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Úvodní stránka » RECORDS » RECORDS II » Eno–Hyde — High Life
Eno–Hyde — High Life [June 27th, 2014]

Eno–Hyde — High Life [June 30, 2014]

               Eno–Hyde — High Life
•♣    Společně vytvořili dvě z těch nejlepších alb roku 2014. Máme od tohoto dua mnohem více materiálu a není to pro mne ani trochu přitěžující: alba nejsou postavena proti sobě na souboj. Z těchto dvou desek, “High Life” netrpí žádnou nevyléčitelnou nemocí, Ebola ho minula a je zvukově obohacující. The album is Eno’s sixth for Warp Records, and was recorded following the announcement of his first collaboration with Karl Hyde. Brian Eno was quoted saying, “when Someday World was finished I felt like we were still on a roll and I wasn’t ready to stop working and get into ‘promotional mode’ for that record. So I suggested we immediately start on another album, a different one, where we extended some of the ideas we'd started, and attempted some of the ideas we hadn’t.”
Location: London, UK
Album release: June 27th, 2014
Record Label: Opal/Warp
Duration:     46:37
01. Return      9:00
02. DBF      4:13
03. Time To Waste It      8:19
04. Lilac      9:25
05. Moulded Life      4:55
06. Slow Down, Sit Down & Breathe (Digital Bonus Track)      3:04
07. Cells & Bells      7:41
♣   CD Digipack with 16 page booklet
2014 Opal Ltd under exclusive license to Warp Records Limited
•    Brian Eno — vocals, synthesizers, treatments, guitars, organ, background vocals
•    Karl Hyde — vocals, guitar, bass guitar, background vocals
•    Fred — keyboards, drums, percussions, background vocals
•    Leo Abrahams — guitar, bass guitar
•    Marianna Champion — background vocals
Written by:
•    Brian Eno / Karl Hyde     1
•    Leo Abrahams / Brian Eno / Fred Gibson / Karl Hyde     2, 3, 5
•    Leo Abrahams / Brian Eno / Fred Gibson / Rick Holland / Karl Hyde   4,
Billboard Albums:
•    2014  High Life     The Billboard 200     #194
•    2014  High Life     Top Electronic Albums     #7
•    2014  High Life     Top Independent Albums     #31
•    Leo Abrahams Composer, Guitar, Guitar (Bass), Reverb
•    Tessa Angus Photography
•    Marianna Champion Vocals (Background)
•    Peter Chilvers Recording Equipment, Recording Supervision
•    Brian Eno Artwork, Composer, Cover Photo, Guitar, Lyricist, Mixing, Organ, Photo Treatment, Piano, Producer, Synthesizer, Treatments, Vocals, Vocals (Background)
•    Fred Gibson Composer, Drums, Electronic Percussion, Keyboards, Piano, Reverb, Synthesizer Bass, Vocals (Background)
•    Rick Holland Composer, Lyricist
•    Karl Hyde Composer, Guitar, Guitars: Bass, Rhythm, Loops, Mixing,  Vocals Background
•    Kevin Metcalfe Mastering
•    Nick Robertson Decors, Design
•    Chris Vatalaro Drums, Electronic Drums
Review by Thom JurekScore: ***½
••    High Life, the second collaboration between Brian Eno and Underworld's Karl Hyde, began immediately after the completion of Someday World. Its release follows a mere two months later. While some traits of the former are present here — a heavy reliance on African–sourced rhythms, and hypnotically repetitive keyboard and bassline — it is a very different companion. While the pair relied on more formal "song forms" on Someday World, High Life is looser. These six tracks place more value on jamming. ••    The centerpiece is Hyde's guitar. It's front and center throughout, with myriad rhythm tracks close behind. A two–chord reinvention of Chuck Berry's signature riff commences album–opener "Return" before becoming subsumed in sonic treatments and Edge–like sounds. Nonetheless, that vamp worms its way into the brain and feet. ••    Hyde's drifting vocal is mixed far underneath his six–string; it's negligible. Skittering percussion loops and a droning keyboard eventually come to prominence balanced by an organ playing more like a calliope, building on and subtracting from the riff. A humming bassline merely echoes the guitar changes and it goes on for nine minutes. Though only four minutes, "DBF" is pure funk, with Hyde's chunky guitar chords hammering right at the percussion and syncopating it. "Time to Waste It" combines both high life and Caribbean rhythms with a slowly unfolding, merciless repetition that becomes momentum. The heavily treated vocals unhurriedly open out in a bigger circle. It's a "song" that feels like pure improvisation. The proto–disco rhythm guitar in "Lilac" — featuring the album's silliest lyrics — is juxtaposed with psychedelia and gospel in the vocals. Eno's keyboard treatments pulse; they twist and turn it inside out without forsaking the reverence in or spaciness of the singing, while the guitar keeps the foot race going. "Moulded Life" is careening, chaotic electro Afrofunk — we could have used much more on this set — with Adrian Belew–esque guitar parts cutting in a number of directions, as keyboards churn, burp, and crash with dissonance above glitchy rhythm tracks. Closer "Cells and Bells" is an outlier. Given its predecessors, it's almost ambient in comparison; it's a spectral elegy with a monotone vocal that becomes part of the instrumentation. There's just enough actual (musical) form to keep the thread, as it is, to a close. High Life sounds like it contains little "strategy." These jams feel spontaneous. The constant repetition with more or less subtle shades of developing dynamic and texture in all but the last of these tracks creates a nearly endless groove. And perhaps that’s the album's point, creating an album of dance music that's fun to listen to; a mirror image of Someday World's more carefully structured avant pop. http://www.allmusic.com/
••    “A startling and inspiring record.” — 8.5 — By Mark Richardson; July 2, 2014/Pitchfork (Best New Music)
•    http://pitchfork.com/reviews/albums/19539-brian-eno-karl-hyde-high-life/
••    “It’s alive and fluid… rejecting the standard order.” — Sasha Frere–Jones, The New Yorker
••    “High Life acts as more of an alternative to its predecessor than a sequel, which comprised nine tracks of “standard” length, some not unlike album tracks by Depeche Mode (an act who, despite having tracks remixed by Eno, have surprisingly not had the full album treatment). With that in mind, it’s not quite as appealing generally speaking, but does feature music for those moments when a soundtrack to a subtle atmosphere is needed — whether on screen or in imaginations — with hints of more life slipping in between.” —  6/10 — BY JOHN DANIEL BULL, 25 JUNE 2014, 11:30 BST
•    http://www.thelineofbestfit.com/reviews/albums/eno-hyde-high-life
••    “Both men have done fine work on their own in recent years, over multiple projects, and the best of their work together could easily make up one of the best albums of 2014. While it’s nice that we have significantly more material from the duo than just that album, it’s a little aggravating that we have it in the form we have (and that such an album will ultimately need to be constructed by listeners). Of the two records, High Life doesn’t suffer from any real clunkers and is more consistently sonically rewarding, so that makes it the ‘better’ album. And that’s what ultimately makes it the more frustrating of the two; even the more successful collection put together by Eno and Hyde is mostly just further proof that they haven’t yet made the album together that they’re clearly capable of.” — 6/10 — By Ian Mathers 9 December 2014
•    http://www.popmatters.com/review/188379-eno-hyde-high-life/
••    “Finalement assez rock avec ses guitares bouclées, la suite « expérimentale » de Someday World, album scellant la rencontre du producteur Brian Eno et du chanteur Karl Hyde (Underworld). Simple, direct, émouvant.” ( source: www.telerama.fr )
Website: http://enohyde.com/
1  Return     9:00
Groovebox [CDJ Groove], Guitar, Bass Guitar, Voice [Backing Voices] — KH*
Voice [Backing Voice] — Marianna Champion
Voice, Lyrics By [Lyric], Synth [All Synths], Voice [Backing Voices] — BE*
2  DBF     4:14
Bass Guitar — LA*
Groovebox [CDJ Groove], Effects [Slicing And Treatments], Guitar [Guitar Slicing], Organ [Distorsion Organ] — BE*
Guitar [Spike Guitar] — KH*
Keyboards [Keyboard], Percussion [Electric Percussion] — FG*
3  Time To Waste It     8:19
Drums [Gregor Macmillian Drums] — FG*
Groovebox [CDJ Groove And Slicing], Organ [Distorsion Organ], Voice [Backing Voice] — BE*
Guitar [Spike Guitar], Voice [Backing Voice] — KH*
Guitar, Guitar [Howling Horn Guitar] — LA*
4  Lilac     9:24
Groovebox [CDJ Groove], Voice, Voice [Backing Voice], Synthesizer [Cyclical Synthesisers] — BE*
Guitar [Flick Guitar], Guitar [Rolling Guitar], Rhythm Guitar, Bass Guitar, Voice [Backing Voice] — KH*
Lyrics By [Lyric] — Rick Holland
Percussion [Live Electronic Percussion], Voice [Backing Voice] — FG*
5  Moulded Life     4:55
Groovebox [CDJ Groove], Guitar [Guitar Slicing], Guitar [Horse Guitar] — BE*
Guitar [Orchestral Guitar] — LA*
Rhythm Guitar — KH*
Synth [Bass Synth] — FG*
6  Slow Down, Sit Down And Breathe     3:04
7  Cells & Bells     7:41
Effects [Deep Reverb Atmospheres], Keyboard [Lead Keyboard] — FG*
Guitar [Deep Reverb Guitar] — LA*
Loop [CDJ Slow Guitar Loop], Voice [Backing Voice] — KH*
Lyrics By [Lyric] — Rick Holland
Voice, Effects [Track Treatment] — BE*
•    This Japanese edition is released in a Digipak with white tray, and includes:
•    an Obi strip, atypically located on the right side;
•    a 16–page booklet with artist photographs and credits in English;
•    an additional 6–page black & white leaflet with liner notes in Japanese;
•    Track 6: 'Bonus Track For Japan'.
•    There are no individual credits given for track 6.
•    Made in Japan.

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