|Future Memories II|
|Produced by Patrick Moraz & Barry Radman|
track 2 co-produced by Patrick Moraz/Gregg Jackman
|Released on 1984|
|no chart information|
|Find it at GEMM|
|PVC 8927 cover
[high resolution photo]
I f I understand the three levels of liner notes correctly, this music was written on the spot, which means that I spent more time looking up the word “dodecaphonic” than Patrick Moraz spent thinking about what he was going to play on Future Memories II. Apparently, this is similar to the format followed on the first Future Memories. (Oh I can feel a future headache coming on...) For works conceived on an instant’s inspiration, Moraz and filmmaker Francois Jaquenod spend an awful lot of time pumping up their spontaneous compositions with tales of far-flung implications, unerring aim of heroic proportions, and an I-meant-to-do-that rationalization that left me feeling cold. If you’re going to pull something out of your butt and put it on a record, that’s your prerogative, but don’t try to sell it as program music. My peevishness aside, the real story here is how suited Moraz is to spontaneous composition. I expected a lame also-ran here, flimsy and formless, but Future Memories II holds its own as an album of new music. It’s not up to the level of Vangelis’ Direct or Anthony Phillips’ 1984, but it does feature Moraz in some clever role-playing, at various points inviting comparison to Rick Wakeman, Tangerine Dream and even Alan Parsons Project (on the song “Video Games”). What may be most impressive about Future Memories II is the array of sounds that Moraz draws from; like Tangerine Dream, Moraz uses the synthesizer as an instrument rather than as a substitute for another instrument. I admit to a raised eyebrow when I read Jaquenod’s comment on the inner sleeve that “synthesizers, polyphonic memories, sound and rhythm computers become a party to (Moraz’) musical inventiveness,” but that really is the case here. The sound chosen is almost more important than the note. Although Moraz’ inventiveness sags a bit on the second side, it’s not enough to quash the favorable impression left by tracks like “Satellite” and “Navigators.” Future Memories II certainly isn’t the first Moraz album you need to own, but it’s not something to shy away from either. If you’re interested in hearing him in a completely electronic setting without the Latin elements, you might want to remember Future Memories II.
|PVC 8927 back cover||PVC 8927 inner sleeve|
PATRICK MORAZ -- electronic keyboards & percussions
Barry Radman -- engineer, final mixdowns
Jean Ristori -- engineer
Gregg Jackman -- engineer and mixing (2)
Norman Goodman -- engineer (8)
Aloys Lolo -- sleeve design
|REGION||RELEASE DATE||LABEL||MEDIA||ID NUMBER||FEATURES|
|UK/US||1984||PVC||LP/CS||PVC/PVCC 8927||inner sleeve|
For more discographies visit...
© 2005 Connolly & Company. All rights reserved.