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(Atmospheric Psychedelic Rock | Instrumental) Eight Bells - The Captain's Daughter - 2013, FLAC (tracks+.cue), lossless

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Eight Bells - The Captain's Daughter

Жанр: Atmospheric Psychedelic Rock | Instrumental
Год издания: 2013
Страна: USA (Portland)
Аудиокодек: FLAC (*.flac)
Тип рипа: tracks+.cue
Битрейт аудио: lossless
Продолжительность: 00:31:10
Источник (релизер): what.cd (ryrysis)
Наличие сканов в содержимом раздачи: нет

01. Tributaries [00:03:50]

02. Fate and Technology [00:07:20]

03. The Captain's Daughter [00:12:48]

04. Yellowed Wallpaper [00:07:10]

Код:

Exact Audio Copy V1.0 beta 3 from 29. August 2011

EAC extraction logfile from 23. February 2013, 20:18

Eight Bells / The Captain's Daughter

Used drive  : TSSTcorpDVD+-RW TS-T633C   Adapter: 1  ID: 0

Read mode               : Secure
Utilize accurate stream : Yes
Defeat audio cache      : Yes
Make use of C2 pointers : No

Read offset correction                      : 6
Overread into Lead-In and Lead-Out          : No
Fill up missing offset samples with silence : Yes
Delete leading and trailing silent blocks   : No
Null samples used in CRC calculations       : Yes
Used interface                              : Native Win32 interface for Win NT & 2000
Gap handling                                : Appended to previous track

Used output format              : User Defined Encoder
Selected bitrate                : 128 kBit/s
Quality                         : High
Add ID3 tag                     : No
Command line compressor         : C:\Program Files (x86)\Exact Audio Copy\Flac\flac.exe
Additional command line options : -V -8 -T "artist=%artist%" -T "title=%title%" -T "album=%albumtitle%" -T "date=%year%" -T "tracknumber=%tracknr%" -T "genre=%genre%" %source%

TOC of the extracted CD

     Track |   Start  |  Length  | Start sector | End sector
    ---------------------------------------------------------
        1  |  0:00.00 |  3:50.38 |         0    |    17287
        2  |  3:50.38 |  7:20.66 |     17288    |    50353
        3  | 11:11.29 | 12:48.74 |     50354    |   108027
        4  | 24:00.28 |  7:10.01 |    108028    |   140278

Track  1

     Filename C:\EAC Rips\Eight Bells - The Captain's Daughter (2013)\01 Tributaries.wav

     Pre-gap length  0:00:02.00

     Peak level 94.9 %
     Extraction speed 2.5 X
     Track quality 100.0 %
     Test CRC 6026500B
     Copy CRC 6026500B
     Track not present in AccurateRip database
     Copy OK

Track  2

     Filename C:\EAC Rips\Eight Bells - The Captain's Daughter (2013)\02 Fate and Technology.wav

     Peak level 97.1 %
     Extraction speed 2.7 X
     Track quality 99.9 %
     Test CRC FD411A0C
     Copy CRC FD411A0C
     Track not present in AccurateRip database
     Copy OK

Track  3

     Filename C:\EAC Rips\Eight Bells - The Captain's Daughter (2013)\03 The Captain's Daughter.wav

     Peak level 95.2 %
     Extraction speed 3.8 X
     Track quality 100.0 %
     Test CRC A4925546
     Copy CRC A4925546
     Track not present in AccurateRip database
     Copy OK

Track  4

     Filename C:\EAC Rips\Eight Bells - The Captain's Daughter (2013)\04 Yellowed Wallpaper.wav

     Peak level 94.8 %
     Extraction speed 4.1 X
     Track quality 100.0 %
     Test CRC DEC7FD51
     Copy CRC DEC7FD51
     Track not present in AccurateRip database
     Copy OK

None of the tracks are present in the AccurateRip database

No errors occurred

End of status report

---- CUETools DB Plugin V2.1.3

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==== Log checksum 51550DB80BDA6714AED58AB6F91767552D6B3BD3F7D7FCEC09CECF45D9907D1D ====

Код:

REM GENRE "Psychedelic Rock"
REM DATE 2013
REM DISCID 24074E04
REM COMMENT "ExactAudioCopy v1.0b3"
PERFORMER "Eight Bells"
TITLE "The Captain's Daughter"
FILE "01 Tributaries.wav" WAVE
  TRACK 01 AUDIO
    TITLE "Tributaries"
    PERFORMER "Eight Bells"
    INDEX 01 00:00:00
FILE "02 Fate and Technology.wav" WAVE
  TRACK 02 AUDIO
    TITLE "Fate and Technology"
    PERFORMER "Eight Bells"
    INDEX 01 00:00:00
FILE "03 The Captain's Daughter.wav" WAVE
  TRACK 03 AUDIO
    TITLE "The Captain's Daughter"
    PERFORMER "Eight Bells"
    INDEX 01 00:00:00
FILE "04 Yellowed Wallpaper.wav" WAVE
  TRACK 04 AUDIO
    TITLE "Yellowed Wallpaper"
    PERFORMER "Eight Bells"
    INDEX 01 00:00:00

Код:

-----------------------

DON'T MODIFY THIS FILE

-----------------------

PERFORMER: auCDtect Task Manager, ver. 1.5.1RC6 build 1.5.1.7
Copyright (c) 2008-2010 y-soft. All rights reserved
[url=http://y-soft.org]http://y-soft.org[/url]

ANALYZER: auCDtect: CD records authenticity detector, version 0.8.2
Copyright (c) 2004 Oleg Berngardt. All rights reserved.
Copyright (c) 2004 Alexander Djourik. All rights reserved.

FILE: 04 Yellowed Wallpaper.flac
  Size: 50429118 Hash: D34637100DF9DF46DDE59393F1BCEFBD Accuracy: -m0
  Conclusion: CDDA 100%
  Signature: 58DBA54AA48C74BE7FF22FB36179498872665C2D
FILE: 03 The Captain's Daughter.flac
  Size: 86468084 Hash: A67EA0DD6406FD0F00BAA54023B93A05 Accuracy: -m0
  Conclusion: CDDA 99%
  Signature: DB5E36B2549E6776BB6FE7C5687C4A9AB81DC8F0
FILE: 02 Fate and Technology.flac
  Size: 52017878 Hash: 6DDFF53FAE6204D545149F1E3AB2BD91 Accuracy: -m0
  Conclusion: CDDA 100%
  Signature: BB0542F8004C5EB2EF9F72FEBEBBC583D21F898B
FILE: 01 Tributaries.flac
  Size: 28182986 Hash: CF8322AB776241495218EBAE40DD968D Accuracy: -m0
  Conclusion: CDDA 100%
  Signature: 704CE15C4EE8F3B152885588D01C9D8E18ACC8A2

Eight Bells is a mostly instrumental (or, as Invisible Oranges recently described them, “instrumental-when-they-want-to-be”) trio hailing from Portland, Oregon that rose from the ashes of guitarist Melynda Jackson and drummer Christopher Van Huffel’s former band, SubArachnoid Space. The band is rounded out by classically-trained six-string bassist Haley Westeiner. Their debut album, due out February 19 from Seventh Rule records, takes its name from a nautical euphemism for the cat o’ nine tails. The album was produced by Billy Anderson, who is probably best known for his work with Sleep, Neurosis, and Agalloch. There’s a song on it called “Yellowed Wallpaper,” inspired by the Charlotte Perkins Gilman’s story “The Yellow Wallpaper.”

Thus ends the easy part of this review.

See, here’s the thing about Eight Bells—I’ve given this album about ten spins now and I’m no closer to wrapping my head around it than I was the first time I listened to it. I have no idea what the fuck is going on in pretty much any of the album’s four songs, and I absolutely love each and every one of them for it. It’s a lot like Radiohead’s OK Computer in that respect—the first few times I heard it I didn’t totally ‘get’ it, but I knew it was a fucking masterpiece. On the band’s Facebook page, they describe their genre as “Blackened Experimental – We do what the songs ask,” and I fucking love them for that, too. I mean, I’ve referred to other albums as ‘genre-fuck’ albums, but this album manages to be a genre-fuck and a mind-fuck all at the same time. And I figure I’ve probably maxed out my number of allowed uses of the word ‘fuck’ in a single review, so I should at least try to describe what’s going on musically on this album. And while I’m generally not a fan of track-by-track reviews, I’ll make an exception here since the album is only four tracks long and there’s so much going on in each track that I could probably write a TL;DR review of each of them individually. Don’t worry, I won’t—but the sheer majesty of this album demands something more in-depth than the usual sort of 500 word pieces I usually write even for albums I totally adore.

Things start off innocuously enough with “Tributaries,” the album’s shortest and probably most ‘accessible’ track. The opening riff sounds a lot like the kind of riff one would expect from an instrumental metal band—kind of post-rock a la Pelican, but with a bit of a cacophonous black metal twist—it’s energetic and doesn’t prepare the listener at all for what’s about to come. Then at about the 50 second mark things switch up completely and the drums fall back and the guitar and either an overdubbed second guitar or more likely the bass do this interesting and quite lovely melody/counter-melody thing that lasts for about a minute, and then all hell breaks loose and changes start coming so quickly it would be folly to try to catalog them all. All totaled. The song is less than four minutes long and covers more territory than most bands do on an entire album, and that’s just the opener.

The next track, “Fate and Technology,” is the one people are likely already familiar with since it debuted on Invisible Oranges a week or so ago. The entire question of genre is rendered kind of moot from the very first seconds of the song—a kind of blackened post-sludge (see how dumb that sounds? genre is moot) that resolves into a cascade of shimmering guitar noise and feedback that reminds me a lot of Daydream Nation-era Sonic Youth. Then comes the album’s biggest surprise: an ethereal guest vocal from Kris Force of Amber Asylum. Fragile-sounding and occasionally verging on the off-key, the vocal is a perfect complement for the slithering, post-rock sounding guitar lines that wrap around Force’s voice and build in intensity until everything explodes in the song’s last 90 seconds or so, which are full-on, throat-shredding, tremolo-picking black metal—easily the heaviest moments on the album. This song is an absolute tour-de-force.

Track three is the album’s title track, and it’s the longest and most dynamic song on the album. The opening riffs remind me of the kind of post-metal played by bands like National Sunday Law or Intronaut, but that only lasts for about the first two minutes of the song’s nearly 13-minutes. Then comes another section that reminds me of one of those ‘everything falls apart’ sections that made early Sonic Youth so exciting to listen to that eventually resolves itself into something more melodic, anchored by Van Huffel’s drumming. Then the song takes a totally unexpected turn. After what might be a ‘fake-out’ ending, the song starts back up as a gorgeous duet between guitar and bass that almost sounds like a whale song. Then the drums coming back in, and eventually a ghostly female voice starts keening over the top of it all, instantly shifting the song’s closing section from lovely to unsettling.

The album’s final track, ‘Yellowed Wallpaper,” is almost a welcome respite after unsettling ending to the previous track, which is kind of odd if you’ve ever read the story that inspired it. It opens with clean guitars and chunky chords before transitioning into more post- sounding sections that change so frequently it gets difficult to try to keep track of them. Then at the 4:00 mark, things start to get noisy, with a slightly atonal, effects-laden guitar solo being played over increasingly urgent drums, before the song goes back to the previous post- section. Then the ending minute or so starts off sounding like black metal but then goes so many other places before finally coming to and end that it’s almost as exhausting to listen to as I’m guessing it was to actually play.

Here’s the thing about this album, though—the next time I listen to it, I may hear something completely different. The music is so complex, and there’s so much going on in terms of the song structures and the interplay of the musicians that it not only holds up to repeated listens, it demands them. I know this is an album that will be on heavy rotation for quite some time, and I wouldn’t be surprised if it ended up near the top of my year-end best of list for 2013 (and yes, I know it’s still really early in the year and there are still hundreds of albums I’ll listen to between now and December, but remember this—Pallbearer’s Sorrow and Extinction came out on February 21 last year, which was essentially the same week that this album will be coming out). It’s a masterpiece that I think will only get better with repeated listens.

The Captain’s Daughter will be available from Seventh Rule records on February 19. The Flenser will be handling the vinyl version, which does not yet have a release date.

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