22 may 2007
lbl: Tzadik
#: TZ 7264
electronic, jazz, rock
experimental, avant-garde, dark ambient
256kbps
1. | Lake Chad | ||
2. | Greenhouse | ||
3. | Belarus | ||
4. | A Cocktail Of Chemicals | ||
5. | Thermohaline | ||
6. | Dead Zone | ||
7. | Qianwei Sky | ||
8. | Yellow Rain | ||
9. | River Tigris | ||
10. | Drunken Forest | ||
11. | Coral Necropolis |
Bass - Kato Hideki
Computer [Laptop] - Ikue Mori
Engineer - Myles Boisen
Executive Producer - John Zorn
Guitar [Electric] - Fred Frith
Percussion - Jim Pugliese
note: "[...] No longer sounding like a trio, Death Ambient has become a collective, presenting an extremely unified musical vision. As with many of Frith’s solo projects, sonic diversity is omnipresent, but here, no transition feels forced or unnaturally preconceived. “A Cocktail of Chemicals” is a fascinating study in morphing fragmentation, as what sounds like a bicycle wheel speeds up, slows down and stops, related remnants and fragments crackling on either side of the stereo spectrum. A similarly treated power chord enters, disintegrating as it switches octaves. It recedes, replaced by a rising tide of explosive thunder and, incredibly, a delicate transparency of bubbles that takes over the remainder of the track, picking up washes of electrostatic and rumble as it goes. [...]" - Marc Medwin, Dusted Reviews.
Computer [Laptop] - Ikue Mori
Engineer - Myles Boisen
Executive Producer - John Zorn
Guitar [Electric] - Fred Frith
Percussion - Jim Pugliese
note: "[...] No longer sounding like a trio, Death Ambient has become a collective, presenting an extremely unified musical vision. As with many of Frith’s solo projects, sonic diversity is omnipresent, but here, no transition feels forced or unnaturally preconceived. “A Cocktail of Chemicals” is a fascinating study in morphing fragmentation, as what sounds like a bicycle wheel speeds up, slows down and stops, related remnants and fragments crackling on either side of the stereo spectrum. A similarly treated power chord enters, disintegrating as it switches octaves. It recedes, replaced by a rising tide of explosive thunder and, incredibly, a delicate transparency of bubbles that takes over the remainder of the track, picking up washes of electrostatic and rumble as it goes. [...]" - Marc Medwin, Dusted Reviews.
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