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││││││├┐││ ─────────────────────────────────────── music for body and soul
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└┐└──────┘ 12.12.2006
│play in.
artist: Cornelius
album: Sensuous
label: Warner Music Japan
cat: WPCL-10367
year: 2006
genre: Electronic
sub-genre: J-Pop
source: Cdda
grabber: Eac
encoder: LAME 3.90.3 --Alt-Preset Standard
quality: VBRkbps / 44,1kHz / Joint-Stereo
size: 67,0 MB
link: http://www.cornelius-sound.com/
─┐└───────────────────────────────────────────────────────────────────────
│tracklist.
no. time track title
01 04:22 Sensuous
02 04:00 Fit Song
03 03:51 Breezin'
04 01:33 Toner
05 06:57 Wataridori
06 03:46 Gum
07 00:39 Scum
08 04:38 Omstart
09 04:03 Beep It
10 03:28 Like A Rolling Stone
11 04:52 Music
12 04:43 Sleep Warm
total time: 46:52 min
─┐└───────────────────────────────────────────────────────────────────────
│release notes.
Yes! Cornelius' 5th album is coming! It will include title tracks
from the new singles "Music" and "Breezin'" as well as the song
"Gum" that's being used in a Vodafone commercial (also included on
the "Music" single).
The album will feature collaborations with Kings of Convenience
("Omstart", and some vocals on "Music"), and drummer Araki Yuko on
"Fit Song". "Sleep Warm" is a cover of Dean Martin.
it's hard to blame Cornelius for stringing us along with cast-off
material from 2001's Point like PM and Point 5.1. Among other
pursuits, he's become a father in the time between Point and his
newest album, Sensuous. What's surprising, however, is the fact
that Cornelius wasn't so sick of Point that he decided to go in
another direction altogether. No worries: in the interim he seems
to have found an almost childlike energy that's taking his old
ideas in all sorts of directions.
More than anything else, Sensuous sounds like something off
Nobukazu Takemura's label Childisc. Like Takemura, Cornelius makes
what is essentially children's music for adults, spurning steady
beats and bass for playful bare-bones electro-funk. Take
"Breezin"," the album's second single and one of Cornelius's career
highlights. The precious little reverb and flat mixing make
everything sound refreshingly in-your-face even with the spare
instrumentation and its two-dollar synth tingle.
It's this instrumentation that keeps Sensuous together in the face
of Cornelius's kitchen-sink song-scaping. On each track, we've got
Sensuous playing a number of Childisc-like roles: low-key guitar
funk, day-dreaming synth pop, prepared guitar, and on Side 2,
ambient electronic, Shibuya punk, and a couple of story-filled
nightsÆ worth of lullabies. In the end, it's a lot to swallow. As
with Point and 1998's Fantasma, Cornelius has almost too many
ideas.
With Point, Cornelius finally figured out how to sculpt those ideas
into a cohesive, flowing unit. Sensuous sees him going back to the
drawing board with twelve sketches of off-the-wall, brilliant
directions Cornelius could have gone in. There's vague bits of
American and Japanese pop, but they seem to float in and out of the
mix without context. You might hear a synth line that reminds you
of Moroder or Stevie Wonder packed into one of his loose,
skittering jams, but these referents are discarded quickly;
Cornelius's mind moves too fast to settle on any one thing for
long.
Nick Southall's review of Point poses the question: Is Cornelius
independently creative or just a rampant cultural consumer? This
album contains evidence supporting both points, with truly
innovative sounds adorning and abutting a number of half-finished
ideas. It's a little disjointed, more enigmatic, and more
confounding than its predecessors: a gentle, mysterious giant of an
album that could only have been created by a father.
(Reviewed by: Mike Orme@http://www.stylusmagazine.com/)
It's awesome !!!
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