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.:::::::::::::::::::::::: PSYCZ NON PSYCHEDELIC PRESENTS :::::::::::::::::::::.
::|»»»»»»»»»»»»»»»»»»»»»»»»»»»»»»»»»»»»»»»»»»»»»»»»»»»»»»»»»»»»»»»»»»»»»»»»»|::
::| Pete Namlook & Tetsu Inoue - 2350 Broadway |::
::| |::
::| |::
::| Artist.....> Pete Namlook & Tetsu Inoue |::
::| Album......> 2350 Broadway |::
::| Type.......> Album |::
::| |::
::| Label......> Fax +49-69/450464 Rel.date..> 16.11.2006 |::
::| CatalogNr..> PW 05 Str.date..> 08.09.1993 |::
::| |::
::| URL........> http://www.2350.org |::
::| |::
::| Genre......> Ambient Source.......> CDDA |::
::| Style......> Experimental, Ambient Grabber......> EAC 0.95.4 |::
::| Encoder......> Lame 3.96.1 --APS |::
::| No.Tracks..> 04 Quality......> VBRkbps / 44,1kHz |::
::| Size.......> 206,8 MB Channel Mode.> Joint-Stereo |::
::| Length.....> CD1: 71:54 CD2: 72:52 |::
::| |::
::|_________________________________________________________________________|::
::::::::::::::::::::::::::::: RELEASE NOTES ::::::::::::::::::::::::::::
::|»»»»»»»»»»»»»»»»»»»»»»»»»»»»»»»»»»»»»»»»»»»»»»»»»»»»»»»»»»»»»»»»»»»»»»»»»|::
::| |::
::| Originally issued in a quantity of 500 in September of 1993, this first |::
::| album proves to be a solid foundation on which much would be built. In |::
::| fact this album, above so many prized others (including Ambiant Otaku, |::
::| Shades of Orion, and Sequential), was voted on the Ambient email list |::
::| to be reissued on Namlook's Ambient World label a couple years back to |::
::| satisfy the many Internet Faxheads yearning to own it. |::
::| |::
::| Apparently, the claims made on the mailing list overemphasized just how |::
::| many people planned to buy the reissue and Namlook ended up with a pile |::
::| of extras. Because of this overabundance, fans are still able to find |::
::| all 3 volumes of the 2350 Broadway albums for sale, although spotting |::
::| 2350 Broadway II is becoming increasingly difficult these days. Much |::
::| like the seemingly crazed fans who would practically sacrifice body |::
::| parts to secure their own copies of rare albums, the musicians that |::
::| make them must often go to great lengths to find the special nstruments |::
::| used to produce the desired sounds. |::
::| |::
::| One of main sound sources for this first album was a an EMS Synthi. |::
::| These are legendary pieces of equipment that many musicians claim have |::
::| no equal. Here the vintage Synthi is placed in a modern electronic |::
::| studio context and its inner workings are explored and its seamless |::
::| textures revealed. The machine produces a glistening stream of sound |::
::| which our duo uses generally as the background for their pieces. Of |::
::| course, 2350 Broadway is hardly anything more but background, but |::
::| somehow these guys keep the textures interesting enough to just sit and |::
::| listen them. Each sound surface is rich and full of fine detail that |::
::| readily keeps my attention. |::
::| |::
::| |::
::| Disc 1: |::
::| |::
::| Vision of Pulse: What a way to start it out. A gargantuan wind tunnel |::
::| and loop of chimes launches you immediately into |::
::| spacious uncharted territory. Feel the cool aural |::
::| breeze gently usher you into a chamber of endless |::
::| proportions. After a few minutes, the chime pattern |::
::| begins to change, the loop sequence is altered by a |::
::| few added notes. Meanwhile, distant sound waves ripple |::
::| high above the stratosphere. I found that this track |::
::| began to grow on me only after I gained familiarity, |::
::| through many listens, with how the piece proceeds. For |::
::| me, the real fun beings at around the 17-minute mark, |::
::| those next 6 or 7 minutes are pure gold. The mood |::
::| shifts noticeable to a more serious, introspective |::
::| pose and a lead synth takes the spotlight. The notes |::
::| are carefully executed, each tone is crucial in the |::
::| overall formation. Later, a huge synth wave rises and |::
::| breaks over your temporal lobes like some analog |::
::| tsunami, and the subsequent reverberant forces wash |::
::| all in its path out into an endless sea.... |::
::| |::
::| Raga: Listening to this track on headphones can be compared to watching |::
::| a match of intergalactic ping-pong. The delays are panned hard to |::
::| the left and right. Most of the sounds you here in this track are |::
::| processed in this way. We begin with some plastic tapping toms |::
::| sounds, with a slowly rising layer of background synth. A hi-hat |::
::| now, through the same echo pattern. Gradually, other sounds are |::
::| gated in, fragments of speech, or just aliased squelchy noises |::
::| sounding like language segments. All bouncing the elements front, |::
::| left, and right while the backing sound slowly builds. It doesn't |::
::| really get rambunctious until about 14 minutes. The voices become |::
::| more explicit, and many of the sounds are swirling and tilting |::
::| around. Finally more computer chirps and a wind down begins at |::
::| around 20 minutes. The bleeps become more like an intentional |::
::| malfunctioning loop, ending the piece. |::
::| |::
::| Tokai: A bonus segment with more rounded computer blips and a powerful |::
::| recurring bass hum that will blow your speakers if you aren't |::
::| careful. Tokai works best for me at lower volumes, this puts the |::
::| hum at a tolerable level and blends the bleeping sequences |::
::| (which are similar to those in the previous track Raga) with any |::
::| other incidental sounds occurring in the room. |::
::| |::
::| |::
::| Disc 2: |::
::| |::
::| Hands of Light: The song takes up the entire length of the disc and is |::
::| indexed every 10 minutes for the listeners convenience. |::
::| This is the only song with beats in the entire trilogy, |::
::| and it's a good one. Because it is so long, I'll go |::
::| through the various phases by track # and list the |::
::| appropriate times that they occur: |::
::| |::
::| Start-10': |::
::| |::
::| The first few minutes serve as an intro, with the opening melodic theme |::
::| emerging at the 5 minute mark. |::
::| |::
::| 10'-20': |::
::| |::
::| The jetstream tones steadily grow. |::
::| |::
::| 20'-30': |::
::| |::
::| A few moments later the beat is set: a distant, thundering rhythm |::
::| appears that will continue weaving around for the next 10 minutes or |::
::| so. The beats stay constantly in motion and the echoes bounce around a |::
::| seemingly endless sphere-shaped room. The bass drum projects a tactile |::
::| series of compressions and rarefactions from the center region while |::
::| thumps reflect off the invisible wall somewhere on the other side of |::
::| you. At 2:32 a ground shaking feedback erupts. For the next 10 minutes |::
::| or so the rhythmic drift is sustained and then later vanishes. |::
::| |::
::| 30'-50': |::
::| |::
::| Somewhere in segment 4 a drone takes over while remaining traces of |::
::| jetstream are swept away. Now it sounds as if we've gone subterranean |::
::| with the vibrations from the veins of natural water lines. The drone |::
::| builds with the occasional undulating disturbance and becomes decorated |::
::| with Dune-like synths chords. Things get quiet toward the end. |::
::| |::
::| 50'-60': |::
::| |::
::| By now you definitely be off in REM-land if you've put this on for |::
::| sleep time. A new 3-tone theme appears. |::
::| |::
::| 60'-70': |::
::| |::
::| At this point, Hands of Light becomes a kind of gentle mixture of |::
::| everything up to here, distant wisps of sounds bubble up ever so |::
::| quietly. |::
::| |::
::| 70'-72': |::
::| |::
::| The drop off... |::
::| |::
::| |::
::| |::
::::. ....................................................... .::::
: : : TRACKLIST : : :
:...:.......:.....................................................:.......:...:
No : Title : : time : :
....:.......: :.......:...:
: :
CD1 : :
: :
01. Vision of Pulse 34:24 : :
02. Raga 27:58 : :
03. Tokai 09:32 : :
: :
CD2 : :
: :
01. Hands Of Light 72:52 : :
......:...:
Total:144:46 min:
:
______________________________________________________________________________:
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