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cDr|m's
.:: a klangwerk release ..................................................::.
artist :: flanger
release :: outer space / inner space
year :: 2001
genre :: lo-fi
label :: ninja tune
catalogue :: zen cd61
website :: www.ninjatune.net
ripper :: decimetre
date :: 11/06/2001
quality :: 192kbps/44,100hz
source :: compact disc
.::.......................................................................::.
01 outer space / inner space 5:34
02 galak 7:46
03 the men who fell from earth 3:43
04 inner spacesuit 7:44
05 le dernier combat 5:57
06 unosietecero 4:49
07 it ain't rocket science 4:44
08 hirnflug 6:02
playtime :: 00h 46m 19s
.::.......................................................................::.
it's ja-a-a-a-zz folks, but not as we know it. how could it be when
it's burnt friedman and atom setting the controls for the dyslexic
heart of the dark side of the moon?
agents from a more distant future, flanger echo jg ballard,
pondering the question "which way to inner space?". kubrick's
vision of 2001 showed us that the quest for space exploration is,
of course, underpinned by an inner journey. flanger pose in silver
space suits for the cover art, recalling the anecdote about
salvador dali, who donned a diver's suit to deliver a lecture, and
nearly suffocated. as a playful apparition of an alternate future,
it sure beats all those laptop clicks, eh?
it's with these thoughts uppermost that the third flanger
collaboration (following midnight sound and templates) is born and
finds our heroes stretching their musical horizons in most unusual
ways, both in recording methods and song construction. so, business
as usual for two of contemporary music's keenest adventurers.
recent output includes con ritmo and plays love songs on friedman's
own nonplace label and burnt friedman & the nu dub players on
scape, along with parallel works from atom as atom heart, senor
coconut, geeez'n'gosh and lb: both concerned the blurring of sound
definitions between artificial and real. previous flanger music may
have sounded like full jazz outfits later processed - but in fact,
they were both entirely programmed.
this time however, new co-ordinates and parameters were set.
friedman, based in cologne, and atom, located in santiago de
chile, programme the tracks, building in specific contributions
from sympathetic musicians around the world: in copenhagen, in
cologne, in santiago. they resume their prediliction for unlikely
time signatures: 5; 7; 9; sometimes several in the space of one
track.
flanger discover music of intuition and chance. questions of
authorship arise, as it did when miles davis was recording with
producer teo macero in the seventies, where spontaneous
improvisations then savagely edited essentially reinvented the
original compositions.
there's a fusion-y feel that is too knowing to fall into shit
clichΘs: gorgeous vibraphones, subtle variance of percussion, all
undercut by the satisfying precision of the programming that
creates lovely space; the weird jump cuts and edits that reveal a
techno pulse amidst the layers of lush instrumentation.
flanger say: you are about to to take the quantum leap to a
fantastic journey on the other side of human understanding. let's
go!
.::.......................................................................::.
greetings :: sb, qdp, sour, dps, rac, dh, sfe, hbz, tr, igr and mgc
.::.......................................................................::.