2014 Otto A Totland - Pinô {Pino} [CD]

Exact Audio Copy V1.0 beta 3 from 29. August 2011
EAC extraction logfile from 25. January 2014, 13:25
Otto A Totland / Pinô
Used drive  : TOSHIBA CD/DVDW SDR5472C   Adapter: 1  ID: 0
Read mode               : Secure
Utilize accurate stream : Yes
Defeat audio cache      : Yes
Make use of C2 pointers : No
Read offset correction                      : 6
Overread into Lead-In and Lead-Out          : No
Fill up missing offset samples with silence : Yes
Delete leading and trailing silent blocks   : No
Null samples used in CRC calculations       : Yes
Used interface                              : Native Win32 interface for Win NT & 2000
Gap handling                                : Appended to previous track
Used output format              : User Defined Encoder
Selected bitrate                : 896 kBit/s
Quality                         : High
Add ID3 tag                     : No
Command line compressor         : C:\Program Files\Exact Audio Copy\Flac\flac.exe
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TOC of the extracted CD
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        1  |  0:00.00 |  2:30.72 |         0    |    11321
        2  |  2:30.72 |  1:52.31 |     11322    |    19752
        3  |  4:23.28 |  1:38.23 |     19753    |    27125
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       10  | 22:21.13 |  2:14.10 |    100588    |   110647
       11  | 24:35.23 |  2:29.26 |    110648    |   121848
       12  | 27:04.49 |  1:58.53 |    121849    |   130751
       13  | 29:03.27 |  2:06.54 |    130752    |   140255
       14  | 31:10.06 |  3:00.36 |    140256    |   153791
       15  | 34:10.42 |  2:29.62 |    153792    |   165028
       16  | 36:40.29 |  2:20.48 |    165029    |   175576
       17  | 39:01.02 |  1:20.19 |    175577    |   181595
       18  | 40:21.21 |  2:13.51 |    181596    |   191621
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Track  2
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Track  3
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Track  4
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Track  5
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Track  6
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Track  7
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Track  8
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Track  9
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Track 10
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Track 11
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Track 12
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Track 13
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Track 14
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Track 15
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Track 16
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Track 18
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None of the tracks are present in the AccurateRip database
No errors occurred
End of status report
---- CUETools DB Plugin V2.1.3
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[f2946712] (2/2) Accurately ripped
==== Log checksum F5C3B552DEA2F07F9706AD2F5913D1DE37265B5CDAB73109C1F541C5142F798C ====

REM GENRE "Chamber Music"
REM DATE 2014
REM DISCID DE09FA12
REM COMMENT "ExactAudioCopy v1.0b3"
PERFORMER "Otto A Totland"
TITLE "Pino"
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FILE "03 Oana.wav" WAVE
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    INDEX 01 00:00:00
FILE "04 Soler.wav" WAVE
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FILE "05 Aquet.wav" WAVE
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AUDIOCHECKER v2.0 beta (build 457) - by Dester - [email protected]
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
-=== НЕ РЕДАКТИРУЙТЕ ЭТОТ ФАЙЛ! ===-
Путь: ...\Otto A Totland - 2014 - Pino
01 -=- 01 Open.flac -=- CDDA (100%)
02 -=- 02 Steps.flac -=- CDDA (100%)
03 -=- 03 Oana.flac -=- CDDA (100%)
04 -=- 04 Soler.flac -=- CDDA (100%)
05 -=- 05 Aquet.flac -=- CDDA (100%)
06 -=- 06 Weltz.flac -=- CDDA (99%)
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17 -=- 17 Jonas.flac -=- CDDA (100%)
18 -=- 18 Closer.flac -=- CDDA (100%)
Сводка 99,89% CDDA
253693524

 

Deaf Center's reputation precedes this solo outing by Otto A Totland, who partners with Erik K Skodvin in the long-admired project, one typically characterized as dark ambient above all else. But anyone expecting unsettling soundscaping from Pinô, the first full-length release by Totland, will assuredly find such expectations challenged, to say the least; instead, the solo release presents eighteen concise piano settings whose overall mood is far sunnier than that of the average Deaf Center production.
Throughout the forty-three-minute album, Totland's fluttering notes whisper like the softest of utterances, the most delicate of brushstrokes. Elegant patterns ripple softly, and pauses are generously distributed within a given track. The album's pieces are marked by such a strong degree of unity that without too much difficulty one could regard it as a single, large-scale work of eighteen parts, and in some cases the transitions from one track to the next could go unnoticed in the absence of indexing and the pauses separating the pieces (e.g., the segue from “Seveen” to “Ro To”).
Parallels might justifiably be drawn between Totland and Nils Frahm, even if Totland's playing style is more minimal than Frahm's; where they're similar is in the intimate qualities of their music, how up-close to the musician's playing the listener is allowed to feel (in that regard, it's telling that Pinô's instrumentals were, in fact, recorded, mixed, and mastered at Durton Studios by none other than Frahm). The action of the piano keys is clearly audible, as is ambient hiss (especially pronounced in “Flomé”), in-studio noise (an errant cough even punctuates “Âust”), and additional real-world sounds, such as the crow caw that pierces the quietude of “Julie.” The ambient haze that blurs the piano's definition in “Aquet” suggests the piece could very well be Totland's homage to Harold Budd, given how much it evokes the sound of the latter.
Totland's music is at times irresistibly pretty, a perfect example of which is the gently lilting title track, and though Pinô exudes a general sense of melancholy, it's also an album of subtly varying moods, among them ruminative (“Solêr”), dreamy (“Bluss”), stately (“Seveen”), and even playful (“Jonas”); some pieces, such as “North Way,” appear to tell miniature stories, even if ones abstract in nature. In Deaf Center, Totland's piano contributions act as a welcome counterpoint to Skodvin's dark soundsculpting. Totland's solo outing, on the other hand, allows his playing to be heard in all its introspective glory.