From Memory is the first album from Semiomime, another solo project of Noel Wessels. This album is a soundtrack for a film that does not exist. Wessels is a producer generally known for his driving beats and heavy synth lines on the Hardcore and Drum and Bass scenes, so this conceptual approach may seem strange. However with previous releases under The Outside Agency and DJ Hidden where often there are dark foreboding introductions and dramatic film like moments, his progression to the cinematic realm of pseudo soundtracks does not feel unusual. In fact, From Memory has a very similar atheistic to his previous projects. This has left me wondering why Wessesls has created another alias…
The album is split into three parts, “Part 1” opens with a sonic scene conjuring up images of a seething city with people busily going about their business and sirens in the distance. The sound quality and spacialisation of the scene is executed beautifully. Pads and a rhythmic synth line slowly push the city into the background, to be replaced with delayed bird calls, then more cinematic harmonies and melodic lines. This section is the highlight of the album and sounds patient and carefully constructed. Equally enjoyable is the electronic sequenced feel to it.
“Part 2” starts to become dark and heavy, with distorted bass hits, sequenced synth lines and well placed tempo shifts. Wessels achieves tracks that evoke a dark, urban, crime riddled environment not dissimilar to Gotham City. Unfortunately after “Gnosis” the album begins to lose validity of a soundtrack, as it lacks many of the devises required and some of the orchestration sounds like a computer replication. This reflects a clear lack of training and understanding of film music. Some of the musical ideas are underdeveloped, tension is resolved too often with an electronic drum beat resulting in a lack of depth. This is a pity because, the album begins with the intent and the delivery of a well executed soundtrack concept album.
“The Mole Children,” the first track of “Part 3”, is an attempt to drive the album back into the soundtrack realm. However the piece feels awkward, the piano melody has no direction and notes are too harmonically parallel to create interesting harmonies. The following track “Hendershot”, however, begins to redeem the album, with its otherworldly dissonant melodic theme, and strange squelchy sound effects, then flowing effortlessly into the last tracks of the album.
At times Wessels successfully invites the listener to be the protagonist of this unwritten film, guided by Wessels dark drones, menacing suspenses and drawn out melodic lines. Redeeming some of the clear limitations of the album. I really want to love this album, but the wild inconsistencies undermine the albums strengths.
James Horsfall.
