Edges is taken from the album ‘Swept’, an exploration of emotional turbulence, resilience and rejuvenation. Created with electric guitar, modular and analogue synthesizers and pedals, most of the sounds were recorded at the start of the global pandemic. The album is bookended with field recordings made from the artist’s garden in East London. It opens with the sound of tarpaulin sheets on a neighboring construction site swept by heavy winds during Storm Ciara, shortly before the first UK lockdown, and closes with the sound of birdsong after rainfall, signaling hope for better times.

Memory Scale, whose real name is Arnaud Castagné, is a French musician living in Bordeaux, specializing in melodic and cinematographic ambient/electronic compositions.

Inspired by artists such as ambient pioneer Brian Eno, the 90s ambient scene, IDM, electronica and Krautrock, as well as the sounds of artists such as The Durutti Column, Dieter Moebius, Seefeel, Boards of Canada or even Tortoise (among others), Memory Scale knew how to merge these varied influences to create a recognizable style.

Memory Scale tracks transport the listener into haunting soundscapes, evoking cinematic images and deep emotions. Delicate melodies blend seamlessly with atmospheric textures, creating an immersive auditory experience.

There is war in Europe. The Russian invasion of Ukraine has once again reminded us that peace is something we need to work on continuously. Sweden has not been in war for over 200 years, at the same time there are many people living here who come from conflict hotspots and areas at war. Parts of the Swedish population carry the trauma of war. Scientists talk about how it takes 4 generations to free oneself from the collective traumas of war. Those who have been living through the war are often silent, they struggle to survive, forget and return to normal life to protect their children, the second generation grows up with a feeling that everything has not been told, that something is wrong, and they begin asking questions. And so, it is transferred between generations and can thus be a hidden trauma.

Neuro... No Neuro creates his sounds as you hear. This is his sound processed by RETEXTULE WET.

Neuro... No Neuro creates his sounds as you hear. This is RETEXTULE DRY (no processing).

According to James Surowiecki, author of "The Wisdom of Crowds", for a crowd to be wise, it must meet four conditions, namely: diversity of opinion, independence, decentralization, and an aggregation mechanism. For this album, I gathered 60 different sets from a wide variety of sample libraries all over the world, and from these, I selected a total of 500 pieces of audio data. My goal was to use only these samples, editing them to turn them into musical compositions.

In Japanese, Yūgen signifies “a profound, mysterious sense of the beauty of the universe… and the sad beauty of human suffering.” Yūgen suggests that which is beyond what can be said, but not as an allusion to another world. It is about this world, about this experience. The album cover and musical tracks were inspired by a piece of art that hangs in my bedroom. For weeks, as I lay on my back after surgery, I looked at the painting every day. It became a sort of meditative practice. Up until my recuperation, the meaning of the painting had eluded me. But over time, a closer focus on the artwork brought forth a revelation. The painting was about being reborn. New life, with no attachment to the past and no expectation of the future. A profound liberation of the spirit overtook me. Electronic sparks, intonations, chords, arrhythmic percussions, chimes and whooshes of sound free floated through my imagination… and “same but different” was born.

“The Long Night in Winter Light" is an album that began in the fall of 2021, just after the production of "Tayutau" was finished. Compared to its predecessor, which was characterized by a kaleidoscope of sounds created through a dizzying array of myriad material, this album was produced in a more restrained manner, with fewer effects and experimental sounds, and instead features strings and piano at its core. The resulting sound evokes a beautiful, majestic, and harsh snowfield.

This world may still be in darkness. However, the beauty of the starry sky that we casually look up at seems to cast a ray of light on this world.

I started working with generative music processes as a way to give up control. I used simple rules of harmonic modulation with random processes to mutate simple musical ideas into surprising pieces. In other words, I used the generative processes to expand my concepts of ambient music and go in new directions.

The result is an expansion of my musical ideas into longer form pieces. *Generate* is the start of a brand-new musical journey, and I'm excited about the new possibilities. I'm extremely excited about the 13-minute piece, *Undo*, that is both minimal and lush. I no longer feel trapped by perfectionism and I'm excited for the future.

I used Eurorack, Cello, Granular Synths, and other instrumentation to make these songs. All pieces were recorded as a single take with minimal overdubs. I hope you enjoy this album as much as I did whilst making it.

Preoccupations with aquatic textures, underwater pianos, a nocturnal atmosphere and fragments from my everyday life merge and overlap. Most of this work has a softly saturated, almost molten character that I associate with the late evening or fading light.