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≡█
≥█ General Info :
≥█ Title .........: Wild Life Documentaries
≥█ Artist ........: Deadbeat
≥█ Music Style ...: Lo-Fi
≥█ Type ..........: Album
≥█ Release Date ..: Nov-07-2002
≥█
≥█ Used Tools :
≥█ Grabber .......: Dbpoweramp
≥█ Encoder .......: Lame 3.92
≥█
≥█ Additional Info:
≥█ Source ........: CDDA
≥█ No. Of Songs ..: 10
≥█ Size ..........: 86,7 MB
≥█ Playtime ......: 63:03 min
≥█ Label .........: ~scape
≥█ Quality .......: 192kbps / 44,1kHz / HQ / Full Stereo
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±█
≥█ 01 ::: Open My Eyes that I May See ::: 04:41
≥█ 02 ::: Organ in the Attic Sings the Blues ::: 07:22
≥█ 03 ::: For Palestine ::: 08:01
≥█ 04 ::: For Israel (Jaffa Revisited) ::: 06:27
≥█ 05 ::: Let it Rain ::: 08:00
≥█ 06 ::: Cause for Hope ::: 06:36
≥█ 07 ::: To Berlin with Love ::: 05:29
≥█ 08 ::: A Dub for Akufen ::: 04:18
≥█ 09 ::: When First You Gave Me Shivers ::: 03:50
≥█ 10 ::: Kezia ::: 08:19
±█
≡█
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±█
≥█ Over the last two years Berlin-based label ~scape, initially a
≥█ platform for selected dub productions and electronic music influenced
≥█ by this genre, has slowly broadened its musical spectrum cautiously
≥█ but systematically, spreading its output to unique interpretations of
≥█ jazz and hiphop. Besides this diversification, as exemplified by the
≥█ label's staedtizism compilation range, some of the label's focus has
≥█ now been redirected back to the roots, i.e. electronic dub and its
≥█ derivatives. The upcoming DEADBEAT album "Wild Life Documentaries"
≥█ feels at home in this context as does the latest SYSTEM release (late
≥█ August 2002).
≥█
≥█ Montreal, Canada: once a rather inconspicuous blot on the musical map,
≥█ recently this city has turned into a creative hub for electronic
≥█ music. Its incredibly lively scene not only churns out a cornucopia
≥█ of groundbreaking productions, but is hailed by both local and
≥█ visiting artists for its openness, its electrifying and inspiring
≥█ energy. Scott Monteith, aka DEADBEAT, has been part of this scene's
≥█ inner circle since the beginning. His first records were put out by
≥█ Hautec and Revolver from 1998. With the scene's internationally known
≥█ protagonists (e.g. Akufen or Jeff Milligan, alias DJ Algorithm) he has
≥█ longstanding artistic and friendly relations, the same applies to the
≥█ Mutek festival which played a significant part in the awakening of
≥█ Montreal. Spending his daytime hours researching and developing new
≥█ sound synthesis techniques and tools for the music software foundry
≥█ Applied Acoustics, at night Scott Monteith uses these fertile tools to
≥█ work on his own musical textures.
≥█
≥█ Last year's highly praised debut album - released by Intr_version
≥█ Records, Montreal - had been an "investigation of dub on the cellular
≥█ level" and proved DEADBEAT's masterful grip on the most varied
≥█ techniques. The new album "Wild Life Documentaries" delves deep into
≥█ this heritage: the entire idiomatic richesse, the aural trade marks,
≥█ the delays, the white noise, the tape echo, all the compressions and
≥█ manipulations the history of dub hasproduced have found their place in
≥█ his work, were used, re-interpreted, re-invented and transferred into
≥█ the here and now. Technical finesse is never pushed to the forefront,
≥█ though, because DEADBEAT relies much more on the traditional roots
≥█ elements of classic dub, their timeless soul and very own nostalgia.
≥█ On "Wild Life Documentaries" sound experimentation joins the courage
≥█ for direct, emotional statements, in Monteith's words: "the display of
≥█ discrete emotional states." In this he has not only rediscovered
≥█ narrative, song-based structure-affiliated composition methods for
≥█ individual tracks, but also blends everything into a dub epic, a suite
≥█ of nevertheless autonomous tracks, a listening journey stretching from
≥█ the melancholically smoky opener "Open My Eyes That I May See" via
≥█ more forceful tracks (like "Dub For Akufen" and "To Berlin With Love")
≥█ to the relaxed, hopeful "Kezia". Stations on this journey are the
≥█ rather straight "Let It Rain", in which DEADBEAT skilfully allows the
≥█ Canadian rain sampled on his doorstep to interact with synthetic
≥█ cymbals. In "Cause For Hope" Tassmann software-modelled strings delve
≥█ into explorations whose complexity only becomes clear at the closest
≥█ listening, countered by stopped dancehall beats. "To Berlin With
≥█ Love" meanwhile is a dramatic "deep on the dancefloor"-style homage to
≥█ the city which has spawned so many milestones of the electronic
≥█ adaptation of dub. Complex, effusive, straight-forward but packed
≥█ with subtle humour, the track is reminiscent of another key figure of
≥█ the Montreal scene, the inspiration behind the subsequent "Dub For
≥█ Akufen". Originally devised as a remix for a mutually planned, but
≥█ never realised project by the two friends, this is possibly the track
≥█ most likely to find its way onto the dancefloor. Nevertheless, the
≥█ driving flow of "Wild Life Documentaries" unfolds itself to the
≥█ careful listener as much as to the casual consumer, who, in DEADBEAT's
≥█ words, might use it as "wallpaper of sound". Because with all its
≥█ attitude and dramatic claim the album is carried by a relaxed, organic
≥█ warmth, the soul inherent in all true dub music.
≥█
≥█ Sascha Wolters
±█
≡█
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[ best viewed in jane with lucida console ansi (size 8) ]
Files
Path
Size
[BMW]-[Lo-Fi-2002]-(86.7 MB in 10 files of 192kbps Stereo)-[bender@rec