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(Pop-Rock, Art-Pop) [CD] Tim Bowness - Flowers at the Scene - 2019, FLAC (tracks+.cue), lossless

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Tim Bowness / Flowers at the Scene
Жанр: Pop-Rock, Art-Pop
Носитель: CD
Страна-производитель диска (релиза): Germany
Год издания: 2019
Издатель (лейбл): Inside Out Music
Номер по каталогу: 19075928452
Страна исполнителя (группы): UK
Аудиокодек: FLAC (*.flac)
Тип рипа: tracks+.cue
Битрейт аудио: lossless
Продолжительность: 00:42:56
Источник: собственный рип
Наличие сканов в содержимом раздачи: да

01. I Go Deeper (Tim Bowness / Stefano Panunzi) 04:16
02. The Train That Pulled Away (Tim Bowness / Brian Hulse) 04:04
03. Rainmark (Tim Bowness) feat. Jim Matheos 04:15
04. Not Married Anymore (Tim Bowness / Brian Hulse ) feat. Dylan Howe 03:31
05. Flowers at the Scene (Tim Bowness / Brian Hulse) feat. Jim Matheos 03:05
06. It’s the World (Tim Bowness / Brian Hulse / Jim Matheos) feat. Peter Hammill, Jim Matheos, Steven Wilson 03:04
07. Borderline (Tim Bowness / Roger Eno) feat. Dylan Howe, David Longdon 03:46
08. Ghostlike (Tim Bowness / Brian Hulse) 05:09
09. The War on Me (Tim Bowness / Brian Hulse) 03:48
10. Killing to Survive (Tim Bowness / Brian Hulse) feat. Peter Hammill 04:00
11. What Lies Here (Tim Bowness / Brian Hulse) feat. Kevin Godley, Andy Partridge 04:01

Код:

Exact Audio Copy V1.3 from 2. September 2016
EAC extraction logfile from 11. March 2019, 21:55
Tim Bowness / Flowers at the Scene
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Read mode               : Secure
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Defeat audio cache      : Yes
Make use of C2 pointers : No
Read offset correction                      : 667
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
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Selected bitrate                : 1024 kBit/s
Quality                         : High
Add ID3 tag                     : No
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Additional command line options : -V -8 -T "Genre=%genre%" -T "Artist=%artist%" -T "Title=%title%" -T "Album=%albumtitle%" -T "Date=%year%" -T "Tracknumber=%tracknr%" -T "Comment=%comment%" %source%
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Track  4
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Track  5
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Track  6
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Track  7
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Track  8
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Track  9
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Track 10
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Track 11
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None of the tracks are present in the AccurateRip database
No errors occurred
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Track | CTDB Status
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  3   | (21/21) Accurately ripped
  4   | (21/21) Accurately ripped
  5   | (21/21) Accurately ripped
  6   | (21/21) Accurately ripped
  7   | (21/21) Accurately ripped
  8   | (21/21) Accurately ripped
  9   | (21/21) Accurately ripped
 10   | (21/21) Accurately ripped
 11   | (21/21) Accurately ripped
==== Log checksum 8251E4911FA5AA4B2189E07DAB6CAE63B31C4BE8E224B7B556B8EC7EA630E885 ====

Код:

REM GENRE "Contemporary Pop"
REM DATE 2019
REM DISCID 950A100B
REM COMMENT "ExactAudioCopy v1.3"
PERFORMER "Tim Bowness"
TITLE "Flowers at the Scene"
REM COMPOSER "Tim Bowness"
FILE "01. I Go Deeper.wav" WAVE
  TRACK 01 AUDIO
    TITLE "I Go Deeper"
    PERFORMER "Tim Bowness"
    REM COMPOSER "Tim Bowness / Stefano Panunzi"
    INDEX 01 00:00:00
FILE "02. The Train That Pulled Away.wav" WAVE
  TRACK 02 AUDIO
    TITLE "The Train That Pulled Away"
    PERFORMER "Tim Bowness"
    REM COMPOSER "Tim Bowness / Brian Hulse"
    INDEX 01 00:00:00
FILE "03. Rainmark.wav" WAVE
  TRACK 03 AUDIO
    TITLE "Rainmark"
    PERFORMER "Tim Bowness feat. Jim Matheos"
    REM COMPOSER "Tim Bowness"
    INDEX 01 00:00:00
FILE "04. Not Married Anymore.wav" WAVE
  TRACK 04 AUDIO
    TITLE "Not Married Anymore"
    PERFORMER "Tim Bowness feat. Dylan Howe"
    REM COMPOSER "Tim Bowness / Brian Hulse"
    INDEX 01 00:00:00
FILE "05. Flowers at the Scene.wav" WAVE
  TRACK 05 AUDIO
    TITLE "Flowers at the Scene"
    PERFORMER "Tim Bowness feat. Jim Matheos"
    REM COMPOSER "Tim Bowness / Brian Hulse"
    INDEX 01 00:00:00
FILE "06. It's the World.wav" WAVE
  TRACK 06 AUDIO
    TITLE "It's the World"
    PERFORMER "Tim Bowness feat. Peter Hammill, Jim Matheos, Steven Wilson"
    REM COMPOSER "Tim Bowness / Brian Hulse / Jim Matheos"
    INDEX 01 00:00:00
FILE "07. Borderline.wav" WAVE
  TRACK 07 AUDIO
    TITLE "Borderline"
    PERFORMER "Tim Bowness feat. Dylan Howe, David Longdon"
    REM COMPOSER "Tim Bowness / Roger Eno"
    INDEX 01 00:00:00
FILE "08. Ghostlike.wav" WAVE
  TRACK 08 AUDIO
    TITLE "Ghostlike"
    PERFORMER "Tim Bowness"
    REM COMPOSER "Tim Bowness / Brian Hulse"
    INDEX 01 00:00:00
FILE "09. The War on Me.wav" WAVE
  TRACK 09 AUDIO
    TITLE "The War on Me"
    PERFORMER "Tim Bowness"
    REM COMPOSER "Tim Bowness / Brian Hulse"
    INDEX 01 00:00:00
FILE "10. Killing to Survive.wav" WAVE
  TRACK 10 AUDIO
    TITLE "Killing to Survive"
    PERFORMER "Tim Bowness feat. Peter Hammill"
    REM COMPOSER "Tim Bowness / Brian Hulse"
    INDEX 01 00:00:00
FILE "11. What Lies Here.wav" WAVE
  TRACK 11 AUDIO
    TITLE "What Lies Here"
    PERFORMER "Tim Bowness feat. Kevin Godley, Andy Partridge"
    REM COMPOSER "Tim Bowness / Brian Hulse"
    INDEX 01 00:00:00

Most well-known for his work in the duo No-Man, his long-running partnership with Steven Wilson (Porcupine Tree, Bass Communion), Englishman Tim Bowness established himself throughout the ’90s as a singer and musician with an ear for passionate and passionately wry music. His variety and range of musical interests, similar in scope to Wilson’s own various explorations, resulted in a series of bands and joint efforts with friends covering everything from experimental, cutting-edge dance music to torch songs and progressive rock.
Bowness, born and raised in Warrington in Cheshire, first became interested in music during his childhood in the mid-’70s, while the end of that decade saw him completely taken by a wide variety of influences. Peter Hammill was a particular favorite, while others included Robert Wyatt, David Bowie, and Nick Drake, with a strong and continual interest in what Bowness describes as “obsessive singer/songwriters”— Scott Walker, Nico, Kevin Coyne, and Tim Buckley are other examples. In interviews, Bowness has also mentioned everything from classic disco and post-punk efforts to his parents’ own collection of classic crooners, notably Frank Sinatra. Finding himself in a dead-end civil service job when he was 18, Bowness initially began singing to bring some of his poetry to life and proceeded from there to regular musical work.
Bowness’ work in the ’80s found him putting his interests into practice via a number of different bands, starting with the Manchester-based group Still and continuing through Always the Stranger and After the Stranger. The turning point was 1986—Bowness, singing with the group Plenty, was contacted by Wilson to see if an After the Stranger track could be added to a compilation he was assembling. This in turn led to longer conversations and visits, resulting in the formation of No Man Is an Island, later becoming No-Man.
From then on, Bowness created a slew of often amazing releases in many different areas. Besides No-Man, his most notable efforts include Samuel Smiles, a self-described ambient folk band that began in 1991 but didn’t start releasing albums until 1999, and Darkroom, initially a Samuel Smiles side project that expanded into its own definite sphere, exploring drum’n’bass, techno, and minimalism. A collaboration album with former Japan (and Porcupine Tree) keyboardist Richard Barbieri, Flame, appeared in 1994, while another wholly new group, Henry Fool, also formed. On top of all that, there are two collaborative albums by Bowness and Samuel Smiles/Henry Fool member Peter Chilvers, which both appeared in 2002. In 2003, Bowness appeared on no less than six recordings: an album and EP by No-Man, and on full-lengths by other projects he was involved with, including Centrozoon (with tap guitarist/composer Markus Reuter) Rhinoceros, Alice and Synapscape.
Bowness’s debut solo offering, My Hotel Year was issued by One Little Indian in 2004. The singer was accompanied by an A-list friends including Reuter, Chilvers, David Picking, Henry Fool bandmate Stephen Bennett, and Bernard Wöstheinrich. Despite universal critical acclaim, it would be his last solo album for a decade. That same year, Centrozoon’s Bigger Space appeared, featuring Bowness’ vocals and songs; following its release, he was absent from the music scene for more than two years. In 2007, Centrozoon returned with Never Trust the Things and played some shows, and Bowness and Wilson re-entered the studio, resulting in No-Man’s widely acclaimed Schoolyard Ghosts. They followed it a year later with Wherever There Is Light, while Bowness—using only his last name—also contributed to recordings by O.S.I. , Judy Dyble, Stefano Panunzi, and Fjieri. Henry Fool issued a self-released recording while No-Man offered the double-live DVD package, Mixtaped. Bowness again laid low for the next couple of years, re-emerging in 2011 with Centrozoon’s Never Trust the Way You Are, followed by No-Man’s Love and Endings a year later. 2013 marked the year Bowness returned to music making full-time. He appeared on the Opium Cartel’s Ardor album, and worked on his own projects, releasing records with UXB and Henry Fool. Bowness signed to Inside Out Music in late 2013. His label debut was the celebrated Abandoned Dancehall Dreams, engineered by Bennett and mixed by Wilson. Among its contributors were Colin Edwin, Pat Mastelotto, and Michael Bearpark. Uncharacteristically, Bowness quickly followed it up with 2015’s expansive Stupid Things That Mean the World. The set brought back virtually all his collaborators from the previous album and included a wide cast of new ones—Hammill, Yaron Stavi, violinist Charlotte Dowding, Bruce Soord, and Phil Manzanera, to name a few. He also contributed to projects by A Marble Calm and Fjieri. Bowness released Lost in the Ghost Light in the spring of 2017 with a smaller cast of players, most of whom had appeared on his previous records. He returned in early 2019 with his fifth LP, Flowers at the Scene. (Ted Raggett, AllMusic)

Now over 30 years into his career as a musician, Tim Bowness claims several distinct traits as a lyricist. His poetic style, initially developed as one half of the duo No-Man (with Steven Wilson of Porcupine Tree fame), frequently draws on isolated, hyper-detailed images to paint a vivid picture in a brief amount of space. (“You walk upon the dirt and chocolate wrappers / You’re leaving me behind you” on No-Man’s “Things Change”) Bowness seems to have at his disposal a bevy vocative phrases with just the right amount of interpretive vagueness—“the hollow thump of life that has no taste” is a favorite of mine. Although vivid enough on the page, Bowness’ lyrics come into full life through his breathy, gentle singing voice, a calm tenor which occasionally slowly rises to the higher end of the register.
Musically, Bowness is all over the place. No-Man itself resists genre, with the duo’s career spanning trip-hop to jazz to singer-songwriter, to name only a few. And now, over the course of three recent solo LPs—Abandoned Dancehall Dreams (2014), Stupid Things that Mean the World (2015), and Lost in the Ghost Light (2017)—Bowness has expanded not only his oeuvre but also his compositional range. (A one-off studio record, 2006’s My Hotel Year, precedes the aforementioned three, though in my 2017 interview with him for PopMatters he talks about it as a “studio album in name only.”) As if structuring albums by David Hume’s skeptical principle that one cannot know that any event will follow after another, Bowness places hard rockers next to reflective ballads, dance numbers alongside hushed acoustic interludes. Over the course of a Tim Bowness record one will inevitably find themselves wondering how such eclectic songwriting manages to hang together—and, with Bowness, it usually does.
Flowers at the Scene, Bowness’ fifth solo disc, exemplifies his capacious musical imagination more than any record which precedes it. The spare, somewhat impressionist album art suggests a collection of gentle tunes, and indeed there are a few here, such as the “What Lies Here” sparsely arranged curtain call “The War on Me.” Then there’s the devastating “Not Married Anymore,” which is classic Bowness: a brilliant character study built atop hypnotic keyboards and subtle, jazzy drums. Over an unassertive, somewhat sleepy melody, Bowness paints a portrait of a person realizing their post-divorce loneliness in heartbreaking detail. Beginning with a tragicomic image of “spaghetti on the floor / Christmas wreaths still hanging from the bedroom doors,” Bowness repeats the titular refrain over and over—“You’re not married anymore”—emphasizing the significance of what to some just look like clutter in the home. Moments like these feel like callbacks to No-Man’s late records, Returning Jesus and Schoolyard Ghosts especially, and it’s perhaps not a coincidence given that Bowness produced Flowers at the Scene with Wilson, thereby making it a No-Man-produced affair. In press materials for this record Bowness does admit that this music contains “more than a hint of the spirit of No-Man.”
Yet what makes Flowers at the Scene such a revelation is its embrace of pop and even some harder-edged rock. Bowness flirted with heavy sounds on his past three studio records on tracks like “The Warm-Up Man Forever” and “The Great Electric Teenage Dream,” which thunderously open Abandoned Dancehall Dreams and Stupid Things that Mean the World, respectively. But neither of those so cohesively and holistically embrace pop and rock songwriting like Flowers at the Scene. “Borderline” and “Killing to Survive” could have been bonafide radio hits in the ’80s, the latter a dead ringer for U2 with its Edge-esque guitar lead. “It’s the World,” with its plodding, distorted riff, veers lightly into metal territory, a terrain somewhat but not entirely unfamiliar to Bowness. (His lone full-metal excursion to date exists as a bonus track on OSI’s underrated 2009 LP Blood.)
Lead single “I Go Deeper” gets its driving rhythm from a particularly excellent drum performance. Rock and pop have existed in Bowness’ unique musical vernacular for quite some time now, but there’s an energy to Flowers at the Scene which makes it feel like Bowness’ true pop/rock statement to date. In contrast to the conceptual narrative of Lost in the Ghost Light, Flowers at the Scene adopts a song-centered approach which yields fine results—it’s a move not unlike the one Wilson made between his two most recent solo outings, 2015’s Hand. Cannot. Erase. and 2017’s To the Bone.
Amidst the tranquil and turbulent shifts in Flowers at the Scene, Bowness places the best song, the title track, right in the middle. Echoes of No-Man’s “Chelsea Cap” can be heard in the interplay between piano and drums, but in keeping with the guitar rock bent which informs much of the LP, the track builds to a thrilling guitar solo, lifting the jazzy aura of the music to almost arena concert heights. The chorus, equally poetic and catchy, has Bowness creating another visually rich, nostalgic image: “There were flowers at the scene / There were postcards from the team / On the bandstand by the green / There were flowers at the scene.” It’s a kind of evocation that we’ve heard in Bowness’ music before. An oddly specific phrase, a setting wholly rendered from only a few small but significant details.
Bowness could be forgiven for reaching for such lyrical tricks after decades as a musician, but, amazingly, he seems to be an endless fount of poetic ruminations on life’s tiny tragedies—and, if that wasn’t enough, he still knows how to put them to music. By synthesizing the myriad facets of Bowness’ output as a songwriter and channeling them into 11 focused and tightly composed songs, Flowers at the Scene stands out amongst his already impressive crop of solo albums. (Brice Ezell, PopMatters, 07 Mar 2019)

Please see the enclosed copy of the booklet for the track-by-track lists of musicians.

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