(Nu Bossa-nova, Jazz, Abstract, Downtempo, Trip Hop) Arto Lindsay - Noon Chill / Reentry - 1997, FLAC (image+.cue) lossless
Arto Lindsay - Noon Chill / Reentry
Жанр: Nu Bossa-nova, Jazz, Abstract, Downtempo, Trip Hop
Страна-производитель диска: Europe
Год издания диска: 1997
Издатель (лейбл): Rykodisc
Номер по каталогу: RCD 10436+1
Страна: USA
Аудио кодек: FLAC (*.flac)
Тип рипа: image+.cue
Битрейт аудио: lossless
Продолжительность: 1:04:44
Источник: Собственный рип
Наличие сканов в содержимом раздачи: нет
Reentry
01. Reentry [3:37]
02. Blue Eye Shadow Remix (Ambassador Jr.) [4:12]
03. Whirlwind Remix (3348) [2:52]
04. Why Compare Remix (Size) [4:08]
05. Anything Remix (Channel 17) [5:20]
Жанр: Nu Bossa-nova, Jazz, Abstract, Downtempo, Trip Hop
Страна-производитель диска: Europe
Год издания диска: 1997
Издатель (лейбл): Rykodisc
Номер по каталогу: RCD 10436+1
Страна: USA
Аудио кодек: FLAC (*.flac)
Тип рипа: image+.cue
Битрейт аудио: lossless
Продолжительность: 1:04:44
Источник: Собственный рип
Наличие сканов в содержимом раздачи: нет
Треклист
Noon Chill
01. Noon Chill [3:35]
02. Whirlwind [4:39]
03. Simply Are [3:41]
04. Blue Eye Shadow [3:29]
05. Mulata Fuzarqueira [3:05]
06. Ridiculously Deep [4:07]
07. Anything [4:27]
08. Gods Are Weak [2:36]
09. Take My Place [4:15]
10. Daily Life [1:30]
11. Light Moves Away [3:27]
12. Why Compare [3:36]
13. Auguri [2:08]
01. Noon Chill [3:35]
02. Whirlwind [4:39]
03. Simply Are [3:41]
04. Blue Eye Shadow [3:29]
05. Mulata Fuzarqueira [3:05]
06. Ridiculously Deep [4:07]
07. Anything [4:27]
08. Gods Are Weak [2:36]
09. Take My Place [4:15]
10. Daily Life [1:30]
11. Light Moves Away [3:27]
12. Why Compare [3:36]
13. Auguri [2:08]
Лог создания рипа
Exact Audio Copy V0.99 prebeta 4 from 23. January 2008
Отчёт EAC об извлечении, выполненном 5. октября 2008, 2:15
Arto Lindsay / Noon Chill
Дисковод: TSSTcorpCDDVDW SH-S203B Adapter: 2 ID: 2
Режим чтения : Достоверность
Использование точного потока : Да
Отключение кэша аудио : Да
Использование указателей C2 : Нет
Коррекция смещения при чтении : 6
Способность читать области Lead-in и Lead-out : Нет
Заполнение пропущенных сэмплов тишиной : Да
Удаление блоков с тишиной в начале и конце : Нет
При вычислениях CRC использовались нулевые сэмплы : Да
Интерфейс : Установленный внешний ASPI-интерфейс
Выходной формат : Внутренние WAV-операции
Формат сэмплов : 44.100 Гц; 16 бит; стерео
TOC извлечённого CD
Трек | Старт | Длительность | Начальный сектор | Конечный сектор
---------------------------------------------------------------------
1 | 0:00.00 | 3:35.05 | 0 | 16129
2 | 3:35.05 | 4:39.10 | 16130 | 37064
3 | 8:14.15 | 3:41.35 | 37065 | 53674
4 | 11:55.50 | 3:28.57 | 53675 | 69331
5 | 15:24.32 | 3:04.58 | 69332 | 83189
6 | 18:29.15 | 4:07.10 | 83190 | 101724
7 | 22:36.25 | 4:26.62 | 101725 | 121736
8 | 27:03.12 | 2:36.00 | 121737 | 133436
9 | 29:39.12 | 4:14.53 | 133437 | 152539
10 | 33:53.65 | 1:30.02 | 152540 | 159291
11 | 35:23.67 | 3:26.55 | 159292 | 174796
12 | 38:50.47 | 3:36.20 | 174797 | 191016
13 | 42:26.67 | 2:08.08 | 191017 | 200624
Характеристики диапазона извлечения и сообщения об ошибках
Выбранный диапазон
Имя файла D:\Temporary Residence\Arto Lindsay - Noon Chill.wav
Пиковый уровень 98.8 %
Качество диапазона 100.0 %
CRC копии 6AB74784
Копирование... OK
Ошибок не произошло
Конец отчёта
Содержание индексной карты (.CUE)
REM GENRE Bossanova
REM DATE 1997
REM DISCID A40A730D
REM COMMENT ExactAudioCopy v0.99pb4
PERFORMER "Arto Lindsay"
TITLE "Noon Chill"
FILE "Arto Lindsay - Noon Chill.flac" WAVE
TRACK 01 AUDIO
TITLE "Noon Chill"
INDEX 01 00:00:00
TRACK 02 AUDIO
TITLE "Whirlwind"
INDEX 01 03:35:05
TRACK 03 AUDIO
TITLE "Simply Are"
INDEX 01 08:14:15
TRACK 04 AUDIO
TITLE "Blue Eye Shadow"
INDEX 01 11:55:50
TRACK 05 AUDIO
TITLE "Mulata Fuzarqueira"
INDEX 01 15:24:32
TRACK 06 AUDIO
TITLE "Ridiculously Deep"
INDEX 01 18:29:15
TRACK 07 AUDIO
TITLE "Anything"
INDEX 01 22:36:25
TRACK 08 AUDIO
TITLE "Gods Are Weak"
INDEX 01 27:03:12
TRACK 09 AUDIO
TITLE "Take My Place"
INDEX 01 29:39:12
TRACK 10 AUDIO
TITLE "Daily Life"
INDEX 01 33:53:65
TRACK 11 AUDIO
TITLE "Light Moves Away"
INDEX 01 35:23:67
TRACK 12 AUDIO
TITLE "Why Compare"
INDEX 01 38:50:47
TRACK 13 AUDIO
TITLE "Auguri"
INDEX 01 42:26:67
Лог проверки качества
------------------------------------------------------------
Filename : Arto Lindsay - Noon Chill.wav (450.01mb)
Source : CDDA (probability 99%)
Detect Mode : 8
Date : 05.10.2008 03-09-59
------------------------------------------------------------
File Generated by Ape Batch Check 1.4a (build 29.04.2008)
Monkey's Audio : (c) Matthew T. Ashland; http://www.monkeysaudio.com/
auCDtect.exe : (c) Oleg Berngardt; Alexander Djourik; http://www.true-audio.com
Ape Batch Check : Bete Noire; http://betenoire.narod.ru/
Скриншот спектра частот
01. Reentry [3:37]
02. Blue Eye Shadow Remix (Ambassador Jr.) [4:12]
03. Whirlwind Remix (3348) [2:52]
04. Why Compare Remix (Size) [4:08]
05. Anything Remix (Channel 17) [5:20]
Лог создания рипа
Exact Audio Copy V0.99 prebeta 4 from 23. January 2008
Отчёт EAC об извлечении, выполненном 5. октября 2008, 2:24
Arto Lindsay / Reentry
Дисковод: TSSTcorpCDDVDW SH-S203B Adapter: 2 ID: 2
Режим чтения : Достоверность
Использование точного потока : Да
Отключение кэша аудио : Да
Использование указателей C2 : Нет
Коррекция смещения при чтении : 6
Способность читать области Lead-in и Lead-out : Нет
Заполнение пропущенных сэмплов тишиной : Да
Удаление блоков с тишиной в начале и конце : Нет
При вычислениях CRC использовались нулевые сэмплы : Да
Интерфейс : Установленный внешний ASPI-интерфейс
Выходной формат : Внутренние WAV-операции
Формат сэмплов : 44.100 Гц; 16 бит; стерео
TOC извлечённого CD
Трек | Старт | Длительность | Начальный сектор | Конечный сектор
---------------------------------------------------------------------
1 | 0:00.00 | 3:37.07 | 0 | 16281
2 | 3:37.07 | 4:11.48 | 16282 | 35154
3 | 7:48.55 | 2:51.67 | 35155 | 48046
4 | 10:40.47 | 4:08.08 | 48047 | 66654
5 | 14:48.55 | 5:20.20 | 66655 | 90674
Характеристики диапазона извлечения и сообщения об ошибках
Выбранный диапазон
Имя файла D:\Temporary Residence\Arto Lindsay - Reentry.wav
Пиковый уровень 98.8 %
Качество диапазона 100.0 %
CRC копии 819C75EE
Копирование... OK
Ошибок не произошло
Конец отчёта
Содержание индексной карты (.CUE)
REM GENRE Bossanova
REM DATE 1997
REM DISCID 3604B905
REM COMMENT ExactAudioCopy v0.99pb4
PERFORMER "Arto Lindsay"
TITLE "Reentry"
FILE "Arto Lindsay - Reentry.flac" WAVE
TRACK 01 AUDIO
TITLE "Reentry"
INDEX 01 00:00:00
TRACK 02 AUDIO
TITLE "Blue Eye Shadow Remix (Ambassador Jr.)"
INDEX 00 03:35:07
INDEX 01 03:37:07
TRACK 03 AUDIO
TITLE "Whirlwind Remix (3348)"
INDEX 00 07:46:55
INDEX 01 07:48:55
TRACK 04 AUDIO
TITLE "Why Compare Remix (Size)"
INDEX 00 10:38:47
INDEX 01 10:40:47
TRACK 05 AUDIO
TITLE "Anything Remix (Channel 17)"
INDEX 00 14:46:55
INDEX 01 14:48:55
Лог проверки качества
---------------------------------------------------------
Filename : Arto Lindsay - Reentry.wav (203.38mb)
Source : CDDA (probability 100%)
Detect Mode : 8
Date : 05.10.2008 03-11-12
---------------------------------------------------------
File Generated by Ape Batch Check 1.4a (build 29.04.2008)
Monkey's Audio : (c) Matthew T. Ashland; http://www.monkeysaudio.com/
auCDtect.exe : (c) Oleg Berngardt; Alexander Djourik; http://www.true-audio.com
Ape Batch Check : Bete Noire; http://betenoire.narod.ru/
Скриншот спектра частот
Об исполнителе
Arto Lindsay has made a lifelong habit of crossing both geographical and musical borders. Born in the United States and raised in Brazil during the heyday of that country's pointedly eclectic Tropicália movement of the 1960s, the multi-faceted songwriter/producer/vocalist/guitarist has forged an international reputation as an artist whose work is as seductive as it is challenging. From his late ‘70s recordings of abrasive “no wave” through his acclaimed series of solo albums beginning in the late ‘90s, Lindsay has bonded rhythms and melodies from diverse cultures and genres in provocative new ways, crafting inimitable soundscapes whose impact can range from fragile pop pleasure to sheer sonic assault.
It was the 1978 four-band sampler No New York (produced by Brian Eno) which brought an early taste of international (albeit underground) notoriety to Lindsay's first band, DNA. Critic Lester Bangs admiringly described the trio's screamed vocals and deliberately primitive, speaker-shredding guitar as “horrible noise.” Lindsay and his bandmates frequently inserted Portuguese phrases in their lyrics and even tried to appropriate Brazilian drumming techniques, “but nobody could really tell,” he now recalls. While the group only lasted a brief time, its influence can still be heard in the work of countless noise-rock experimentalists ever since.
Lindsay remained a key figure in the downtown Manhattan scene throughout the 1980s, playing with early versions of the Lounge Lizards and the Golden Palominos, producing tracks for Laurie Anderson and David Byrne, collaborating with John Zorn, contributing lyric translations to compilations of Brazilian music on Byrne's label Luaka Bop, even popping up in the films Desperately Seeking Susan and Candy Mountain. With keyboardist Peter Scherer he founded the Ambitious Lovers, recording three albums (Envy, Greed, and Lust) which incorporated elements of Brazilian, experimental, funk, R&B, and soul styles.
The 1990s launched an ongoing series of solo releases — O Corpo Sutil / The Subtle Body, Mundo Civilizado, Noon Chill and Prize. Lindsay's new album, Invoke, continues to explore samba, bossa nova and more recent Brazilian song structures on his own terms. Each of these albums has been followed by a disc of remixes by a diverse group of electronic music artists from around the world, making explicit the connections between Lindsay's aesthetic and such genres as drum-and-bass, illbient and underground hip-hop.
Lindsay's critical reputation brought him back to Brazil to work as a producer on recordings by Caetano Veloso, Vinicius Cantuária, Gal Costa, and Carlinhos Brown, among others. A 1999 New York Times article on the legacy of the Tropicália movement hailed Lindsay's contributions to “the finest Brazilian pop albums of the past dozen years,” and he earned a Latin Grammy for “Best Brazilian Contemporary Pop Album” for his production work on the platinum-selling Marisa Monte album, Memórias, Crônicas e Declarações de Amor. Lindsay's longstanding association with Monte subsequently led to his producing the music for her recent live DVD.
On yet another front, Lindsay has long been active in the field of sound art as both a curator and as an installation artist in his own right. Frequently working with sound designer /artist Ben Rubin, Arto has curated music and audio art for Brazil's Carlton Arts Festival, London's Barbican Centre and the nightclub Tonic in downtown New York. In the process, he has become one of the first musicians to use Dolby Digital 5.1 surround-sound in a live concert format. Lindsay's past collaborators include German theater director Heiner Muller, Japanese composer Ryuichi Sakamoto, American multidisciplinary artist Vito Acconci and British producer/conceptualist Brian Eno, and he has recently been commissioned by choreographer Richard Move, a mainstay of New York's legendary Jackie 60 nightclub, to compose music for a full-evening dance/theater piece for Mikhail Baryshnikov's White Oak Dance Company.
Pop musician, audio provocateur, sought-after producer: regardless of the title, Arto Lindsay is an artist.
It was the 1978 four-band sampler No New York (produced by Brian Eno) which brought an early taste of international (albeit underground) notoriety to Lindsay's first band, DNA. Critic Lester Bangs admiringly described the trio's screamed vocals and deliberately primitive, speaker-shredding guitar as “horrible noise.” Lindsay and his bandmates frequently inserted Portuguese phrases in their lyrics and even tried to appropriate Brazilian drumming techniques, “but nobody could really tell,” he now recalls. While the group only lasted a brief time, its influence can still be heard in the work of countless noise-rock experimentalists ever since.
Lindsay remained a key figure in the downtown Manhattan scene throughout the 1980s, playing with early versions of the Lounge Lizards and the Golden Palominos, producing tracks for Laurie Anderson and David Byrne, collaborating with John Zorn, contributing lyric translations to compilations of Brazilian music on Byrne's label Luaka Bop, even popping up in the films Desperately Seeking Susan and Candy Mountain. With keyboardist Peter Scherer he founded the Ambitious Lovers, recording three albums (Envy, Greed, and Lust) which incorporated elements of Brazilian, experimental, funk, R&B, and soul styles.
The 1990s launched an ongoing series of solo releases — O Corpo Sutil / The Subtle Body, Mundo Civilizado, Noon Chill and Prize. Lindsay's new album, Invoke, continues to explore samba, bossa nova and more recent Brazilian song structures on his own terms. Each of these albums has been followed by a disc of remixes by a diverse group of electronic music artists from around the world, making explicit the connections between Lindsay's aesthetic and such genres as drum-and-bass, illbient and underground hip-hop.
Lindsay's critical reputation brought him back to Brazil to work as a producer on recordings by Caetano Veloso, Vinicius Cantuária, Gal Costa, and Carlinhos Brown, among others. A 1999 New York Times article on the legacy of the Tropicália movement hailed Lindsay's contributions to “the finest Brazilian pop albums of the past dozen years,” and he earned a Latin Grammy for “Best Brazilian Contemporary Pop Album” for his production work on the platinum-selling Marisa Monte album, Memórias, Crônicas e Declarações de Amor. Lindsay's longstanding association with Monte subsequently led to his producing the music for her recent live DVD.
On yet another front, Lindsay has long been active in the field of sound art as both a curator and as an installation artist in his own right. Frequently working with sound designer /artist Ben Rubin, Arto has curated music and audio art for Brazil's Carlton Arts Festival, London's Barbican Centre and the nightclub Tonic in downtown New York. In the process, he has become one of the first musicians to use Dolby Digital 5.1 surround-sound in a live concert format. Lindsay's past collaborators include German theater director Heiner Muller, Japanese composer Ryuichi Sakamoto, American multidisciplinary artist Vito Acconci and British producer/conceptualist Brian Eno, and he has recently been commissioned by choreographer Richard Move, a mainstay of New York's legendary Jackie 60 nightclub, to compose music for a full-evening dance/theater piece for Mikhail Baryshnikov's White Oak Dance Company.
Pop musician, audio provocateur, sought-after producer: regardless of the title, Arto Lindsay is an artist.
Об альбоме
This disc proves the adage that you shouldn't judge a book (or CD) by its cover: beneath a blurry and daunting photo of Lindsay as a soggy frogman, the more adventurous buyer will discover hypnotic rhythms and enigmatic lyrics. While Lindsay's voice is thin (and sometimes flat), his narcotic delivery is nicely suited to the pictures he paints. Check out the Brazilian flavors of "Simply Are" or the trance groove of "Ridiculously Deep," and you'll hear why this cult favorite has won the admiration (and guest appearances) of musicians like Nana Vanconcelos, Mitchell Froom, Peter Scherer and others. So put the cover away and let your ears be the judge.