Amorphous Androgynous - Tales Of Ephidrina [FLAC]

Info:







Album:



Named in displaced reference to a form of speed popular with late-night studio hounds, Tales of Ephidrina is probably the nearest Amorphous Androgynous have come to an even compromise between their ambient and dance pretensions, trading equally between lush, contemplative textures and upbeat, simplistic rhythmic structures. Enjoyable but by no means essential.



Group:



The Future Sound of London (often abbreviated to FSOL) are a prolific British electronic music band composed of Garry Cobain and Brian Dougans. The duo are often credited with pushing the boundaries of electronic music experimentation

and of pioneering a new era of dance music. Although often labelled as ambient, Cobain and Dougans usually resist being

typecast into any one particular genre. Their work covers most areas of electronic music, such as ambient techno, drum and bass, trip-hop, ambient dub, acid techno and often involves extreme experimentation; for example they have,

since the turn of the millennium, experimented with psychedelic rock under their Amorphous Androgynous alias.



The artists have been fairly enigmatic in the past but have become more candid with their fanbase in recent years with social websites like Myspace & Youtube, their forum and many interviews in which Cobain almost always speaks for them both. In addition to music composition, their interests have covered a number of areas including film and video, 2D and 3D computer graphics, animation in making almost all their own videos for their singles, radio broadcasting and creating their own electronic devices for sound making.



In 1991 they released their first album as The Future Sound of London, "Accelerator" which was followed by their seminal breakthrough ambient-dub track "Papua New Guinea" featuring a looping Lisa Gerrard vocal sample and a bassline from Meat Beat Manifesto's "Radio Babylon", which was their first official single release; the track remains arguably their most recognizable and celebrated song, it has made several (British) "...best songs ever" polls and track specific accolades.



"Accelerator" was very much a club-friendly techno album and remains their only studio album in this vein to this day; it was praised for its unique sound and atmosphere. In 1992 Virgin Records were looking for electronic bands and quickly signed them. With their newfound contract they immediately began to experiment with more ambient music, resulting in the "Tales of Ephidrina" album of 1993, the first album to be released under the Amorphous Androgynous alias;

this was well received by press and marked an almost complete shift from the more techno driven "Accelerator".



"Lifeforms" followed in 1994 to critical acclaim. The new work featured unconventional use of percussion interspersed with cyclopean ambient segments. The eponymous single from the album featured Elizabeth Fraser of the Cocteau Twins on vocals. The album was a top 10 hit on the UK album chart and remains their most popular opus. The album featured epic, cyclopean, ambient soundscapes and almost had a life of its own, each track flowing from one to the next with no pauses in between tracks. Cobain has said that around this time that journalists would come to talk to them and one of the first things they would ask would be if they liked Brian Eno (whom they cite as an influence) to which they would laugh and say that actually they were about looking forward not to the past, it was, to them, very much their new work rather than just another Eno type ambient album.



"Her Face Forms in Summertime" from "Dead Cities" which is one of the more ambient tracks on an otherwise dark album.

1994 also saw the release of the limited edition album "ISDN", which was as close to a live album as most electronic acts get - it featured live broadcasts FSOL had made over ISDN lines to various radio stations worldwide and to The Kitchen, an avant-garde performance space in New York and several appearances on the late John Peel's celebrated BBC radio "Sessions" shows. One live performance to BBC Radio 1 featured Robert Fripp performing alongisde the band.

Its tone was darker and more rhythmic than "Lifeforms". Cobain stated that with "ISDN" they had wanted to achieve something epic and grand but no matter how much technological or personal support they had

(and they had everything they could have possibly wanted) they never got to truly do what they envisioned; he admits to wanting too much at this time, even though the album was successful; the 90s, for Cobain in particular, were a time of frustration and feelings of not being able to do what they wanted to even though the technology at the time did not fit their grand ideas. The following year, the album was re-released with expanded artwork, a slightly altered tracklist, as an unlimited pressing.



Tracklisting:

1. Liquid Insects â€" 7:21
2. Swab â€" 4:17
3. Mountain Goat â€" 4:38
4. In Mind â€" 5:38
5. Ephidrena â€" 8:17
6. Auto Pimp â€" 7:20
7. Fat Cat â€" 4:04
8. Pod Room â€" 5:27

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