We may know Matthew Bourne primarily as a pianist and composer, but his Radioland project also revealed his interest in synths. Here he surrenders to that interest: every droning, bubbling, pulsating, rippling, gliding note is made using the 1982 Memorymoog, the last official synth Bob Moog’s company made before closing. The diversity of Bourne’s previous collaborators – John Zorn, Amon Tobin, Annette Peacock (perhaps the most obvious influence on moogmemory), Nils Frahm – gives a sense of his breadth as a musician, and that breadth remains even in the solo guise presented here; the press release, for instance, was written by another Memorymoog fan, Graham Massey of 808 State. In purely sonic terms, moogmemory is highly seductive: clearly lending the instrument to Germany for an epic refurb job (1,300 components replaced in an operation lasting eight weeks) was worth it. But the appeal of the album also lies in what Bourne does with the synth. Expansive and immersive, the nine tracks give a sense of spinning slowly into space – and, for all the instrument’s period charm, manage to sound not merely retro-futurist but genuinely fresh.