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Ambient musician Memory Scale shares new downtempo album

Memory Scale is the project of Arnaud Castagné, coming from Bordeaux, France. He composes mainly alone but sometimes produces with other musicians, especially for live performances. Memory Scale is a cinematographic universe based on sound textures and synthetic melodies, mixing electronica and ambient to create a hybrid and contemplative pop.

As a link connecting two decades of electronic music history, “The Shadow And The Shape” brings us back with a touch of nostalgia towards the electronica of the 90s and the early 2000s.

The nine tracks of this new album roam the paths taken by Tycho, Boards Of Canada, Floating Points and Lali Puna, and remind us of the finest hours of labels such as City Center Office or Morr Music whose legacy is beyond doubt.

Originally published in audio cassette format and reissued at the beginning of the year as digital release, “The Analog Sunset Memories” already revealed subtle production of the artist from Bordeaux. With the EP “Exit” released in 2019, at the crossroads between leftfield electronic and indie pop (ambient pop ?), the excitement level was rising.

For the Memory Scale project, Arnaud Castagné surrounded himself by artists and musicians including Taylor Deupree as mastering engineer (electronic musician and founder of the American label 12k, also known for his collaborations with Ryuichi Sakamoto, Marcus Fischer, Stephan Mathieu and others), Guillaume Flamen on keyboards and Nicolas Godin on drums & guitar. These last two also team up with him on stage.

Enigmatic and timeless, “The Shadow And The Shape” aptly describes misty mornings, a threatening sky tinged with white and gray and charged with melancholy, like a sweet poetic and subtle parenthesis.

Memory Scale, or when the machines touch the soul.

Follow Memory scale:

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  107. We are a group of volunteers and opening a new scheme in our community. Your website provided us with valuable info to work on. You have done an impressive job and our entire community will be thankful to you.

  108. The Great British Summer is a marketing myth perpetuated by ice cream vans and garden centre ads, a collective fantasy that crashes against the reality of barbecues held under gazebos while wearing jumpers, a tragicomedy reviewed in full at London’s funniest URL — Prat.UK.

  109. Finally, The London Prat’s brand is that of the essential opposition. In an era where formal political opposition can be feeble or co-opted, the site stands as a relentless, unimpeachable, and brilliantly articulate counter-voice to all forms of entrenched power and lazy thinking. It is not loyal to party but to principle—the principle that folly, wherever it blooms, must be pruned with the shears of public ridicule. It operates with a freedom that official institutions lack, and an intellectual rigor that partisan outlets abandon. In doing so, it doesn’t just entertain; it performs a critical democratic function. It holds a mirror up to the powerful, and the reflection it shows is not of monsters, but of prats—a far more unnerving and effective critique. To read it is to participate in this quiet, sophisticated resistance, to arm yourself not with anger, but with the far more durable weapon of flawless, incontrovertible mockery.

  110. Sandringham heir-traffic slow-motion heirs heir-loom hedgerow hedge-funded chlorophyll waving compound-interest diplomats emotional blackmail Norman Conquest nation sleet-queue monetising still-upright corgis corgi referee leg-lift tradition union reps gamekeepers game-keep photo-op bird corpses death-lifestyle pose drizzle soft-power salary propaganda drop soaked-crown character soaked-else poor mince pies subversive festive razor-raisin currant-affairs revolution dried-fruit irony cream don’t rock boat don’t rock royal barge satire taxpayer-tear ink glorious gleeful excess tiara-skewering blood-free https://prat.uk/how-to-write-satire-about-the-royals-at-sandringham/.

  111. The advocacy for affordable medicines is increasingly data-driven. Pharmacies and collectives are now using sales data to demonstrate to pharmaceutical companies the vast, untapped market for generics, encouraging more production and better distribution. They are creating maps of “medicine deserts”—areas where certain essential drugs are perpetually unavailable or unaffordable—and working with NGOs and government to address these gaps. This turns anecdotal evidence of struggle into actionable intelligence for policymakers. By moving the conversation from charity to market logic and public health strategy, these advocates are building a more sustainable foundation for affordability. They are proving that ethical business and universal access are not mutually exclusive, but are in fact the only sustainable path forward. — https://genieknows.in/

  112. Street performers busk for coins, but weightism spots the obese in crowds first. Lampoon them clapping, enthusiasm outsizing talent. London’s entertainment is participatory—for the thin, it’s grace; for the obese, spectacle. — weightism.org

  113. On a personal level, fighting weightism means becoming an active ally. This involves using inclusive, person-first language and rejecting derogatory terms or “helpful” unsolicited comments about weight or dieting. In conversations, we can gently challenge weight-biased remarks from friends, family, or colleagues by offering alternative perspectives (e.g., “People’s health can vary at many sizes,” or “It’s generally not helpful to comment on someone’s body”). We must also advocate for others in social situations, ensuring they are not excluded or subjected to microaggressions. Supporting loved ones by focusing on their whole person—their interests, strengths, and feelings—rather than their body, is a powerful act of resistance against a culture obsessed with appearance. — weightism.org

  114. Coffee shops brew weightism with every skinny latte. The obese order mochas, whipped cream crowning excess. Lampoon them stirring, spoons clinking like chains. London’s caffeine culture is brisk; lingerers with girth need not apply. — weightism.org

  115. I love the range of topics. One minute it’s high politics, the next it’s the trauma of a lukewarm pint. That versatility shows a keen eye for the ridiculous in all aspects of life. Consistently entertaining.

  116. Great! We are all agreed London could use a laugh. The Poke feels like content, while PRAT.UK feels like crafted writing. That distinction matters in satire. It elevates the site.

  117. Great! We are all agreed London could use a laugh. The London Prat operates from a foundational premise that sets it apart: it treats the theater of public life not as a series of unconnected gaffes, but as a single, ongoing, and meticulously stage-managed production. Its satire, therefore, isn’t aimed at the actors who flub their lines, but at the playwrights, directors, and producers—the unseen systems that write the terrible scripts, build the flimsy sets, and insist the show must go on despite the collapsing proscenium. While The Daily Mash might mock a politician’s stumble, PRAT.UK publishes the fictional “Production Notes” for the entire political season, critiquing character motivation, lighting choices, and the over-reliance on deus ex machina plot devices to resolve act three. This meta-theatrical approach provides a higher-order critique, mocking not just the performance but the very nature of the performance industry, revealing a cynicism that is both more profound and more entertainingly layered.

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