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┌────────┐
────┤ Info ├─────────────────────────────────────────────────────────────────
└────────┘
Artist | Daniel Lanois
Title | Flesh and Machine
Genre | Ambient Format | Album
Source | CDDA Time | 36:15
Label | Red Floor Records Store | 2014
Catalog | 7386-2 Rip | 2015
Bitrate | 221 kbps Size | 60.84 MB
Freq | 44.1 kHz Encoder | Lame 3.98.4
┌────────┐
────┤ Tracks ├─────────────────────────────────────────────────────────────────
└────────┘
01. Rocco 1:30
02. The End 3:35
03. Sioux Lookout 3:52
04. Tamboura Jah 2:51
05. Two Bushas 3:03
06. Space Love 3:51
07. Iceland 2:38
08. My First Love 1:56
09. Opera 3:09
10. Aquatic 4:21
11. Forest City 5:29
┌────────┐
────┤ Notes ├─────────────────────────────────────────────────────────────────
└────────┘
One of the most distinctive and celebrated producers of his time,
Daniel Lanois was also a gifted composer and solo artist; whether
performing his own material or helming records for the likes of U2,
Bob Dylan, and Peter Gabriel, the hallmarks of his singular
aesthetic remained the same. Noted for his unparalleled atmospheric
sensibilities, Lanois pursued emotional honesty over technical
perfection, relying on vintage equipment and unorthodox studio
methods to achieve a signature sound both viscerally powerful and
intricately beautiful. He was born September 19, 1951 in Hull,
Quebec; his French-Canadian family was firmly rooted in music, with
his mother a singer and both his father and grandfather noted for
their prowess on the violin. Following his parents' 1963 separation,
Lanois and his mother moved to the English-speaking suburbs of
Hamilton, Ontario; there he learned to play guitar, and with his
brother, Robert, began making primitive home recordings on a cheap
cassette player. In 1970, the siblings purchased a four-track
machine, setting up a recording studio in the laundry room of their
home and offering their services to local bands for a $60 fee..
"Flesh and Machine" is Daniel Lanois' seventh or eighth album
depending on how one counts them. It contains no 'songs', but rather
11 sonic compositions that have been painstakingly structured from
sketch instrumentation (guitars, pedal steel, drums, basses, organs,
pianos, an omnichord) and voices (human and otherwise), put through
intricate webs of digital processing, editing, and sampling. What
started as an ambient album - the tracks "Space Love" and closer
"Forest City" are testaments to that - spiraled into something else,
a record where the recording studio becomes the instrument of
choice. There are precedents in his earlier catalog for almost
everything here: the aforementioned cuts recall work he did with
Brian Eno on 1982's "Ambient 4: On Land" and 1983's "Apollo:
Atmospheres & Soundtracks", yet the end result is more scattershot
and fragmented. Opener "Rocco" features harmonically layered
falsetto voices accompanied by a piano. It's lovely and lilting but
all too brief. "Aquatic" commences as an ambient piece, but its
fuzzy pedal steel and wordless vocals drift languidly to explore
various tones and harmonics. Though it possesses no real center, it
does extend ideas Lanois showcased on "Steel", the first album in
his Omni Series box. The frenetic "Opera" showcases live drums
accompanying a sped-up, distorted, junglist loop (itself created
from live drums) stacked alto voices, a whompy Jim Wilson bassline,
and what sounds like variously stretched, striated organ chords.
The drumming on "Sioux Lookout" is in the punchy New Orleans funk
style with massive tom-tom and snare breaks - one can hear its
origins in various songs on For the Beauty of Wynona - while the
guitars are silvery and dreamy. "The End" is a tense, squalling,
electric guitar and drum jam with Brian Blade playing without
restraint. Lanois employs staggering tsunamis of distortion and
feedback in his soloing. The romantic waltz "My First Love" uses the
same omnichord synth Lanois employed on Apollo. It's tender and
perverse with a deliberate application of schmaltz; it would not be
out of place in a David Lynch film. "Two Bushas," while pretty in
its shimmering way, sounds more like an afterthought than an actual
idea. And that's the problem with "Flesh & Machine". This rainbow of
sonic treatments sound great in a pair of headphones but, though
most of the individual pieces are interesting, they fail to gel as
an album. Over most of the 2000s, Lanois has proven he's more
interested in experimenting in his laboratory than in songwriting.
That's fine as far as it goes but it doesn't make for an album which
one is inclined to return to repeatedly.
┌────────┐
────┤ Group ├─────────────────────────────────────────────────────────────────
└────────┘