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| Details / Tracklist: |
1.1 Atomic Plant 11.2 Atomic Plant 21.3 Atomic Plant 31.4 Fusion Point 11.5 Fusion Point 21.6 Fusion Point 31.7 Nuclear Radiation 11.8 Nuclear Radiation 21.9 Nuclear Radiation 31.10 Regulators 11.11 Regulators 21.12 Data Load1.13 Modem1.14 Robot Masters1.15 Digiheart 11.16 Digiheart 2 |
| | Number of discs: |
1 |
| | Regioncode: |
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| | Extra-Infos: |
Coloursound |
| | Description: | Heads have been after Otakar OlÅ¡anÃk and Jan MartiÅ¡'s Advanced Process for a
long time. That's because "coincidentally-cosmic disco" packed with spaced-out,
smacky-synth dynamite tends to become sought-after. Originally slipping out on
the mighty Coloursound in 1986, the label described the sound as "contemporary
synthesizer underscores played by computers; depicting future technologies in
today's process." If they'd just added "acid-drenched", they'd have been closer
to nailing it.
The A-Side is totally beatless. It's also totally perfect. "Atomic Plant 1" is a
pulsing synth epic and could've easily soundtracked a stylish 80s thriller such
as Thief or To Live And Die In LA. It's a narcotically enhanced meeting between
John Carpenter and Steve "Lovelock" Moore. "Atomic Plant 2" adds extra squelch
and proper early computer synth squiggles. This stuff is addictive and truly
ace. The 3 part "Fusion Point" showcases a dramatic and insistent industrial
mood via a gripping sequencer pattern mixed with effects and accents. Menacing
and magnificent. The trio of "Nuclear Radiation" tracks veer majestically from a
hypnotic sequencer pattern with a heavy dramatic tune to hectic patterns without
much of a tune, managing nevertheless to maintain a hold on the listener.
The drums enter proceedings on Side B and they're absolutely outstanding. Coming
on like a slicker, heavier Johnny Jewel production, 20 years before Italians Do
It Better, "Regulators 1" marries the smoothest head-nod beat you can wish for,
with a murky mechanical rhythm and phasing effects. After the stunning beatless
version ("Regulators 2") the suuuupppper slo-mo "Data Load" sounds like its
wading through the heaviest K-Hole and is all the more thrilling for it. "Modem"
is a brief and breezy funky bass and synth squiggle wonder, of the beatless
variety. "Robot Masters", would you believe, actually sounds like something
those Daft Parisians would've sampled on Discovery, over 15 years later. An
uptempo, optimistic track with a real strut; propulsive rhythms with dramatic
synths, what can only be described as "very-80s sounds" and digi-handclaps. The
breathless "Digiheart" double bill rounds things out, one with a dynamic driving
rhythm and more slick-as-hell beats and the other without drums. Mental,
brilliant and completely essential.
As David Hollander, in Unusual Sounds: The Hidden History of Library Music,
states, Coloursound was "founded in 1979 by composer, music lawyer, and
vibraphonist Gunter Greffenius. A Munich-based library with a reputation for
releasing innovative and ambitious music, it catered largely to the market for
experimental sounds, its first release was 1980â??s Biomechanoid, an abstract
synthesizer excursion by Joel Vandroogenbroeck, of the pioneering kosmische band
Brainticket. The record â?? complete with imposing, anonymous title and unearthly
H.R. Giger cover art â?? set the tone for the labelâ??s progressive leanings. The
labelâ??s catalogue stands as a tribute to the unfettered creative license that
libraries were able to provide to forward-thinking musicians who, frustrated by
the whims and constraints of the commercial scene, found complete freedom in the
world of production music."
As with all our library music re-issues, the audio for Advanced Process comes
from the original analogue tapes and has been remastered for vinyl by Be With
regular Simon Francis. Richard Robinson has brought the original Coloursound
sleeve back to life in all its metallic silver glory. - COLOURSOUNDHeads have been after Otakar Olsaník and Jan Martis's Advanced Process for a long time. That's because 'coincidentally-cosmic disco' packed with spaced-out, smacky-synth dynamite tends to become sought-after. Originally slipping out on the mighty Coloursound in 1986, the label described the sound as 'contemporary synthesizer underscores played by computers; depicting future technologies in today's process.' If they'd just added 'acid-drenched', they'd have been closer to nailing it. The A-Side is totally beatless. It's also totally perfect. 'Atomic Plant 1' is a pulsing synth epic and could've easily soundtracked a stylish 80s thriller such as Thief or To Live And Die In LA. It's a narcotically enhanced meeting between John Carpenter and Steve 'Lovelock' Moore. 'Atomic Plant 2' adds extra squelch and proper early computer synth squiggles. This stuff is addictive and truly ace. The 3 part 'Fusion Point' showcases a dramatic and insistent industrial mood via a gripping sequencer pattern mixed with effects and accents. Menacing and magnificent. The trio of 'Nuclear Radiation' tracks veer majestically from a hypnotic sequencer pattern with a heavy dramatic tune to hectic patterns without much of a tune, managing nevertheless to maintain a hold on the listener. The drums enter proceedings on Side B and they're absolutely outstanding. Coming on like a slicker, heavier Johnny Jewel production, 20 years before Italians Do It Better, 'Regulators 1' marries the smoothest head-nod beat you can wish for, with a murky mechanical rhythm and phasing effects. After the stunning beatless version ('Regulators 2') the suuuupppper slo-mo 'Data Load' sounds like it's wading through the heaviest K-Hole and is all the more thrilling for it. 'Modem' is a brief and breezy funky bass and synth squiggle wonder, of the beatless variety. 'Robot Masters', would you believe, actually sounds like something those Daft Parisians would've sampled on Discovery, over 15 years later. An uptempo, optimistic track with a real strut; propulsive rhythms with dramatic synths, what can only be described as 'very-80s sounds' and digi-handclaps. The breathless 'Digiheart' double bill rounds things out, one with a dynamic driving rhythm and more slick-as-hell beats and the other without drums. Mental, brilliant and completely essential. As David Hollander, in Unusual Sounds: The Hidden History of Library Music, states, Coloursound was 'founded in 1979 by composer, music lawyer, and vibraphonist Gunter Greffenius. A Munich-based library with a reputation for releasing innovative and ambitious music, it catered largely to the market for experimental sounds, it's first release was 1980's Biomechanoid, an abstract synthesizer excursion by Joel Vandroogenbroeck, of the pioneering kosmische band Brainticket. The record - complete with imposing, anonymous title and unearthly H.R. Giger cover art - set the tone for the label's progressive leanings. The label's catalogue stands as a tribute to the unfettered creative license that libraries were able to provide to forward-thinking musicians who, frustrated by the whims and constraints of the commercial scene, found complete freedom in the world of production music.' | | | Edition: |
Remastered |
| | No. of tracks: |
16 |
| | Manufacturer No.: |
BEWITH117LP |
| Product Safety
Responsible Person for the EU:
Ten Dance Media GmbH
Boxhagener Str. 106, 10245 Berlin, DE
gpsr@tendance.de | |
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