical production of their songs.  Juliet is right at home with arranging and adding backup vocals when called upon for it.  Her piano work on songs such as "Alison" and "Space Oddity" are both sublime and riveting.  While Holman's "Wolves" does feature both a piano and snippets of Hammond organ, it's really more of an ensemble piece and the production is dense.  Four different guitars, layered at different intervals provide both the rhythmic backdrop for the song and the Flamenco style lead in both the intro and the middle section.  Timbales (Jason Jones) keep the song chugging along at a brisk pace and also help to add to the Latin undertones.  The bass is typical Preston and keeps the song firmly planted in Rock territory, taking the lion's share of the rhythm section work and pacing the song in a very commanding way.  IRIS superbly handles all the vocals and harmonies on this one and shines in her trademark way of interjecting the "oohs" and "ahhs" she seems so lyrically fond of in her own music.  At its heart, "Wolves" is a power pop song that uses a few somewhat unconventional instruments and a style not so typical in modern Indie Rock.  Holman was reportedly hesitant at first to add in these elements (such as the timbales and shakers) for fear that the song would swing just a little too far to the Latin Rock/Carlos Santana end of the spectrum.  Some adjustments were made and eventually the song took on its present shape and form.  It remains to be seen what kind of audience will eventually gravitate in its direction.

Wolves (by IRIS and featuring memoryfield)

Just the same as the other one but no one singing this time.  Enjoy the piano and the trumpets.  And the bass.

Elvis Costello - Alison Instrumental Mix (cover by memoryfield)

Written by Steven Morrissey and Johnny Marr.  aka The Smiths.  Greatest British band of the 1980's.

Please Please Please Let Me Get What I Want (The Smiths)by memoryfield

Trying to classify the music created by memoryfield can be completely frustrating.  They have somehow been able to purposefully defy genres in order to sound both modern and yet completely retro within the same piece of music.  "Crash and Burn" is a perfect example of their genre-bending techniques.  The song is obviously a modern sounding rock song, with aggressive guitars and a prominent bassline (both played by Preston) but Gamero periodically throws in keyboard sounds and noises that seem to belong squarely within the go-to stock of the early 1980's and possibly even the mid 70's.  The song oozes a certain post-punk angst and darkness that might remind one of Joy Division at their most aggressive, possibly even The Cure at their bleakest, or Talk Talk at their moodiest.  Throw in an eerie slide guitar for added ambience and you have a song that tells the lyrical story of fading hope and desperation under the streetlights right before the oncoming darkness.  Iris adds her pleading voice with an interesting call and response technique within the verses and conjures up her own inspirations including Florence Welsh (Florence and the Machine) and whether she likes it or not, Kate Bush and/or Tori Amos within their respective heydays.  Whatever it is that memoryfield is trying and/or succeeding to create, whether it's modern angst-rock or some kind of post-punk revivalism, they seem to do so without much regard to easy comparisons.  They are unique in this sense and yet still strangely familiar.  They have been known to cover certain groups in the past, such as The Smiths, The Who, Joy Division, Elvis Costello and even David Bowie, which at least gives them away in terms of their deepest musical inspirations.  

Crash and Burn

memoryfield stretches out a bit and dabbles with an Indian musical influence thru the use of tabla drums, a shruti box and a guitar that sounds distinctly similar to a sitar.  The song is somewhat dark, with a dense and powerful mix, three-part harmonies, an explosive chorus and the use of some exotic instruments.

The Birds of Midnight

Callie Crofts lends her subtle and understated vocal performance to this version of The Smiths classic, as covered by memoryfield.

This Charming Man

The Who - See Me Feel Me (cover by dizzybloom)

Just something we're working on over here.  Thought the horns were sounding nice, front and center in this mix.  Will replace it later with the final version.

Femme Fatale Instrumental Demo Mix

memoryfield teams up with vocalist Callie Crofts in a tribute to The Cure.

Boys Don't Cry

Boys Don't Cry (The Cure)

memoryfield and Callie Crofts put a jazzy little spin on this classic song by The Velvet Underground.

Femme Fatale

Femme Fatale (The Velvet Underground)

Words and Music by: Ian Curtis, Peter Hook, Stephen Morris and Bernard Sumner.  Written during the final days of Joy Division but not recorded and released until 1981 by New Order and after the death of Ian Curtis.

Covered here by memoryfield.

Ceremony

A humble tribute to our musical hero, Mr. Neil Peart.

The Garden (Rush Cover- Tribute to Neil Peart)

The band memoryfield consists of the musical duo of guitarist Billy R. Preston and keyboardist Juliet Gamero. In 2015 the veteran songwriting team of Preston/Gamero (together since 1993) began working with several different vocalists (including IRIS, Robyn Cage and Callie Crofts) in order to update their classic sound with one that incorporated modern pop music fused with all the depth and intensity of 70's and 80's classic/prog rock.  The progressive, moody and ambient songs previously written by the original members have now become more clever and approachable with the addition of these talented vocalists.

memoryfield

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