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The six-minute album version of Cascade is so different to the 40-minute single. We saw it as a great opportunity to write another album, but based around one song. a b "digitalpodroom". Yage.co.uk. Archived from the original on 20 June 2010 . Retrieved 31 August 2010. The Future Sound of London: Welcome to the Galaxial Pharmaceutical". Secondthought.co.uk . Retrieved 22 March 2009. This was 2018. I'd hardly began my own music career at that point and the stuff that I make is the furthest from ambient, which is perhaps the reason why I find such adoration in those that can make it compelling. FSOL is a group that I think merges the line between the computerized and organic so seamlessly that it negates the criticism that their music has become dated with age. That perhaps applies to some of their work prior to this album when they were very much the THEN Sound of London, especially with Accelerator. It's not to say that the music found on that album isn't interesting or poorly composed, but the unique flair of the group fully materialized here as far as I'm concerned. The mixture of very patterned and fun grooves, treasure trove of samples woven into the fiber of this albums structure and the distant but ambitious narrative ideas are something I haven't quite seen anywhere else.

a b Mikesn (7 February 2009). "The Future Sound of London – Lifeforms". Sputnikmusic . Retrieved 28 February 2012. Three years on, they followed the album with a continuation of the Amorphous Androgynous project, Alice in Ultraland. Rumoured to be accompanied by a film of the same title, the album took The Isness ' psychedelic experimentation and toned it down, giving the album a singular theme and sound, and replacing the more bizarre moments with funk and ambient interludes. The album was ignored by the press, but was received more favourably among fans than its predecessor. Unlike The Isness, which featured almost 100 musicians over the course of it and the various alternative versions and remix albums, Alice in Ultraland featured a fairly solid band lineup throughout, which extended to live shows which the band had undertaken away from the ISDN cables from 2005 onwards. The music we liked was a mix of romance and harshness, so what evolved in the studio was a kind of euphoric sadness. We combined found, organic sounds with sample modification, triggering, pitching and splicing. Together, it amounted to something disorientating, but strangely familiar and emotional."In the following years the pair produced music under a variety of aliases, releasing a number of singles and EPs, including " Q" and " Metropolis", later featured on the 1992 compilation Earthbeat. Disc 2 should be listened to straight after Disc 1 since it's here that the journey becomes really exciting. Domain is a wonderfully fragile piece which borrows Pachelbel's Canon. Vertical Pig is apocalyptic - humans have come to raze down the jungle. Cerebral is the sad cry of the animals who are having their habitat destroyed. The layers slowly decrease and fold up - the lifeforms abandoning their dying realm. The end of Little Brother is the final call of helplessness from the forlorn creatures. Time to review another classic ambient album: well, Lifeforms is THE classic ambient album. It's widely available and evokes the most wonderful of atmospheres. Really the magnum opus of FSOL, Lifeforms made the duo and is always referenced as their best. FSOL & Digitana – HALia & SX-1 Synths – The FSOL Message Board". ilovecubus.co.uk . Retrieved 3 June 2022.

Baker, Ross (6 October 2001). "The Future Sound of London – Lifeforms (Path 5)" . Retrieved 3 June 2022– via fractionaldifference.wordpress.com. In March 2007 they finally went independent and launched FSOLDigital.com releasing dozens of unreleased material (under the From The Archives series), as well as old and new material from their other aliases. One of the most anticipated albums in ambient history, Environments got released 13 years since its recording, and then Environments continued as a series, the first volumes were reproduced old material blended with new neoclassical material. By the time they reached Environment Five in 2014, all recorded material was brand new. Show more Dead Skin Cells was the sound of two guys rotting away in a studio they never cleaned. It was literally the room of dead skin cells. Muggs, Joe (6 March 2018). "Future Sound Of London – Lifeforms". Resident Advisor . Retrieved 13 September 2018. We had DJs coming up to us saying the music on the album was rubbish. They liked Papua New Guinea because it was a dancefloor smash. We weren't interested in that anymore. We just wanted to make really unusual music." Spineless JellyRedmond, Steve, ed. (30 July 1994). "Single Releases" (PDF). Music Week. London: Spotlight Publications. Stuart Aitken (11 November 2013). "Stakker Humanoid: how the Future Sound of London won hearts and minds". The Guardian. Lifeforms" is a song by British electronic music group The Future Sound of London, released as a single through Virgin Records on 1 August 1994. [1] It is the second single from their 1994 album, Lifeforms. Vocals on the single were performed by Elizabeth Fraser of the Cocteau Twins. In Darkness Dreaming: Another Carbon Based Lifeforms Interview!". Archived from the original on 17 June 2020. From "Vit" till "Little Brother" takes you to its individual journey. It is a breathtaking trip to the core of the jungles and inner mind. It shines like a thousand stars and tastes like the most delicious fruit. It swims with dolphins ("Omnipresence"), takes you to a lovely hotel ("Room 208") and even makes the forest turn frozen solid ("Elaborate Burn"). Hehehe, i once was spending a night at a hotel and it also had a room #208 near my room. I bet the people who spent the night there had a jungle there.

Tom Hull, Hull (12 November 2023). "Grade List: Future Sound Of London". Tom Hull – on the Web . Retrieved 12 November 2023. Toni Halliday of Curve was involved here. We took her vocal and reduced it to snippets. She's credited with 'Texture' on the album. We probably didn't like the song she gave us. I guess Brian and I were so heavily into deep and powerful songs that until we hooked up with Liz Fraser of the Cocteau Twins we felt nothing was evoking that intensity we loved, so we always needed to mystify the vocal by further sampling and producing it." Life Form Ends a b c d e f "The Future Sound of London Interview". Barcodezine.com. Archived from the original on 27 September 2011 . Retrieved 22 March 2009. You know, missing out on that whole blue people aspect and burning a giant tree, but I think the point is mostly there. It's just a read, people. Anyhow, there's a number of recurring sounds, motifs and samples that act as the spirit of the jungle to me that are reacting in tandem to the events of the album, especially that piano piece from Ill Flower. It's so simple but it works so brilliantly, and I suppose that's a microcosm of a lot of the compositions as a whole. There's nothing crazy, there's no real jaw dropper moment. It's just one continuous drop of the jaw as the album progresses. Gaz mentioned that while his counterpart in Brian makes music largely in search of great sounds, he would often try to make a marriage between certain noises and movements. And when those philosophies come together, it makes for a really emotional adventure. The Future Sound of London began work on the album around the same time as they were finishing Tales of Ephidrina, and the more complex, ambient direction they were taking resulted in Lifeforms. [2] The artwork also progressed from previous works, with soon-to-be familiar images of the "Witch Girl" Sheuneen Ta and the "Spike" computer model having been previously used on the group's Cascade EP.We would have about 200-300 sounds pulled together to form our sonic palette. It's hard work moulding and sculpting that many samples as they'd be taken from the TV, records, DAT, microphones, or from abusing musicians. We'd get them in, pay them 50 quid and tell them to play like Miles Davis in his experimental phase for half an hour, and we'd leave the tape running and go out." Elaborate Burn But, there is definitely more here. This really is one of those perfect and uniquely innovative post modern journeys into the total fusion allowed by modern technology and the cut and paste mentality that really took hold as electronic music evolved. From a compositional view, think of this as essentially reinventing classical whilst keeping choirs and orchestras but adding, dreamy airy effects, modern synthesisers, sampling. It was a lonely place making this kind of music. It wasn't about a band, or being in a club. It was two guys, almost meditating on sound, forming their own rules in near isolation. Baker, Ross (6 October 2001). "The Future Sound of London – Lifeforms featuring Elizabeth Fraser" . Retrieved 3 June 2022– via fractionaldifference.wordpress.com. a b c d "Future Sound of London: Music News Feature | Clash Music". Clash Music . Retrieved 22 March 2009.

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