Born in Turin and based in Toronto, Fortunato Durutti Marinetti (Dan Colussi’s new moniker after Pinc Lincolns or The Shilohs) has been playing in bands of varying degrees of obscurity for the last twenty years, frequently touring North America in his Volvo station wagon and quietly self-releasing albums to an oblivious and oversaturated marketplace. Memory’s Fool is his second release under this name (following 2020’s Desire) and his first time working with proper label support. Drawing inspiration from the restless, explorative spirit of 1970s songwriters like Lou Reed, Robert Wyatt and Joni Mitchell, Marinetti chose to first wrote all the lyrics before assembling a hybrid pickup band of jazz, folk and rock musicians to render the songs of Memory’s Fool into a form he calls “poetic jazz rock”. And indeed, Memory’s Fool is poetic jazz rock of the highest order.
His Mixtape: “Thank you for this invitation to make a mixtape for the site; it was fun to work on and I always have a mental list going of music, songs & albums on my mind when I’m writing music, so it felt very natural for me to work on this.”
Circuit Des Yeux – Vanishing
I’ve been a fan of Circuit Des Yeux / Haley Fohr’s music since her record Overdue, which is a phenomenal mid-fi prog album. When I was writing the songs for Memory’s Fool I was listening to Reaching For Indigo a lot. I love Paperbag. Today on my drive to work I listened to – Io for the first time. It was perfect synchronicity to be hitting the highway with pinky blue grey sky over the horizon and have this album blasting in the Volvo. Haley Fohr’s arrangements, chords, progressions and general artistic vision are incredible to me. Vanishing is danceable prog-fusion of the highest order.
Joni Mitchell – Song For Sharon
I love to get lost in this song. I like listening to it six or seven times in a row late at night with a supply of wine on hand, which is how I’ve ended many nights. I’m a fan of 8 to 10-minute songs with high word counts and no real chorus. The lyrics sheet for this song is so great because it achieves that thing of being so personal that it becomes universal. It’s this perfect balance of criticality and empathy. Epic pathos, deep Canadiana, and with the massive scope of a prairie horizon that denies abrupt transformation in favour of incremental development.
Hello Blue Roses – Wild Reed (A Crone’s Advice to Her Daughter, Wild Reed)
Hello Blue Roses / Sydney Hermant has contributed to the last three of my records, adding entirely new dimensions to the music. I’m grateful for her contributions to the songs. I don’t have a child but if I did it would be obvious to me that I would need to address them through songs, which is what I think this song is doing. I also appreciate the self-deprecation and humility inherent to this track. I hate all musics that are uncritical, one-dimensionally earnest and/or precious about themselves.
Patti Smith – Free Money
I include this one because I love the inherent empathy it expresses. I’m forever moved by the sound of Patti’s delivery of the line It would mean so much to me towards the end of the song – it’s Patti wanting to relieve someone of their suffering. It’s also sort’ve tragic that money is what would provide that relief. I took that line for my own song, A Kind Of Education. I want to play in a band called Free Money.
Kevin Ayers – Whatevershebringswesing
The drunk in the afternoon-vibe of this song appeals to my sensibilities. A masterclass in unhurried, stream of consciousness, ruminative, arguably even directionless songwriting. Mike Oldfield’s loose, explorative guitar solo is the kind of guitar solo worth having on a song. The whole band sounds slightly wasted but still in enough control to keep reaching. Shamelessly and with no regrets I more or less pilfered the whole vibe of this song for one of my own, A Kind Of Education.
Jessica Pratt – Aeroplane
One of the few people working today who can make just guitar and voice still seem compelling. I love all the jazzy/bossa chords she uses. I go back to this song and this album all the time. I thought this album Quiet Signs was very bold when it came out, because it felt so confident in its small, focused arrangements and production. The opposite of the grand, sweeping statement albums that everyone wants you to believe their album is about.
Sarah Davachi – Stations II
I peripherally / tangentially know Sarah Davachi from when we both lived in Vancouver at the same time and knew some of the same people. I love her records and the intelligence that surrounds her music and her writing. I could have picked any song from Cantus,Descant because I was listening to it a lot when I was writing Memory’s Fool.
Cynthia Dall – Extreme Cold
Early in the process of trying to write the songs for Memory’s Fool I started listening to the second Cynthia Dall album and somehow it awoke me from my dogmatic slumber and showed me a way out of a writer’s block. Sound Restores Young Men is a wonderful, mysterious record to me. Very 90s/2000s indie rock. This song shows how much feeling can be conjured through an intentional repetition of both melody and lyrics.
Arp / Anthony Moore – Slow Moon’s Rose
The FRKWAYS record that Arp & Anthony Moore made together was a juggernaut that rocked me hard and continues to do so. Slow Moon’s Rose is a reinterpretation from Moore’s back catalogue (Slapp Happy) and it’s the most pop song moment on the album that is otherwise all about minimalist repetition. This song hit me hard in an Eno kind of way. The final track on Memory’s Fool – I Declare – was an attempt to recreate Slow Moon’s Rose in my own image, but the two songs sound nothing alike.
Sandro Perri – Soft Landing
The last song on Sandro’s last album. Sandro mixed, mastered, and played guitar and keys all over Memory’s Fool. As much as I often want to give up on the guitar completely, the tender, romantic shredding on Soft Landing reminds me that the guitar can still be interesting. I love this whole record and I play it all the time for both comfort and inspiration.