Selected Ambient Works, Vol. 2 ~ Aphex Twin

Selected Ambient Works, Vol. 2 ~ Aphex Twin

music without pain

  • This is my favorite American Afro Funk album from the 80's. Danceable, funky, quirky, arty, and urgent, just like the times in which it was composed in.

  • Somehow at first listen the songs of "Before and After Science" felt like old favorites, some, perky, some quirky, some very relaxed like a fond memory of a perfect day.

  • Like Eric Satie but contemporary

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  • Exposure contains a kind of unspoken darkness within Fripp's choice of song structure, instrumentation and vocalists. The result is a series of music acts which twitch inside a skin of hybrid jazz-pop lotion, often transcending th... Exposure contains a kind of unspoken darkness within Fripp's choice of song structure, instrumentation and vocalists. The result is a series of music acts which twitch inside a skin of hybrid jazz-pop lotion, often transcending the 80's sound-picture into a kind of jazz vocal daisy chain, and yet always collapsing back into it. I happen to like the sound of alienation from time to time, Exposure dose it for me. Noteworthy tracks: You Burn Me Up I'm A Cigarette North Star Exposure Here Comes The Flood NY3

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  • Nico's Chelsea Girl (1967) was not her debut solo effort. The album is an introspective with a longing for dreams and love.

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  • In the spirit of honesty, I don't think I had any idea who this guy was until this weekend. I was at a Jon Brion show. He asked for request and people passionately wanted to here some tracks of this, Eno's '74 debut. He played a c... In the spirit of honesty, I don't think I had any idea who this guy was until this weekend. I was at a Jon Brion show. He asked for request and people passionately wanted to here some tracks of this, Eno's '74 debut. He played a couple tracks, prefaced by an endorsement of the album that was strong enough to download it as soon as I got home.

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  • This record has grown out of the Long Now Foundation's project - the Clock of the Long Now. This is an idea to create a working clock which will mark time for ten thousand years - not really because we need more clocks in the worl... This record has grown out of the Long Now Foundation's project - the Clock of the Long Now. This is an idea to create a working clock which will mark time for ten thousand years - not really because we need more clocks in the world, but because we need more encouragement to start contemplating the possibility of a distant human future. The Clock of the Long Now is an icon to long-term thinking. When we started thinking about The Clock, we naturally wondered what kind of sound it could make to announce the passage of time. I had nurtured an interest in bells for many years, and this seemed like a good alibi for taking it a bit deeper. I began reading about bells, discovering the physics of their sounds, and became interested in thinking about what other sorts of bells might exist. My speculations quickly took me out of the bounds of current physical and material possibilities, but I considered some licence allowable since the project was conceived in a time scale of thousands of years, and I might therefore imagine bells with quite different physical properties from those we now know. And as I started trying to make bell sounds with my synthesizers, I got diverted by some of the more attractive failures. -- Brian Eno All profits from the sale of this record will be donated to the Long Now Foundation. The first prototype of the Clock is working and on permanent display at the Science Museum in London. This CD has fifteen tracks and a total playing time of 75 mins 43 seconds.

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  • It's the gentle approach to percussion, the swaying melody and soothing vocal approach that makes this recording compelling and dare I say it--danceable

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  • Nicolai works directly with the piano sounds, dismantling Sakamoto's recordings with "surgeon-like precision" into micro loops; into their atomic elements. Starting with these sound atoms, he creates a new basis for form, compress... Nicolai works directly with the piano sounds, dismantling Sakamoto's recordings with "surgeon-like precision" into micro loops; into their atomic elements. Starting with these sound atoms, he creates a new basis for form, compressing, floating, and rotating rhythm with harmonic sequences and melodic counterpoints, and laying it underneath the piano tracks. This makes insen appear more complex, though the time-stretched flow and the clear lines of the piano stay untouched.

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