Well it's...different.
I'm still trying to get my head around it. Will try to write a little review in a couple of days.
If you like glacial 80's synths and drum machine hand claps you're in luck.
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I Break Horses - Chems Remix
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#203
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Posted 19 November 2013 - 10:10 PM
london_dust_explosion, on 19 November 2013 - 4:39 AM, said:
Saw them last night supporting Sigur Rós, they unfortunately didn't play for that long but the new stuff sounded really good.
Did you enjoy Sigur Ros?
#205
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Posted 06 December 2013 - 8:48 PM
Chiaroscuro: a review
The music game can be a harsh one. Make your records sound too similar and people get bored; change things too much and they say you’re not the artist they used to love. When you make a debut album as good as Hearts, the safe option would surely be to expand on that and hope to win more fans for your second long player. But Maria and co have been brave and chosen to change things. Almost all real instrumentation is gone and in its place therefore, are almost purely synthetic sounds. Particularly noticeable are the 1980’s flavoured synths and (syn)drums. 1980’s flavoured tunes in some places too. And to me there’s a jarring sound which I call “whiny synths” – that’s a technical term you know! It’s not a noise that floats my boat, so I have tried to judge these tunes despite the whiny synths rather than because of them (don’t know if I’ve succeeded though). Track by track thoughts - here we go.
1 You Burn
A pulsing synth note creates an air of anticipation. A cool vocal, “Burn/ you burn/ when worlds are burning/ baby you burn”. The vocals more like a slow, repeated mantra than a full song. Gentle piano chords mark out the simple melody. Gradually more layers are added (all synthetic), along with rattling snares, and eventually 80’s style hand claps. A template for a different sounding album has been set. Not what I was expecting, but the melody and tension of the track work well as an opener.
2 Faith
Already out as a single. There’s a reasonable tune in here somewhere. Alas also quite a lot of whiny synths – the ones you can hear around 32 seconds into the track. Faith also reminds me a bit of Crystal Castles, who I like. Probably the fastest song on the album, so it’s understandable why it’s a single. Definitely a grower.
3 Ascension
A markedly slower tune with a real 80’s synth sound. Perhaps the first time that Vangelis comes to mind on listening to Chiaroscuro. I have no idea what Maria is singing about, although that’s not necessarily important. Ascension could have perhaps been the arty B-side to Berlin’s ‘Take My Breath Away’, but it’s not as catchy.
4 Denial
The other track that’s already out. Anyone else think this could have been on the soundtrack to Drive? The vocal melody is strong in this one, which means that the appearance of whiny synths and ‘Eastenders’ drums don’t completely ruin it. I’d love to hear a [non-club] remix of this from someone like Stuart Price.
5 Berceuse.
I had to Google this word; it’s a musical term. Opens with a kick drum and a synth hum reminiscent of Low Life era New Order, then a sampled vocal noise that owes a nod to Gold Panda’s ‘You’. An airy, sweet(ish) vocal from Maria floats across the track, a bit like Julee Cruise. High pitch glacial synth sounds make an appearance. It has a dreamy quality to it, but as with most dreams, I’ve forgotten it as soon as it’s over.
6 Medicine Brush
More cold synth sounds, both sparkly and whiny. A crunching, pummelling kick drum helps to bring a menacing air to the track. Maria’s languorous vocals feel detached, again like a dream, but one that’s gone slightly wrong. I have no idea what she’s singing, but it may be putting me under an evil spell. The synths bubbling away underneath could be taken from some slow motion chase scene that didn’t quite make it on to [any of the umpteen different cuts of] Blade Runner. Seven minutes of artful…something. I feel a little baffled.
7 Disclosure
A slow, sexy synth groove (albeit those 80’s synths again), a regularly plucked high bass guitar (or is it a twangy guitar, or even a sample?) brings some humanity to the sound. A back masked, reverberating vocal is almost impossible to decipher lyrically, but there’s melody here – a good one. As the track progresses I notice my head involuntarily nodding, and the word Digitalism briefly strolls into my mind. By about 3 min 30 there’s even a couple of proper, held-down guitar notes! A lovely tune. If there is to be another single from this album, it has to be this.
8 Weigh True Words.
A verse v chorus kind of song. Starts slow-ish with cascading handclaps that remind me of Shep Pettibone’s remix of True Faith (another New Order reference), and then Jan Hammer style keys which echo the moody vocal melody. The track then jumps to a faster, higher pitched chorus which sounds a bit like The Naked And Famous. It also makes me want to sing ‘Waiting For a Star To Fall’ for some reason. Then back to the moody verse. That’s a relief. Verse wins.
9 Heart To Know
Ahhhh this is different; completely different to anything else on the album. Beat-less for its entirety and free of those 80’s synths too. Instead we get a deep organ-like drone that could vibrate up your trousers and into your bowels. The vocal is an almost plaintive, emotional declaration, “It’s hard to knowww babe, your knowledge…”. It sounds like Maria has written a lament for a doomed love affair with God. Or maybe she’s trapped in the Phantom Zone from Superman, wrongly convicted and hurtling off into space, forever torn from her soul mate. It’s a Hymn of sorts, and it’s beautiful. Other than the Spacemen Three-influenced drone and the vocals, we get lyric-free choral backing vocals adding both punctuation and depth to the track. By the 4 minute mark, the drone starts to gently whirr and distort; it reminds me of Snow or something from ‘Further’ era Chems. By the six minute mark, if you’re feeling tired and emotional it might just bring a tear to your eye. As it fades around 7 min 30, you think: Damn, I was just starting to take the album on its own merits and THIS comes along to remind me how good Hearts was, how good it felt. More of this next time please!
And that’s it. Another nine tracks or 46 minutes of music to add to the discography of IBH. As much as I admire the decision to change, on the whole I wish they hadn’t. Where the dream pop of their debut remained grounded by real life instruments and great textures, this follow up feels like it could float right over my head at times. I don’t have a problem with electronic music (it’s unlikely I’d be on this forum if I did), but I’m just not that crazy about IBH’s choice of palette. It may be best to listen to Chiaroscuro as though it were a debut album from an unknown band – perhaps a side project of The Knife or Goldfrapp. With the exception of the final track, this is an album for the head rather than the heart(s), and as such I’m finding it more difficult to let Chiaroscuro into my own heart.
Marks out of ten? 6.5
The music game can be a harsh one. Make your records sound too similar and people get bored; change things too much and they say you’re not the artist they used to love. When you make a debut album as good as Hearts, the safe option would surely be to expand on that and hope to win more fans for your second long player. But Maria and co have been brave and chosen to change things. Almost all real instrumentation is gone and in its place therefore, are almost purely synthetic sounds. Particularly noticeable are the 1980’s flavoured synths and (syn)drums. 1980’s flavoured tunes in some places too. And to me there’s a jarring sound which I call “whiny synths” – that’s a technical term you know! It’s not a noise that floats my boat, so I have tried to judge these tunes despite the whiny synths rather than because of them (don’t know if I’ve succeeded though). Track by track thoughts - here we go.
1 You Burn
A pulsing synth note creates an air of anticipation. A cool vocal, “Burn/ you burn/ when worlds are burning/ baby you burn”. The vocals more like a slow, repeated mantra than a full song. Gentle piano chords mark out the simple melody. Gradually more layers are added (all synthetic), along with rattling snares, and eventually 80’s style hand claps. A template for a different sounding album has been set. Not what I was expecting, but the melody and tension of the track work well as an opener.
2 Faith
Already out as a single. There’s a reasonable tune in here somewhere. Alas also quite a lot of whiny synths – the ones you can hear around 32 seconds into the track. Faith also reminds me a bit of Crystal Castles, who I like. Probably the fastest song on the album, so it’s understandable why it’s a single. Definitely a grower.
3 Ascension
A markedly slower tune with a real 80’s synth sound. Perhaps the first time that Vangelis comes to mind on listening to Chiaroscuro. I have no idea what Maria is singing about, although that’s not necessarily important. Ascension could have perhaps been the arty B-side to Berlin’s ‘Take My Breath Away’, but it’s not as catchy.
4 Denial
The other track that’s already out. Anyone else think this could have been on the soundtrack to Drive? The vocal melody is strong in this one, which means that the appearance of whiny synths and ‘Eastenders’ drums don’t completely ruin it. I’d love to hear a [non-club] remix of this from someone like Stuart Price.
5 Berceuse.
I had to Google this word; it’s a musical term. Opens with a kick drum and a synth hum reminiscent of Low Life era New Order, then a sampled vocal noise that owes a nod to Gold Panda’s ‘You’. An airy, sweet(ish) vocal from Maria floats across the track, a bit like Julee Cruise. High pitch glacial synth sounds make an appearance. It has a dreamy quality to it, but as with most dreams, I’ve forgotten it as soon as it’s over.
6 Medicine Brush
More cold synth sounds, both sparkly and whiny. A crunching, pummelling kick drum helps to bring a menacing air to the track. Maria’s languorous vocals feel detached, again like a dream, but one that’s gone slightly wrong. I have no idea what she’s singing, but it may be putting me under an evil spell. The synths bubbling away underneath could be taken from some slow motion chase scene that didn’t quite make it on to [any of the umpteen different cuts of] Blade Runner. Seven minutes of artful…something. I feel a little baffled.
7 Disclosure
A slow, sexy synth groove (albeit those 80’s synths again), a regularly plucked high bass guitar (or is it a twangy guitar, or even a sample?) brings some humanity to the sound. A back masked, reverberating vocal is almost impossible to decipher lyrically, but there’s melody here – a good one. As the track progresses I notice my head involuntarily nodding, and the word Digitalism briefly strolls into my mind. By about 3 min 30 there’s even a couple of proper, held-down guitar notes! A lovely tune. If there is to be another single from this album, it has to be this.
8 Weigh True Words.
A verse v chorus kind of song. Starts slow-ish with cascading handclaps that remind me of Shep Pettibone’s remix of True Faith (another New Order reference), and then Jan Hammer style keys which echo the moody vocal melody. The track then jumps to a faster, higher pitched chorus which sounds a bit like The Naked And Famous. It also makes me want to sing ‘Waiting For a Star To Fall’ for some reason. Then back to the moody verse. That’s a relief. Verse wins.
9 Heart To Know
Ahhhh this is different; completely different to anything else on the album. Beat-less for its entirety and free of those 80’s synths too. Instead we get a deep organ-like drone that could vibrate up your trousers and into your bowels. The vocal is an almost plaintive, emotional declaration, “It’s hard to knowww babe, your knowledge…”. It sounds like Maria has written a lament for a doomed love affair with God. Or maybe she’s trapped in the Phantom Zone from Superman, wrongly convicted and hurtling off into space, forever torn from her soul mate. It’s a Hymn of sorts, and it’s beautiful. Other than the Spacemen Three-influenced drone and the vocals, we get lyric-free choral backing vocals adding both punctuation and depth to the track. By the 4 minute mark, the drone starts to gently whirr and distort; it reminds me of Snow or something from ‘Further’ era Chems. By the six minute mark, if you’re feeling tired and emotional it might just bring a tear to your eye. As it fades around 7 min 30, you think: Damn, I was just starting to take the album on its own merits and THIS comes along to remind me how good Hearts was, how good it felt. More of this next time please!
And that’s it. Another nine tracks or 46 minutes of music to add to the discography of IBH. As much as I admire the decision to change, on the whole I wish they hadn’t. Where the dream pop of their debut remained grounded by real life instruments and great textures, this follow up feels like it could float right over my head at times. I don’t have a problem with electronic music (it’s unlikely I’d be on this forum if I did), but I’m just not that crazy about IBH’s choice of palette. It may be best to listen to Chiaroscuro as though it were a debut album from an unknown band – perhaps a side project of The Knife or Goldfrapp. With the exception of the final track, this is an album for the head rather than the heart(s), and as such I’m finding it more difficult to let Chiaroscuro into my own heart.
Marks out of ten? 6.5
#206
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Posted 07 December 2013 - 12:35 AM
skyscraper, on 07 December 2013 - 6:48 AM, said:
Chiaroscuro: a review
The music game can be a harsh one. Make your records sound too similar and people get bored; change things too much and they say you’re not the artist they used to love. When you make a debut album as good as Hearts, the safe option would surely be to expand on that and hope to win more fans for your second long player. But Maria and co have been brave and chosen to change things. Almost all real instrumentation is gone and in its place therefore, are almost purely synthetic sounds. Particularly noticeable are the 1980’s flavoured synths and (syn)drums. 1980’s flavoured tunes in some places too. And to me there’s a jarring sound which I call “whiny synths” – that’s a technical term you know! It’s not a noise that floats my boat, so I have tried to judge these tunes despite the whiny synths rather than because of them (don’t know if I’ve succeeded though). Track by track thoughts - here we go.
1 You Burn
A pulsing synth note creates an air of anticipation. A cool vocal, “Burn/ you burn/ when worlds are burning/ baby you burn”. The vocals more like a slow, repeated mantra than a full song. Gentle piano chords mark out the simple melody. Gradually more layers are added (all synthetic), along with rattling snares, and eventually 80’s style hand claps. A template for a different sounding album has been set. Not what I was expecting, but the melody and tension of the track work well as an opener.
2 Faith
Already out as a single. There’s a reasonable tune in here somewhere. Alas also quite a lot of whiny synths – the ones you can hear around 32 seconds into the track. Faith also reminds me a bit of Crystal Castles, who I like. Probably the fastest song on the album, so it’s understandable why it’s a single. Definitely a grower.
3 Ascension
A markedly slower tune with a real 80’s synth sound. Perhaps the first time that Vangelis comes to mind on listening to Chiaroscuro. I have no idea what Maria is singing about, although that’s not necessarily important. Ascension could have perhaps been the arty B-side to Berlin’s ‘Take My Breath Away’, but it’s not as catchy.
4 Denial
The other track that’s already out. Anyone else think this could have been on the soundtrack to Drive? The vocal melody is strong in this one, which means that the appearance of whiny synths and ‘Eastenders’ drums don’t completely ruin it. I’d love to hear a [non-club] remix of this from someone like Stuart Price.
5 Berceuse.
I had to Google this word; it’s a musical term. Opens with a kick drum and a synth hum reminiscent of Low Life era New Order, then a sampled vocal noise that owes a nod to Gold Panda’s ‘You’. An airy, sweet(ish) vocal from Maria floats across the track, a bit like Julee Cruise. High pitch glacial synth sounds make an appearance. It has a dreamy quality to it, but as with most dreams, I’ve forgotten it as soon as it’s over.
6 Medicine Brush
More cold synth sounds, both sparkly and whiny. A crunching, pummelling kick drum helps to bring a menacing air to the track. Maria’s languorous vocals feel detached, again like a dream, but one that’s gone slightly wrong. I have no idea what she’s singing, but it may be putting me under an evil spell. The synths bubbling away underneath could be taken from some slow motion chase scene that didn’t quite make it on to [any of the umpteen different cuts of] Blade Runner. Seven minutes of artful…something. I feel a little baffled.
7 Disclosure
A slow, sexy synth groove (albeit those 80’s synths again), a regularly plucked high bass guitar (or is it a twangy guitar, or even a sample?) brings some humanity to the sound. A back masked, reverberating vocal is almost impossible to decipher lyrically, but there’s melody here – a good one. As the track progresses I notice my head involuntarily nodding, and the word Digitalism briefly strolls into my mind. By about 3 min 30 there’s even a couple of proper, held-down guitar notes! A lovely tune. If there is to be another single from this album, it has to be this.
8 Weigh True Words.
A verse v chorus kind of song. Starts slow-ish with cascading handclaps that remind me of Shep Pettibone’s remix of True Faith (another New Order reference), and then Jan Hammer style keys which echo the moody vocal melody. The track then jumps to a faster, higher pitched chorus which sounds a bit like The Naked And Famous. It also makes me want to sing ‘Waiting For a Star To Fall’ for some reason. Then back to the moody verse. That’s a relief. Verse wins.
9 Heart To Know
Ahhhh this is different; completely different to anything else on the album. Beat-less for its entirety and free of those 80’s synths too. Instead we get a deep organ-like drone that could vibrate up your trousers and into your bowels. The vocal is an almost plaintive, emotional declaration, “It’s hard to knowww babe, your knowledge…”. It sounds like Maria has written a lament for a doomed love affair with God. Or maybe she’s trapped in the Phantom Zone from Superman, wrongly convicted and hurtling off into space, forever torn from her soul mate. It’s a Hymn of sorts, and it’s beautiful. Other than the Spacemen Three-influenced drone and the vocals, we get lyric-free choral backing vocals adding both punctuation and depth to the track. By the 4 minute mark, the drone starts to gently whirr and distort; it reminds me of Snow or something from ‘Further’ era Chems. By the six minute mark, if you’re feeling tired and emotional it might just bring a tear to your eye. As it fades around 7 min 30, you think: Damn, I was just starting to take the album on its own merits and THIS comes along to remind me how good Hearts was, how good it felt. More of this next time please!
And that’s it. Another nine tracks or 46 minutes of music to add to the discography of IBH. As much as I admire the decision to change, on the whole I wish they hadn’t. Where the dream pop of their debut remained grounded by real life instruments and great textures, this follow up feels like it could float right over my head at times. I don’t have a problem with electronic music (it’s unlikely I’d be on this forum if I did), but I’m just not that crazy about IBH’s choice of palette. It may be best to listen to Chiaroscuro as though it were a debut album from an unknown band – perhaps a side project of The Knife or Goldfrapp. With the exception of the final track, this is an album for the head rather than the heart(s), and as such I’m finding it more difficult to let Chiaroscuro into my own heart.
Marks out of ten? 6.5
The music game can be a harsh one. Make your records sound too similar and people get bored; change things too much and they say you’re not the artist they used to love. When you make a debut album as good as Hearts, the safe option would surely be to expand on that and hope to win more fans for your second long player. But Maria and co have been brave and chosen to change things. Almost all real instrumentation is gone and in its place therefore, are almost purely synthetic sounds. Particularly noticeable are the 1980’s flavoured synths and (syn)drums. 1980’s flavoured tunes in some places too. And to me there’s a jarring sound which I call “whiny synths” – that’s a technical term you know! It’s not a noise that floats my boat, so I have tried to judge these tunes despite the whiny synths rather than because of them (don’t know if I’ve succeeded though). Track by track thoughts - here we go.
1 You Burn
A pulsing synth note creates an air of anticipation. A cool vocal, “Burn/ you burn/ when worlds are burning/ baby you burn”. The vocals more like a slow, repeated mantra than a full song. Gentle piano chords mark out the simple melody. Gradually more layers are added (all synthetic), along with rattling snares, and eventually 80’s style hand claps. A template for a different sounding album has been set. Not what I was expecting, but the melody and tension of the track work well as an opener.
2 Faith
Already out as a single. There’s a reasonable tune in here somewhere. Alas also quite a lot of whiny synths – the ones you can hear around 32 seconds into the track. Faith also reminds me a bit of Crystal Castles, who I like. Probably the fastest song on the album, so it’s understandable why it’s a single. Definitely a grower.
3 Ascension
A markedly slower tune with a real 80’s synth sound. Perhaps the first time that Vangelis comes to mind on listening to Chiaroscuro. I have no idea what Maria is singing about, although that’s not necessarily important. Ascension could have perhaps been the arty B-side to Berlin’s ‘Take My Breath Away’, but it’s not as catchy.
4 Denial
The other track that’s already out. Anyone else think this could have been on the soundtrack to Drive? The vocal melody is strong in this one, which means that the appearance of whiny synths and ‘Eastenders’ drums don’t completely ruin it. I’d love to hear a [non-club] remix of this from someone like Stuart Price.
5 Berceuse.
I had to Google this word; it’s a musical term. Opens with a kick drum and a synth hum reminiscent of Low Life era New Order, then a sampled vocal noise that owes a nod to Gold Panda’s ‘You’. An airy, sweet(ish) vocal from Maria floats across the track, a bit like Julee Cruise. High pitch glacial synth sounds make an appearance. It has a dreamy quality to it, but as with most dreams, I’ve forgotten it as soon as it’s over.
6 Medicine Brush
More cold synth sounds, both sparkly and whiny. A crunching, pummelling kick drum helps to bring a menacing air to the track. Maria’s languorous vocals feel detached, again like a dream, but one that’s gone slightly wrong. I have no idea what she’s singing, but it may be putting me under an evil spell. The synths bubbling away underneath could be taken from some slow motion chase scene that didn’t quite make it on to [any of the umpteen different cuts of] Blade Runner. Seven minutes of artful…something. I feel a little baffled.
7 Disclosure
A slow, sexy synth groove (albeit those 80’s synths again), a regularly plucked high bass guitar (or is it a twangy guitar, or even a sample?) brings some humanity to the sound. A back masked, reverberating vocal is almost impossible to decipher lyrically, but there’s melody here – a good one. As the track progresses I notice my head involuntarily nodding, and the word Digitalism briefly strolls into my mind. By about 3 min 30 there’s even a couple of proper, held-down guitar notes! A lovely tune. If there is to be another single from this album, it has to be this.
8 Weigh True Words.
A verse v chorus kind of song. Starts slow-ish with cascading handclaps that remind me of Shep Pettibone’s remix of True Faith (another New Order reference), and then Jan Hammer style keys which echo the moody vocal melody. The track then jumps to a faster, higher pitched chorus which sounds a bit like The Naked And Famous. It also makes me want to sing ‘Waiting For a Star To Fall’ for some reason. Then back to the moody verse. That’s a relief. Verse wins.
9 Heart To Know
Ahhhh this is different; completely different to anything else on the album. Beat-less for its entirety and free of those 80’s synths too. Instead we get a deep organ-like drone that could vibrate up your trousers and into your bowels. The vocal is an almost plaintive, emotional declaration, “It’s hard to knowww babe, your knowledge…”. It sounds like Maria has written a lament for a doomed love affair with God. Or maybe she’s trapped in the Phantom Zone from Superman, wrongly convicted and hurtling off into space, forever torn from her soul mate. It’s a Hymn of sorts, and it’s beautiful. Other than the Spacemen Three-influenced drone and the vocals, we get lyric-free choral backing vocals adding both punctuation and depth to the track. By the 4 minute mark, the drone starts to gently whirr and distort; it reminds me of Snow or something from ‘Further’ era Chems. By the six minute mark, if you’re feeling tired and emotional it might just bring a tear to your eye. As it fades around 7 min 30, you think: Damn, I was just starting to take the album on its own merits and THIS comes along to remind me how good Hearts was, how good it felt. More of this next time please!
And that’s it. Another nine tracks or 46 minutes of music to add to the discography of IBH. As much as I admire the decision to change, on the whole I wish they hadn’t. Where the dream pop of their debut remained grounded by real life instruments and great textures, this follow up feels like it could float right over my head at times. I don’t have a problem with electronic music (it’s unlikely I’d be on this forum if I did), but I’m just not that crazy about IBH’s choice of palette. It may be best to listen to Chiaroscuro as though it were a debut album from an unknown band – perhaps a side project of The Knife or Goldfrapp. With the exception of the final track, this is an album for the head rather than the heart(s), and as such I’m finding it more difficult to let Chiaroscuro into my own heart.
Marks out of ten? 6.5
Thanks for the review. Wish they'd come down here. Perhaps not enough exposure yet. Im still excited by it and the new album. I do understand where you're coming from about the nice mixture of 'traditional' and electronic instruments. It was a great sound she/they captured and did think the new album would evolve more from that. Even if its more electronic this time round it still feels a bit like I Break Horses (from the 2 new tracks I've heard). Maybe for you it is with me with Daft Punk at the moment....Just a phase you hope the move on and learn from.
Come out from the cold and into the setting sun. It's where it all began for me (not in Afrika), like it was out of control. Then after that life was sweet. So dream on into the pioneer skies of the fourteenth century and rise from the sunshine underground.
#207
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Posted 07 December 2013 - 7:22 AM
Thank you so much for the thoughtful, detailed review skyscraper. I've not had a chance to listen to the album as a whole yet myself, but you had me at the first few sentences when you mentioned second albums can go one of two ways. Hearts was absolutely divine, a real love at first listen, and I too hoped for more of the same the second time around. But as with anything else, I can't judge until I've heard it myself.
#208
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#209
- Did ya synth just burp?
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Posted 17 January 2014 - 7:25 PM
ThePumisher, on 17 January 2014 - 3:13 PM, said:
You Burn
G-reat! Per-fect! Oh yeah!
Nothing can beat an intelligently and nicely used synthesizer and a soothing female vocal!
E(argasm) = m(usic) x c(hemicals)²
#210
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Posted 19 January 2014 - 7:04 PM
Full Album Preview here
Incidentally there is an embed code on that page but I couldn't get it to embed on here like a soundcloud or youtube page. Am I missing a trick?
Incidentally there is an embed code on that page but I couldn't get it to embed on here like a soundcloud or youtube page. Am I missing a trick?
#211
- Hmm... I was confused.
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Posted 19 January 2014 - 10:37 PM
^that's HTML embedding code for iframes. The forum's code isn't compatible, you'd have to edit the source of the page directly in order for that to work.
(will post something relevant to topic soon)
(will post something relevant to topic soon)
SAVE FERRIS FORUM
#212
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Posted 24 January 2014 - 7:48 AM
Morning all.
New album sounds pretty good after first few listens.
Anyway - they're doing a live session on BBC 6 Music today on Lauren Laverne's show (1000-1300 UK). http://www.bbc.co.uk...rammes/b03q9l96
It'll be available for 7 days after broadcast as well if you can't listen live. If anyone could rip it, that'd be appreciated.
Happy Friday, and enjoy your day wherever you may be in the world!
New album sounds pretty good after first few listens.
Anyway - they're doing a live session on BBC 6 Music today on Lauren Laverne's show (1000-1300 UK). http://www.bbc.co.uk...rammes/b03q9l96
It'll be available for 7 days after broadcast as well if you can't listen live. If anyone could rip it, that'd be appreciated.
Happy Friday, and enjoy your day wherever you may be in the world!
#213
- Hmm... I was confused.
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Posted 24 January 2014 - 7:56 AM
Nice. I'll catch the show live but I doubt I'll be able to get a rip - the computer I'm using can't sound record. Someone should be able to cover me(?)
SAVE FERRIS FORUM
#214
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Posted 24 January 2014 - 10:00 AM
I see what i can do. I hope they come up early enough because i have to leave for work around 12 (UK) / 13 (CET).
#215
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Posted 24 January 2014 - 2:15 PM
Kitten killer...
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So, here's the link to the complete session => Google Drive <= It's uploading right now so you might have to wait until it is finished
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So, here's the link to the complete session => Google Drive <= It's uploading right now so you might have to wait until it is finished
#216
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Posted 24 January 2014 - 2:42 PM
ThePumisher, on 24 January 2014 - 3:15 PM, said:
Kitten killer...
=============
So, here's the link to the complete session => Google Drive <= It's uploading right now so you might have to wait until it is finished
=============
So, here's the link to the complete session => Google Drive <= It's uploading right now so you might have to wait until it is finished
Fantastic - nice one Pumisher. Cheers.
#217
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Posted 25 January 2014 - 12:21 AM
Crap. Just noticed i tagged them wrong with "BBC Radio 1 Session" 
#218
- Did ya synth just burp?
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Posted 25 January 2014 - 8:13 PM
ThePumisher, on 25 January 2014 - 1:21 AM, said:
Crap. Just noticed i tagged them wrong with "BBC Radio 1 Session"
How dare you? You're a bad bad boy!
Thanks for taking the time recording it! They seem a nice band and she seems like a great catch too. I mean, a woman's living room full of recording stuff and synths? I call dibs
E(argasm) = m(usic) x c(hemicals)²
#219
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Posted 26 January 2014 - 7:27 PM
My opinion on Chiaroscuro: A couple of killer-tracks (You Burn, Denial, Ascension, Berceuse, Heart To Know), but i have no idea if i do like the rest (Medicine Brush sounds like a rework of the Scarface-theme with vocals added) or not. And i'm more to not.
Hearts carrys some really really special and intense mood throughout the whole record, but Chiaroscuro doesn't.
Hearts carrys some really really special and intense mood throughout the whole record, but Chiaroscuro doesn't.
#220
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Posted 26 January 2014 - 10:20 PM
ThePumisher, on 26 January 2014 - 7:27 PM, said:
(Medicine Brush sounds like a rework of the Scarface-theme with vocals added)
Ha! good point, and another reference to the 80's.
ThePumisher, on 26 January 2014 - 7:27 PM, said:
Hearts carrys some really really special and intense mood throughout the whole record, but Chiaroscuro doesn't.
Oh good, I'm not the only one who feels that way about it.