Latest Thread Images

IMG_3574.jpeg
1715052443698.png
1715052352782.png
1715052223453.png
IMG_0068.PNG
1715035752269.png
1715024438989.png Mohini-Dey.jpg I do not play no rock and roll.jpg The complete aristocrat and chess.jpg Snarky Puppy - Empire Central.png Snarky Puppy - Live at the Royal Albert Hall.png John-Coltrane.jpg SJK&BKCTTB.jpg SJKABKRDL.jpg Folder (3).jpg Folder.jpg Folder (4).jpg IMG_3805.jpeg 1200x1200bf-60.jpg
See full thread gallery...
What Are You Listening To Right Now?
May 5, 2011 at 8:00 AM Post #25,876 of 136,320
May 5, 2011 at 9:48 AM Post #25,878 of 136,320
1. Beyond the Pale 14:55 2. The Calm Before 3:48 3. (In The) Cold Light of Day 14:01 4. The Calm Beyond 3:40 5. Dusk 3:55 6. The Circle Is Blue 7:59 Kevin Martin - Saxophone, Sound Effects, Wah Wah Guitar Kevin Shields - Guitar Eddie Prévost - Percussion, Bowed Cymbals Sonic Boom - Sound Effects AMG: "Recorded in 1992 and promised to appear shortly after Mesmerised's release, Beyond the Pale only finally surfaced four years later, on a completely different label than indicated. Arguably this had something to do with Kevin Shields, who makes his one and only appearance on an E.A.R. album with the first track, also the title song - perhaps they had to remix it to death or something. Whatever the exact reason, Beyond the Pale also is the one time the original four members of the group, Shields, Sonic Boom, Martin, and Prevost, all performed together under the E.A.R. rubric. Boom is credited with main songwriting and producing, understandable as he was taking the lead with the whole thing in the first place, though he and Martin did mix the album together at Shields' London studios. 'Beyond the Pale' itself is an attractive monster of a track - hearing everything from Martin's doomy, echoing drones and massive wah-wah guitar to Prevost's bowed cymbals in the mix makes for a fascinating and disturbing experience. Shields' own guitar work steers away from recreating My Bloody Valentine, instead sounding like strange howls in the distance and calmer, simpler tones up-front amidst the expected Boom touches. Another long monster of a song, 'In the Cold Light of Day,' sounds like a full collaboration minus Shields, with distorted, stretched-out Martin saxophone and other chilling sonic touches dominating, along with more odd, entrancing percussion work from Prevost and mournful sighs from at least one of the members. 'Dusk' definitely has an overwhelming sense of Martin's low, dark musical meditations, minor keys echoing into the infinite. The remaining numbers sound more predominantly like Boom with occasional guest help, as with the buried drumming from Prevost on 'The Calm Beyond' or the warm oscillations turned harsher via Martin's work on 'The Circle Is Blue.'"
 
May 5, 2011 at 6:54 PM Post #25,888 of 136,320
King Crimson's "Larks' In Tongues Aspic", both parts while working on a 'headphone review'. 
 
Set up: CD690 + Mark V (35/100) + K240 DF
 
You must log in or register to reply here.

Users who are viewing this thread

  • ... and 1 more.
    • Total: 83 (members: 7, guests: 76)
    Back
    Top