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FSOL - Lifeforms FLAC album

FSOL - Lifeforms FLAC album

Tracklist

1 Lifeforms (Path 1) 4:45
2 Lifeforms (Path 2) 6:49
3 Lifeforms (Path 3) 5:17
4 Lifeforms (Path 4) 9:00
5 Lifeforms (Path 5) 6:05
6 Lifeforms (Path 6) 2:45
7 Lifeforms (Path 7) 4:05

Companies, etc.

  • Recorded At – Earthbeat Studios
  • Recorded At – September Sound
  • Published By – Sony Music Publishing UK
  • Published By – Future Sound Of London ADM
  • Published By – Sony Songs Inc.
  • Published By – Monumentum Music Ltd.
  • Phonographic Copyright (p) – Virgin Records Ltd.
  • Copyright (c) – Virgin Records Ltd.
  • Manufactured By – Caroline Records, Inc.
  • Marketed By – Caroline Records, Inc.
  • Distributed By – Caroline Records, Inc.
  • Glass Mastered At – Disctronics USA – 126717

Credits

  • Artwork [For Ebv] – Buggy G Riphead*
  • Engineer – Yage
  • Performer [Tablatronics] – Talvin Singh
  • Producer – The Future Sound Of London
  • Vocals – Elizabeth Fraser
  • Written-By – Elizabeth Fraser, The Future Sound Of London

Notes

Original pressing with Disctronics USA in the matrix, and no SID codes.

Track durations on the release are slightly incorrect (4:43/6:49/5:24/9:03/6:02/2:48/4:02); corrected here.

Some items contain a sticker on the front of the jewel case:
The Future Sound Of London
"Paths 1-7: Lifeforms"
An extended 39 minute journey through ethereal ambience, pulsing dance rhythms and exotic world sounds.
Featuring vocals by Liz Fraser
6114

Recorded at Earthbeat Studios and September Sound, London.

Published by Sony Music Publishing U.K. / Future Sound Of London ADM. by Sony Songs Inc. (B.M.I.) / Momentum Music Ltd. Elizabeth Fraser appears courtesy of Capitol Records. The copyright in this recording is owned by Virgin Records Ltd.
℗ & © 1994 Virgin Records Ltd.
Manufactured, marketed and distributed by Caroline Records Inc.

Barcode and Other Identifiers

  • Barcode (Printed): 0 1704-66114-2 8
  • Barcode (Scanned): 017046611428
  • Rights Society: BMI
  • Matrix / Runout: 126717-R1-4199-1 DISCTRONICS USA **ASW6114**

Other versions

Category Artist Title (Format) Label Category Country Year
7243 8 92373 2 0, VSCDT 1484, vscdt 1484 FSOL* Lifeforms ‎(CD, EP, Mixed) Virgin, Virgin, Virgin 7243 8 92373 2 0, VSCDT 1484, vscdt 1484 UK & Europe 1994
VSP 1484, 7243 8 92377 0 2 FSOL* Lifeforms ‎(7", Single, Pic) Virgin, Virgin VSP 1484, 7243 8 92377 0 2 UK 1994
VSCDXJ 1484 The Future Sound Of London Lifeforms ‎(CD, Maxi, Promo) Virgin VSCDXJ 1484 UK 1994
7243 8 92373 2 0 FSOL* Lifeforms ‎(CD, Maxi, Mixed) Virgin 7243 8 92373 2 0 Canada 1994
VSC 1484, 7243 8 92377 4 0 The Future Sound Of London Lifeforms ‎(Cass, Maxi) Virgin, Virgin VSC 1484, 7243 8 92377 4 0 UK 1994


FSOL - Lifeforms FLAC album

Musician performer: FSOL

Title: Lifeforms

Country: UK & Europe

Date of release: 1994

Style: Leftfield, Techno, Downtempo, Ambient

Genre: Electronic

Size FLAC: 1288 mb

Rating: 4.6 / 5

Votes: 170

Other Formats: VOX AC3 AU WMA WAV XM MIDI

FSOL Leftfield Techno Downtempo Ambient 1994 UK and Europe

Related to FSOL - Lifeforms FLAC Albums

Jogrnd
As reviewed by me in August 1994, when I couldn't offer praise without pairing it with insults:Summary: A diverse, relatively engaging EP of sample-oriented arrangements based on the title track from their latest double-CD.Okay, I was the guy who panned the Lifeforms album. In the months since writing that review, I've tried listening to it in the car, at home, with & without headphones, on drugs, during the day, late at night, or while doing something else—nothing seems to make it any more appealing to me. The only reason I called it the future of electronic music is because so many people do like it that the record companies will make it into a bandwagon to be jumped on with dollar signs in their eyes. Hopefully I'll be wrong about this —I was saying two years ago that raves in the USA were a passing fad, after all—but at this point I think that FSOL are establishing a marketing pipeline for similar-sounding music to be delivered to the masses in the coming years.If only the trail was being blazed by the innovativeness of their art alone. The IDM mailing list is testament to the explosion of groundbreaking new electronic music coming from the same psychedelic dance roots as the FSOL duo. Yet the laurels are being heaped on FSOL by the mainstream press and Internet groups (the Space-Music and Tangerine Dream mailing lists, for example) while equally innovative electronica from Richard Kirk and scores of lesser known artists are, to put it mildly, being ignored. It's criminal."Lifeforms" the maxi-single is a welcome relief from the aimless meanderings of the Lifeforms album. It's still got more samples than it knows what to do with, but this time a little more attention has been paid to constructing accessible songs out of the sound fragments rather than throwing them all at you amidst an unimaginative barrage of bubbling glorps and zaps. It's nothing the Art of Noise weren't doing better 10 years ago, and you'll still be wondering when the song is going to start when it's really almost done, but it's definitely a more coherent journey than the album from which it is derived. Nearly 40 minutes long, the uninterrupted "paths" (...rolling eyes) are tinted with snippets of Liz Fraser's voice. I thought it was going to be some unflattering smatterings of out-of-context harmonies. To my pleasant surprise her voice is used throughout the mini-album in many different ways and in large enough doses to lend a much needed breath of humanity to the otherwise soulless, semi-organic sonic soup."Path 1" is much like the album filler, though it picks up toward the end. "Path 2" is an alarmingly cerebral manipulation of headspace, to the point of being worthy of a remix CD of its own. "Path 4" is a sweet epic dominated by flowing sounds, Fraser's phonics practice and, in an apparent tribute to their forerunners, a sample borrowed from Pink Floyd's "On The Run". (That same sample from Dark Side Of The Moon was also used by the KLF on the immortal Chill Out.) "Path 5" is an amalgam of "Central Industrial", the Tales of Ephidrina album, truer to FSOL's post-Accelerator sound. "Path 6" is a piano & vox interlude (don't worry, synths and samples still abound) leading into the dub-influenced lovemaking theme "Path 7".Like I said, nothing the Art of Noise weren't doing better 10 years earlier. (Does saying that qualify me for the Too Old To Be A Music Critic club? Or is membership in the Just Because You Sent Me A Promo Doesn't Mean I Have To Sing Your Praises club good enough? Heh, I better watch it or I won't get anything.)
Jogrnd
As reviewed by me in August 1994, when I couldn't offer praise without pairing it with insults:Summary: A diverse, relatively engaging EP of sample-oriented arrangements based on the title track from their latest double-CD.Okay, I was the guy who panned the Lifeforms album. In the months since writing that review, I've tried listening to it in the car, at home, with & without headphones, on drugs, during the day, late at night, or while doing something else—nothing seems to make it any more appealing to me. The only reason I called it the future of electronic music is because so many people do like it that the record companies will make it into a bandwagon to be jumped on with dollar signs in their eyes. Hopefully I'll be wrong about this —I was saying two years ago that raves in the USA were a passing fad, after all—but at this point I think that FSOL are establishing a marketing pipeline for similar-sounding music to be delivered to the masses in the coming years.If only the trail was being blazed by the innovativeness of their art alone. The IDM mailing list is testament to the explosion of groundbreaking new electronic music coming from the same psychedelic dance roots as the FSOL duo. Yet the laurels are being heaped on FSOL by the mainstream press and Internet groups (the Space-Music and Tangerine Dream mailing lists, for example) while equally innovative electronica from Richard Kirk and scores of lesser known artists are, to put it mildly, being ignored. It's criminal."Lifeforms" the maxi-single is a welcome relief from the aimless meanderings of the Lifeforms album. It's still got more samples than it knows what to do with, but this time a little more attention has been paid to constructing accessible songs out of the sound fragments rather than throwing them all at you amidst an unimaginative barrage of bubbling glorps and zaps. It's nothing the Art of Noise weren't doing better 10 years ago, and you'll still be wondering when the song is going to start when it's really almost done, but it's definitely a more coherent journey than the album from which it is derived. Nearly 40 minutes long, the uninterrupted "paths" (...rolling eyes) are tinted with snippets of Liz Fraser's voice. I thought it was going to be some unflattering smatterings of out-of-context harmonies. To my pleasant surprise her voice is used throughout the mini-album in many different ways and in large enough doses to lend a much needed breath of humanity to the otherwise soulless, semi-organic sonic soup."Path 1" is much like the album filler, though it picks up toward the end. "Path 2" is an alarmingly cerebral manipulation of headspace, to the point of being worthy of a remix CD of its own. "Path 4" is a sweet epic dominated by flowing sounds, Fraser's phonics practice and, in an apparent tribute to their forerunners, a sample borrowed from Pink Floyd's "On The Run". (That same sample from Dark Side Of The Moon was also used by the KLF on the immortal Chill Out.) "Path 5" is an amalgam of "Central Industrial", the Tales of Ephidrina album, truer to FSOL's post-Accelerator sound. "Path 6" is a piano & vox interlude (don't worry, synths and samples still abound) leading into the dub-influenced lovemaking theme "Path 7".Like I said, nothing the Art of Noise weren't doing better 10 years earlier. (Does saying that qualify me for the Too Old To Be A Music Critic club? Or is membership in the Just Because You Sent Me A Promo Doesn't Mean I Have To Sing Your Praises club good enough? Heh, I better watch it or I won't get anything.)
Dangerous
Funny I just found this in my collection and currently listening to it. I have zero concern whether Art of Noise where doing similar music 10 years early they did in fact create the instrumental sampling pop album and their own niche so why note take some of that influence and infuse some of your own style. FSOL took the art of sampling to a new level incorporating much more samples in unique ways i.e. chants, micro rhythmic loops augmented by synths and into a glurpy world of neural mind fucking. Its not as easily digested as AON which focused on trad composition forms and melodies no FSOL where on a plane of their own. I dont like everything they have done but this era Lifeforms, Ephidrina and Accelerator are specific releases I do return to for their sheer layers of intriguing sounds.
Dangerous
Funny I just found this in my collection and currently listening to it. I have zero concern whether Art of Noise where doing similar music 10 years early they did in fact create the instrumental sampling pop album and their own niche so why note take some of that influence and infuse some of your own style. FSOL took the art of sampling to a new level incorporating much more samples in unique ways i.e. chants, micro rhythmic loops augmented by synths and into a glurpy world of neural mind fucking. Its not as easily digested as AON which focused on trad composition forms and melodies no FSOL where on a plane of their own. I dont like everything they have done but this era Lifeforms, Ephidrina and Accelerator are specific releases I do return to for their sheer layers of intriguing sounds.