Ambient Music

I previously had this cd, and then I lost it somehow. I have a hard time locating it in the stores, so thank God for Amazon. This is one cd I cannot live without. I love the exotic beat!

I am a dj whose spun this album all over the world - and it works everywhere!

After two previous "Strange Cargo" albums, William Orbit finally gets it right; while the previous two were haphazard and uneven, William Orbit seems to have found the right groove with this one. The songs on this CD never get above a dull roar - they are all rather quiet and mellow, and even the more uptempo tracks inspire more of a thoughtful groove than an all-out dance.

William Orbit's music is quite melodic in contrast with other popular electronic artists who mostly focus on beat and rhythm. This is a clear indication that melody is still and fashion and will probably always be in fashion. However, Orbit's music, especially in "Strange Cargo" is too soft and tender to be truly moving- the energy of beat is lacking, albeit, the pacifying and relaxing effect is present.
True fans of electronic music must remember Jean Michael Jarre with his ground-braking synthesizer tracks and spectacular shows. William Orbit follows in his tracks and many of his sounds and overall ambient feel resemble some of the earlier Jean Michael Jarre tracks. If you are looking for more energetic, mood boosting music, you should also check out Van Dyk, Oakenfold, and maybe UltraMax Music. William Orbit have mastered the new age, and this is unquestionable. But the true dance music leads another way.

I picked up this CD over ten years ago when I was still in college and I still regularly listen to it today. Moody electronica with some really fine drum work and WO's unique synthesizer palette.

His follow-up "Strange Cargo 4: Hinterland" is also excellent. All this before he got snapped up by Madonna...

For WO fans, remember this line? "You have discovered many things, but the shortcut through the labyrinth is not among them."

I finally figured out what this sampled interlude was (I think it's at the beginning of "Best Friend, Paranoia"?); it's a line spoken by the old monk in the movie "The Name of the Rose".

Amazon do it good. I had some problems with thw delivery, but I've got the item and Amazon's stuff helped me in a very gentle way. It's a professional service.

Do you get the picture?

This is one of my favourite albums of all time. I guess I'm one of those people who LOVE the music, the tones, the voice, the ambiance. Saw them live in Philly way back in the early 2000's or was it the late 1999's... anyway, I sold my car with "Visualize Total Annihilation" as the bumper sticker. White Ford LTD, 1984. So if you see it, honk and remember THE SWANS!

Sorry if some people don't get this album, but Swans at their best are the best, and this is their best. I know they commit the sins of self-indulgence and self-absorption like no one else in music, but when they nail the point just so, they nail it like no one else, and some embarrassing purple prose is a small price to pay for such rapture. If you don't want to listen to "Helpless Child", all fifteen minutes plus of it, at least ten times in a row, then I guess you just ain't feeling it. So move on and leave room for the rest of us!

When I was first introduced to the Swans, I was blown away by their grasp on the beautiful and the errie. My introduction was The Great Annihilator, which still holds a special place in my heart for it's pure grime and sludge of accoustic terror. But, on a limb I grabbed this up, which I was told wasn't that good, and was the Swans' last disc. Who ever told me that, obviously didn't hear "Helpless Child", a haunting song which makes you feel that you could possibly be at the end of your rope. The Swans' last stand is as mighty as any. It's true a few tracks are a bit long, but besides that, a great effort and a great way to end a carreer.

Although his collaborator Andy Partridge, best known as the singer/guitarist of XTC, is quite a household name, "TTH" is perhaps the most overlooked item in Budd's catalog. Using a greater variety of instruments -- electric guitars, cymbals, gongs, and various other percussives -- there's nevertheless nothing here that will remind you of XTC's sophisticated singer/songwriter-rock. The sparse, sometimes dissonant arrangements allow for interplay between the musicians, and while this set of tracks and traces is less cohesive and melodic than Budd's best albums, certain elements here are enchanting. Each song sets another instrument to the front; "Great valley.." has floor-shaking piano bursts, "Western island.." comes up with descending guitar chords, "Well for.." and "Bronze coins.." feature vocals performances by Budd. My favorite pieces, however, are those with Budd's typical piano playing, particularly the title cut. Unfortunately, there are also some tracks here which seem fragmentary and unfinished even by Budd's own standard, and the scattershot quality of this album is slightly annoying. A good sound quality and a costly art-work package with several fold-out prints further augment the record's abstract allure, but it's hard to shake the suspicion that "TTH" could have been much greater if Budd and Partridge had shown a little bit more passion and enthusiasm.

I understand when people say that "this album lacks cohesion, even by Budd's own standard." The problem isn't in the album's lack of cohesion, the problem is someone trying to find it. That would be, indeed, a futile search. This collection is one to be listened to as one best lives life; observing the waves and the inevitable sudden about faces with interest and alacrity, a willingness to try to grasp what isn't easily understood. Anybody can see the beauty in a Michelangelo or Monet. It takes a little more patience and discernment for a Picasso or Miro.

I got this CD about 2 years ago and it still is nothing short of amazing! The only reason I gave it 4 stars was because I didn't really like the chick's voice. But still that certainly wasn't enough to give this cd a healthy 4 stars! It's overall just stunning. track # 2 & 5 are my absolute favorites. Just plug in, and get swept away!

if you're a fan of Lifeforms or FSOL in general this is a must have. remixes of the title track from the album of the same name, paths 1-7. the thing thats most exciting about these remixes are the additional vocals from singer Elizabeth Fraser, her gorgeous voice meshes perfectly with the earthen vibes present in the music. Future Sound of London out did themselves with the Lifeforms and these remixes are the compliment to the album, if you have a brain in your head you'll scoop this up. PEACE

This is what a single should be. Those of you who have the Lifeforms LP and have heard the title track, be forwarned that the other six efforts on here sound nothing like it whatsoever, instead creating a staggeringly varied and complex series of songs and cycling bits and pieces of the rest of the album into the mix.
FSOL adds to the overarching beauty of this work by taking a great vocalist - Elizabeth Fraser - and instead of merely having her sing some catchy lyrics over the top like so many electronic artists do, they weave her vocals into the tracks (especially the opening number) and make them seamlessly fit with the rest of the album - a must in soundscapes.
The end result is that this single does not get tiresome, and its timbres and sound collages are just as new and exciting as the album... more cohesive, to boot. It isn't simply a rehash playing off the successive of the album. This work stands on its own.

The sleeve notes of Future Sound of London's LIFEFORMS album credits Elizabeth Fraser, the Cocteau Twins vocalist about whose talent an NME review said "Surely this is the voice of God", for vocals on the track "Lifeforms". Ironically, the album version of that track has no vocal at all. I immediately sought out this single, a CD with 7 different mixes of "Lifeforms", to see what kind of performance she lent to FSOL's ambient stylings.

I found Fraser's performance, well, insubstantial. Her contribution to the album is but two or three phrases, and FSOL looped these afterwards. However, I was pleasantly suprised by the quality of the music. The first three mixes of "Lifeforms" are dark and rhythmic pieces featuring Eastern strings, and they are superior to anything on the LIFEFORMS album, except perhaps "Cascade." Mixes 4-7 are less listenable, but the first three mixes make this a solid single.

If you liked LIFEFORMS, and want more of the same plus even more captivating material, the "Lifeforms" single is a good buy.

FSOL CD single's are not just a compilation of remixes, they are medium length journeys of their own. I really enjoyed the "Cascade" CD single, where a good song was transformed into an epic mini-suite sprawling several tracks. I was looking for more of the same with "Lifeforms", and was pleasantly surprised to find myself enjoying this compilation even more than the "Cascade" single.

On the Lifeforms album, this song didn't really catch my attention. It was one of the more uptempo/percussive tunes on the album, and it was less melodic than it was atmospheric. The same is true here, but here the sound is more focused and coherent. Cracks of melody heard in track one will be heard again in track four, and meanderings heard in track three, will become full fledged ideas in track seven. This cohesiveness makes this single a joy to listen to from beginning to end, though with FSOL, you don't actively listen, you instead let yourself become engulfed in the alien soundscapes. This is an essential pick-up for anyone who enjoyed the Lifeforms album.

This release and the track list that Amazon provides is incorrect. I ordered this set for the UNKLE/Moby remix -- which is exclusive to this set, yet is only available on the UK release of this set. For some reason the remix was omitted from the US release.

Thanks for the heads up, Amazon!

Well first off, this is not exactly what I expect when I see a box set, 6 tracks? But as discouraging as it might seem, this is a very impressive set of remixes from some of the best producers out there! Incorporating remixes by so many unique and innovative artists was a smart move, each mix is totally different from the last and never gets boring in my opinion. Definately worth buying!

Picked this up when it was first released and managed to loose it...more than likely "loaned" it away for good..... I am in the process of replacing the 20 or 30 good cd's I've lost over the years and this one was at near the top of that list. This is an amazing collection of mid-paced ambient with enough going on to keep your foot tapping but not enough to shake your booty to. Unlike alot of electronic that tends to feel dated after time goes by , this one does not. Every single track is great...the compilation has a goa/tribal feel to it with some really cool dark stuff. I have the entire USA collection and this is my fave hands down.

I encountered this CD looking for music performed by Grain, which is featured on this CD. It contains great instrumental music with some vocals, most are fast tempo, the last track is slower (chillout style). Some tracks are infuenced by tribal chants. Every single track is excellent, which does not happen often on a compilation CD. Buy it and enjoy, trust me!

This is a great kick back and chill CD.
It really grows on you. I've listened to it many times and it always ends up getting swiped by someone who wants to borrow it and never returns it.
Ciao

There is one good song on this album and its called natural high by tosca. I bought this album becuase I was hoping for the other tracks to sound as good as that one song. They sound nothing like it and werent produced as well. I dont think tosca should have even been on this album, its too good for it and honestly sounds out of place. If you were like me and are buying this album because of that one song... dont do it, buy the one song some place else. You wont regret it like I did.

Buy on site or better yet buy online, this is incredible. Featuring all the latest in nujazz and raw vibes. The sound of the moment is perfectly encapsulated by the likes of label owner Alex Dallas and his crew from Switzerland. Featuring exclusive tracks from Earthbound, Cinematic Orchestra, 2 Banks of Four, Freeform Arkestra, Tosca, Attica Blues etc. This album is opening doors to the new millenium. Rated by Wallpaper & Straight No Chaser magazines as essential listening. This is the the ticket for those searching for a musical journey with vision. Contemporary music with an ear toward the dancefloor. If you enjoy eclectic jazz inspired fusion then this is truly the next step. Compare with the likes of Jazznova, Theivery Corporation, Kruder & Dorfmeister etc. Initially released on seven 7" records, this cd compilation is the only other format to contain all the tracks.

another great burnt friedman album. burnt returns to the secret rythms with jaki the original can drummer. this time around they keep it more simple, not relying on the extremally groovy side to the secret rythm but more structure & less improv, but still groovin. their are excellent guitar by american Tim Motzer. & always excellent horns. secret 1 also explored more of the dub reggae flava (Rastafahndung) which this one does not. the effects are much more suddle & sceems to have much more from the guitar & horns & vibs than burnt's keys & programmin, but he still processes the rest of the clan. the effects are much more present in the last 2 songs fearer, caracoles. but not to fear every second sounds like classic friedman, just be more of the play love songs form than just landing. the album is still filled with amazing bass, drums, guitar, horns, vibs, & burnt not friedman. the version of librarian with david sylvian is better than the original. i own all burnts pieces except the nonplace records, so i can tell you this is absolutelly excential if a fan of any of his works, burnt friedman is the second most prolific musician ive heard in 20 years, he is truelly an absolute original & will never be rivaled with or come close to his masterfull understanding of sound, & manipulation.
this review below is from the nonplace.de website burnts home check it out. enjoy

Total playing time 50:00

Just what is a Secret Rhythm ? Well, this probably can't be answered without first having a quick look at that most un-secret of rhythms, the 4/4 bar. From Easy Listening to Heavy Metal, from church bells to Drum'n'Bass club tunes or from Country music to Raggamuffin, the steady pace and symmetry of the Four-to-the-Floor riddim structure seems to hold our fragile global existence together. Or does it ? Friedman & Liebezeit wouldn't like to think so. To these long-time collaborators and life-long activists in the exploration of musical forms and possibilities, the 4/4 bar is what they tend to call a "fearer", for the term sounds just like the German word for a 4/4 bar - and the English word for what should be left aside while searching for those Secret Rhythms. And finding them, too. It doesn't take long to discover that the "fearer" isn't everything. Many original cultures have employed various rhythm cycles at the very core of their music - and still do so. Friedman & Liebezeit, sharing a mutual interest in traveling as well as all things on- and off-beat, try to unearth those natural born grooves and, through their own music, bring it to a bigger audience. An audience often unaware that these uncommon grooves, these Secret Rhythms, even exist.

Since their first collaborative album "Secret Rhythms" (1) came out on Nonplace in 2002, Friedman & Liebezeit have been playing live all over the world, improving their cyclic grooves and creating new ones. The 8 tracks on Secret Rhythms 2 are no overt spectacular high-brow arrangement hellraisers - while being tight and containing a large amount of curious suspense, these Secret Rhythms are playful, open, transparent, sequential, hypnotic even. In this respect, Friedman & Liebezeit lean to the World Music side, without giving in to the temptation of any Jazz instrumentation or even improvisation.

The first two pieces on Secret Rhythms 2 were released in May 2005 on a teaser vinyl "Out In The Sticks" and appear here in completely new versions. The only vocal track on this album "The Librarian" is a collaboration with David Sylvian. The song appears in a different version on the album "Snow Borne Sorrow" of the band Nine Horses, consisting of Sylvian, Steve Jansen and Burnt Friedman on the label Samadhi Sound.

In addition to Friedman and Liebezeit, guitarist Tim Motzer weaves funky touches all the way through. He has resided in Philadelphia, U.S. since 1985 and has been busy working with a virtual who's who of Philadelphia artists over the years including recordings and world tours with poetess Ursula Rucker, King Britt, the French duo Les Nubians and the Sister Gertrude project. Lined up for the group's live appearances and studio recordings is Hayden Chisholm, clarinet and melodica. Originating from New Zealand, he studied in Germany and India and has since performed all over the world. Although only 29, he has spent 7 years of his life on the road giving concerts and is currently preparing a book about his musical travels. Other guest musicians are Morten Grønvad, vibraharp, Daniel Schroeter, bass guitar and Joseph Suchy, electric guitar.

reviews:

This is the sequel to the very successful collaboration between two of the best German musicians of their respective generations. The mood hasn't changed much: the volume never goes too high but each track beckons the listener with novel sounds and percolating patterns. "Sikkerhed" opens with a waltz of wah guitar, mellow horns, discreet laptop work and a shifty and compelling drum pattern. The heavily polyrhythmic "The Sticks" comes next, picking up from the dying notes of the previous tune. It features gorgeous slide guitar and what sounds like hand-drumming anchored by clipped guitars weary from a non-stop flight from Central Africa. As with all the tunes on Secret Rhythms 2, it's uncertain whether Liebezeit is even playing a kit, or whether he's contributing bits and pieces to Friedman's omnivorous production technique. No matter, because the rhythmic content, as befits the title, come from everywhere; from the tiniest glitch to the step rate of the flangers (Flanger being Friedman's main working ensemble). Special guest David Sylvian gets his, um, groove on as vocalist on "The Librarian," sounding more morose than ever singing its moody melody. After a few spins, Secret Rhythms 2 reveals a multiplicity of rhythmic approaches. There are definitely many influences from rhythm patterns around the globe but for the most part the instruments and ambience associated with these patterns is completely subsumed into Friedman and Liebezeit's highly programmed inner world music. (review by David Dacks / Exclaim, Canada 2006)


"... this album may cross-over to fans of dub and ambient. It's difficult to categorize, but easy to enjoy." (review by Jacob Arnold / gridface.com)


Even before putting on Secret Rhythms 2, we're sure about one thing: with long-time Can member and frequent Jah Wobble collaborator Jaki Liebezeit occupying the drummer's chair, there's clearly no need to worry about the possibility of dull 'rhythmning.' The tunes on this sequel to his and Burnt Friedman's 2002 outing, however, aren't hell-raisers but languorous atmospheres of nuance and mystery. Still, though the feel is loose, the songs are far from aimless; what in lesser hands might be noodling, here becomes compelling exploration. The duo treats their tunes and rhythms elastically, stretching them out to accommodate a guitar texture or melodica shading here and a vibes or clarinet theme there. The set's 'world music' ambiance emerges immediately in "Sikkerhed," an African-flavoured folk-jazz march enriched by Hayden Chisholm's clarinet playing, while the dub style of Friedman's Nu Dub Players is revisited in "Fearer" and "Caracoles." The album's also distinguished by David Sylvian's vocal appearance on "The Librarian," his relaxed singing a natural complement to the others' similarly laid-back delivery (a different version appears on Snow Borne Sorrow, the Nine Horses album produced by Sylvian, Steve Jansen, and Friedman). Call Secret Rhythms 2 sophisticated mood music that, more 'invisibly' than Superstructure, merges electronics with acoustic instrumentation, even if the material clearly emphasizes the latter throughout. (review by Textura.org / February 2006)