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. ▀▀ :..
p r o u d l y p r e s e n t s ..::
░ Artist | Eno & Hyde
Title | High Life
Genre | Electronic
Source | CDDA
Format | Album
Label | Warp Records
Catalog | WARPCD255
Released | 2014
Ripped | 2015
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Quality | 252 kbps avg at 44.1 kHz ▄▄███▀▀
Encoder | Lame 3.98.4 V0 ▄▄██▀▀ ░
Size | 82.14 MB ▄▄█████▀ ░░░
Playtime | 43min 31s ▄███▄▄▄▄▄ ▄█▀ ▓█▄ ░░
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eh about this release ░░░░░░░ ▀██████ ░░ ░ ██▀ ░▓███
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░ R E L E A S E I N F O R M A T I O N
Ambient pioneer, glam rocker, hit producer, multimedia artist,
technological innovator, worldbeat proponent, and self-described
non-musician - over the course of his long, prolific, and immensely
influential career, BRIAN ENO was all of these things and much, much
more. Determining his creative pathways with the aid of a deck of
instructional, tarot-like cards called Oblique Strategies, Eno
championed theory over practice, serendipity over forethought, and
texture over craft; in the process, he forever altered the ways in
which music is approached, composed, performed, and perceived, and
everything from punk to techno to new age bears his unmistakable
influence...
Best known as the vocalist for the electronic act Underworld,
Londoner KARL HYDE was also in the pre-Underworld group Freur and
maintains a solo career as well. The roots of Underworld go back to
the dawn of the 1980s, when Hyde and musician Rick Smith formed a
pop-reggae group, the Screen Gemz, and then the new wave band called
Freur, who would release the minor hit "Doot Doot" in 1983...
"High Life", the second collaboration between Brian Eno and
Underworld's Karl Hyde, began immediately after the completion of
"Someday World". Its release follows a mere two months later. While
some traits of the former are present here - a heavy reliance on
African-sourced rhythms, and hypnotically repetitive keyboard and
bassline - it is a very different companion. While the pair relied
on more formal 'song forms' on "Someday World", "High Life" is
looser. These six tracks place more value on jamming. The
centerpiece is Hyde's guitar. It's front and center throughout, with
myriad rhythm tracks close behind. A two-chord reinvention of Chuck
Berry's signature riff commences album-opener "Return" before
becoming subsumed in sonic treatments and Edge-like sounds.
Nonetheless, that vamp worms its way into the brain and feet. Hyde's
drifting vocal is mixed far underneath his six-string; it's
negligible. Skittering percussion loops and a droning keyboard
eventually come to prominence balanced by an organ playing more like
a calliope, building on and subtracting from the riff. A humming
bassline merely echoes the guitar changes and it goes on for nine
minutes. Though only four minutes, "DBF" is pure funk, with Hyde's
chunky guitar chords hammering right at the percussion and
syncopating it. "Time To Waste It" combines both high life and
Caribbean rhythms with a slowly unfolding, merciless repetition that
becomes momentum. The heavily treated vocals unhurriedly open out in
a bigger circle. It's a 'song' that feels like pure improvisation.
The proto-disco rhythm guitar in "Lilac" - featuring the album's
silliest lyrics - is juxtaposed with psychedelia and gospel in the
vocals.
Eno's keyboard treatments pulse; they twist and turn it inside out
without forsaking the reverence in or spaciness of the singing,
while the guitar keeps the foot race going. "Moulded Life" is
careening, chaotic electro Afrofunk - we could have used much more
on this set - with Adrian Belew-esque guitar parts cutting in a
number of directions, as keyboards churn, burp, and crash with
dissonance above glitchy rhythm tracks. Closer "Cells and Bells" is
an outlier. Given its predecessors, it's almost ambient in
comparison; it's a spectral elegy with a monotone vocal that becomes
part of the instrumentation. There's just enough actual (musical)
form to keep the thread, as it is, to a close. "High Life" sounds
like it contains little 'strategy'. These jams feel spontaneous. The
constant repetition with more or less subtle shades of developing
dynamic and texture in all but the last of these tracks creates a
nearly endless groove. And perhaps that's the album's point,
creating an album of dance music that's fun to listen to; a mirror
image of "Someday World's" more carefully structured avant pop.
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::t r a c k l i s t ::: ▀██████▀▀
::: . ▀▀
------------------------------------------------------------------------------
01. Return 9:00
02. DBF 4:13
03. Time To Waste It 8:19
04. Lilac 9:24
05. Moulded Life 4:54
06. Cells & Bells 7:41
-----
43:31
------------------------------------------------------------------------------
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