| | Autechre Amber CD Autechre Discography of CDs
For its second full-length record, AMBER, Autechre mines the techno, ambient, and house genres of music and emerge with the finest record of the early part of its career. Largely structured on sweeping atmospherics (courtesy of synthesizer, naturally), the tracks here are fleshed out with twittering electric squelches, mid-tempo synthetic percussion, and the extremely complex usage of echoes. Lest that doesn't sound very interesting, the music contained (all of it is instrumental) is of the kind that allows your mind to wander, conjuring up its own images. "Foil" suggests a slowed-down, steam train entering an expanding station. "Montreal" is a six-minute conversation between honey-covered metal crickets set to a mid-tempo dance beat. "Slip" is a stately keyboard-driven affair that could be from an Ultravox record, except that it is underscored with a bubbling beat and electronically modified squeak toys. A series of drips set the tempo for "Further," which eventually evolves, over 10 minutes, into something that recalls Vangelis's score for BLADE RUNNER, complete with distant thunder. And the brittle, shimmering "Nil" evokes contradictory thoughts of huge, empty spaces and warm, enclosed, brightly lit ones. As an added bonus, AMBER has really nice cover art.
Live Recording Amber Review
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Purchase Amber CD To buy, Click on price to add to cart | Best Of Francoise Hardy CD (2000)
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A handy single-disc consolidation of the three-disc box set THE LOOK OF LOVE, THE VERY BEST OF BURT BACHARACH drops the rarities and oddities for a 16-track blast of nothing but the biggest hits, over a third of which are sung by Bacharach and Hal David's premier vocal partner, Dionne Warwick. Other singers include Gene Pitney, the Shirelles, Dusty ...
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The title of this television-advertised compilation may be arrogant, but then the tango is not a dance for the shy and retiring. Whether or not it is, as it claims, The Best Tango Album in the World, Ever!, the two-disc set, containing 30 tracks and running a little less than an hour and a half, does feature some major performers of the music, notably Carlos Gardel, renowned as the father of the tango, heard performing "Volver" and the concluding vocal version of "Mi Buenos Aires Querido," and Astor Piazzolla, who used the tango as a vehicle for composing modern classical music, heard performing "La Rayuela." Other notable performers include Carlos Garcia & His Orchestra, heard on four tracks, Sexteto Mayor, Florindo ...
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Amber songs
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Technology-driven music has never scaled such impossible peaks of abstraction as at the hands of U.K.-based electronica pioneers Autechre. Master builders of a parallel universe of sound, the duo of Sean Booth and Rob Brown have, since the early `90s, crafted their singular take on hard-boiled signal processing and waywardly alien beat programming ...
| | Autechre Incunabula CD (1993) Reissue
Amber album
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Although Autechre's debut release doesn't totally display the full experimentation which would dominate their future albums and singles, it is still striking nonetheless, as proof that the early comparisons to fellow Sheffield denizens Cabaret Voltaire weren't just misguided hype. Lumped in with the "intelligent dance music" semi-genre popular at the time, Autechre doesn't hit the same levels as Orbital or labelmate Aphex Twin, but Incunabula still stands out as being both good dancefloor material and equally pleasant listening, and not simply new-age hash with a backbeat. "Kalpol Introl" sets the overall mood for the rest of the record, with a sharp blend of minimal but effective beats and bass combined with a variety of keyboard textures and understated melodies. "Bike" ratchets the pace even more, reliant on crisp drum-machine patterns and careful arrangements to create something equally at home either in Detroit or on the autobahn. From there Incunabula follows the same general tone; tracks often experiment with ghostly keyboard backing and mostly clinical beats combined with ...
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| | Elliott Murphy Lost Generation/Night Lights CD (2003) Import
Amber music CDs
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This 2-for-1 CD collects both LOST GENERATION (1975) and NIGHT LIGHTS (1976) as well as a plethora of bonus tracks. Elliott Murphy is joined by an impressive roster of session men here, including Doug Yule (The Velvet Underground) and Billy Joel.
The double-CD Lost Generation/Night Lights set collects proto-punk singer/songwriter Elliott Murphy's first two RCA albums and loads the two discs with bonus tracks. He'd never admit it, but Murphy was the first Patti Smith. It's true he may not have had the fiery guitars, but he had plenty of guttersnipe rock & roll poetry, full of elegance and bloodied razor blades blasting from the speakers on the Lower East Side in the early and mid-'70s. These two albums, while never as widely celebrated as Aquashow, are every bit as good and perhaps will stand the test of time better. Lost Generation is a street poet's rock & roll fantasy, full of tracks that allude to lost genius, broken dreams, and an empty present in the hollows of ghost-lit America -- check the title track, "Eva Braun," "Hollywood," "History," and "When You Ride." Night Lights was the other side of poetry. Here a wasted youth living from club to gutter to back seat looked back on the American Dream and the empty promise of rock & roll salvation and wanted to kill not only its heroes but its gods. "Isadora's Dancers" is a thinly veiled slag of Smith's posturing, and "You Never Know What You're in For" ...
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The veteran British singer-songwriter Chris Rea was beginning his third decade in the music business when he released what was to become his best-known and most successful album, THE ROAD TO HELL. Rea suffered the misfortune of starting his professional music career at around the same time as Britain first embraced punk rock, and his tasteful, R&B-inspired songs were initially better received in Europe than in his home country.
THE ROAD TO HELL, released in 1991, centered on Rea's portrayal of a modern world spinning out of control, and stuck close to its narrative throughout, providing a cohesive and musically varied dissection of an increasingly dehumanized society with tracks like the shimmering "Texas," the fiery "You Must Be Evil," and the album's title track, which became one of Rea's biggest-selling records. The spare bass, drums, and guitar instrumentation effectively frames Rea's rough-hewn voice, while his stinging, bluesy guitar playing punctuates his often acerbic lyrics with a biting musical commentary.
For a man who has enjoyed the many highs of success (he has sold over ...
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