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(Folk, Experimental) [CD] Six Organs Of Admittance - Hexadic II - 2015, FLAC (tracks+.cue), lossless

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Six Organs Of Admittance / Hexadic II
Жанр: Folk, Experimental
Носитель: CD
Страна-производитель диска (релиза): USA
Год издания: 2015
Издатель (лейбл): Drag City
Номер по каталогу: DC643
Страна исполнителя (группы): USA
Аудиокодек: FLAC (*.flac)
Тип рипа: tracks+.cue
Битрейт аудио: lossless
Продолжительность: 00:39:30
Источник (релизер): what.cd (jiovi)
Наличие сканов в содержимом раздачи: pdf
Треклист:
1. Fear Havoc Night - 04:19
2. Exultation Wave - 04:26
3. Anyone's Dawn - 08:02
4. Arm Their Rows - 03:28
5. Cut Angle - 04:31
6. Wasp Code - 03:15
7. Burial Empty Found - 02:56
8. Vile Hell - 04:29
9. Poor Guild - 04:05

Код:

X Lossless Decoder version 20141129a (148.2)
XLD extraction logfile from 2015-11-16 14:26:38 -0600
Six Organs Of Admittance / Hexadic II
Used drive : PIONEER DVD-RW  DVR-112D (revision BC14)
Media type : CD-Recordable
Ripper mode             : XLD Secure Ripper
Disable audio cache     : OK for the drive with a cache less than 1375KiB
Make use of C2 pointers : NO
Read offset correction  : 48
Max retry count         : 20
Gap status              : Analyzed, Appended
TOC of the extracted CD
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        8  | 30:56:24 | 04:28:62 |    139224    |   159385
        9  | 35:25:11 | 04:04:44 |    159386    |   177729
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Track 02
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Track 05
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End of status report

Код:

TITLE "Hexadic II"
PERFORMER "Six Organs Of Admittance"
REM GENRE "Indie Rock"
REM DATE "2015"
REM DISCNUMBER 1
REM TOTALDISCS 1
REM DISCID 74094109
FILE "01 Six Organs Of Admittance - Fear Havoc Night.flac" WAVE
  TRACK 01 AUDIO
    TITLE "Fear Havoc Night"
    ISRC PECOC71008?2
    FLAGS DCP
    INDEX 01 00:00:00
FILE "02 Six Organs Of Admittance - Exultation Wave.flac" WAVE
  TRACK 02 AUDIO
    TITLE "Exultation Wave"
    FLAGS DCP
    INDEX 01 00:00:00
FILE "03 Six Organs Of Admittance - Anyone's Dawn.flac" WAVE
  TRACK 03 AUDIO
    TITLE "Anyone's Dawn"
    FLAGS DCP
    INDEX 01 00:00:00
FILE "04 Six Organs Of Admittance - Arm Their Rows.flac" WAVE
  TRACK 04 AUDIO
    TITLE "Arm Their Rows"
    FLAGS DCP
    INDEX 01 00:00:00
FILE "05 Six Organs Of Admittance - Cut Angle.flac" WAVE
  TRACK 05 AUDIO
    TITLE "Cut Angle"
    FLAGS DCP
    INDEX 01 00:00:00
FILE "06 Six Organs Of Admittance - Wasp Code.flac" WAVE
  TRACK 06 AUDIO
    TITLE "Wasp Code"
    FLAGS DCP
    INDEX 01 00:00:00
FILE "07 Six Organs Of Admittance - Burial Empty Found.flac" WAVE
  TRACK 07 AUDIO
    TITLE "Burial Empty Found"
    FLAGS DCP
    INDEX 01 00:00:00
FILE "08 Six Organs Of Admittance - Vile Hell.flac" WAVE
  TRACK 08 AUDIO
    TITLE "Vile Hell"
    FLAGS DCP
    INDEX 01 00:00:00
FILE "09 Six Organs Of Admittance - Poor Guild.flac" WAVE
  TRACK 09 AUDIO
    TITLE "Poor Guild"
    FLAGS DCP
    INDEX 01 00:00:00

Six Organs of Admittance is the primary musical project of guitarist Ben Chasny. Chasny's music is largely guitar-based and is often considered new folk however, it includes obvious influences, marked by the use of drones, chimes, and eclectic percussive elements. He records albums for Drag City and Holy Mountain, among other labels.
-wikipedia.com

Several years ago, after tiring of the predictable patterns he sensed himself settling into as a guitar player, Ben Chasny of Six Organs of Admittance decided to design a theoretical framework that would force his hands into different positions. Chasny distributed a deck of poker cards in a circular array of sets of six, corresponding to the notes of the guitar. The relative positions of the cards gave Chasny a "tonal field" in which to operate, as well as a set of notes from which to pick, some indication of time and tempo, and lyrical rules for the songs themselves.
Though Chasny describes it as a "caveman" appropriation of similar constructs by Anthony Braxton and John Cage, it is involved and elaborate enough to prompt a book, The Hexadic System, published by Drag City this year. And February's Hexadic, his public debut with the system, felt like an attempt to declare its formidable nature. Showcasing the scope of the system felt as important as the songs. Unapologetically loud and aggressive, with more than a whiff of hardline Japanese psych, it was an extreme indoctrination into a new approach. Recorded with a fully loaded quartet, the largely instrumental Hexadic was not for the faint of heart or those accustomed to Chasny’s softer side.
For Hexadic II, though, Chasny used the same results of the system to create new solo versions of the songs. He swapped the electric for the acoustic, added soft murmurs of harmonium and electronics and strings, and sang on almost all of the songs. The output gives the Hexadic System a new patina of accessibility. On the penultimate track "Vile Hell", Chasny jumps between notes at unexpected angles, sounding like Derek Bailey in a windstorm, before he stops playing altogether. He lets a faint, luminous drone linger until it spills over into "Poor Guild", the record’s gorgeous finale. Violinist Jen Gelineau matches the drone’s tone, and Chasny picks his way through it. In a keening falsetto, he offers a series of elliptical, evocative phrases—"tiny excess/ eye maligned/ depict, transfix." It is the most purely pretty moment in Chasny’s enormous catalogue, the sight of an early bloom, opening slowly after an arduous winter.
The nine tracks on Hexadic II follow the same order as their Hexadic counterparts, and careful, comparative listening does reveal analogous aspects. It’s more rewarding, though, to consider the differences, or to take the sets as entirely separate products of the same process. The disparity shows just how far Chasny may be able to take an idea still in its early stages of execution. Where "Wax Chance" was a diabolical, noise-soaked dirge, "Exultation Wave" is an exquisite gallop, with multiple guitar lines and multi-tracked vocals suggesting the density of the earlier work without trying to match it. Likewise, the two-minutes of no-wave roar from "Maximum Hexadic" unfurl here into eight minutes of circular picking and ghastly vocals for "Anyone’s Dawn". Chasny’s playing invokes the same Middle Eastern influences that Sir Richard Bishop has often conjured, while his singing recalls the fragile coo of Richard Youngs. What was shocking is now sublime.
In that way, the Hexadic System feels like a prism for Chasny, able to draw different elements of his influences and approach based on the input and circumstances. The results are novel and approachable, a combination that enables Chasny to transcend the examples of Cage and Braxton, at least in execution. Despite the complexity of the system that produced Hexadic II, the songs and sounds measure up to the setup itself.
-pitchfork.com

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