(Nu Jazz, Future Jazz, Downtempo) [LP] [12"] [24/192] [24/96] The Cinematic Orchestra - Коллекция - 1999-2019 (12 альбомов), FLAC (tracks)

Lineage:
Rega P10 Turntable with Rega P10 PSU > Rega Apheta 3 Cartridge > PS Audio NuWave Phono Converter ADC > AudioQuest Carbon USB Cable > USB-IN > Audition CC 2019 @ 24bit float, 192kHz capture.
Processing:
24bit wav > Run through Click Repair 3.9.9 at 10/0 on DeClick > Volume Boost +0 DB > Remove DC Bias > Saved as 24bit,96kHz WAV > FLAC > Tagged with Discogs tagger through Foobar.
Scans:
Epson Expression 11000XL -> 16bit 600 DPI with Unsharp Mask -> Color Correction in Photoshop CC 2019 x64 -> 8bit 600DPI PNG.

foobar2000 1.6.9 / Dynamic Range Meter 1.1.1
log date: 2022-02-12 18:19:13
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Analyzed: The Cinematic Orchestra / Channel 1 Suite, Ode to the Big Sea
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DR Peak RMS Duration Track
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DR11 -1.04 dB -14.08 dB 5:54 01-Channel 1 Suite
DR12 -3.28 dB -18.72 dB 4:45 02-Channel 1 Suite (Hefner Remix)
DR10 -0.44 dB -11.69 dB 5:43 03-Ode to the Big Sea
DR12 -1.11 dB -16.04 dB 7:34 04-Ode to the Big Sea (Four Tet Remix)
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Number of tracks: 4
Official DR value: DR11
Samplerate: 96000 Hz
Channels: 2
Bits per sample: 24
Bitrate: 2925 kbps
Codec: FLAC
================================================================================

Lineage:
Rega P10 Turntable with Rega P10 PSU > Virgin Vinyl > Rega Apheta 3 Cartridge > PS Audio NuWave Phono Converter ADC > AudioQuest Carbon USB Cable > USB-IN > Audition CC 2019 @ 24bit float, 192kHz capture.
Processing:
24bit wav > Run through Click Repair 3.9.9 at 5/0 on DeClick > Volume Boost +0/0/0.4/0 DB > Remove DC Bias > Saved as 24bit,96kHz WAV > FLAC > Tagged with Discogs tagger through Foobar.
Scans:
Epson Expression 11000XL -> 16bit 600 DPI with Unsharp Mask -> Color Correction in Photoshop CC 2019 x64 -> 8bit 600DPI PNG.

foobar2000 1.6.9 / Dynamic Range Meter 1.1.1
log date: 2022-02-12 18:27:48
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Analyzed: The Cinematic Orchestra / Motion
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DR Peak RMS Duration Track
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DR8 -5.75 dB -16.01 dB 7:00 01-Durian
DR8 -7.83 dB -16.68 dB 5:39 02-Ode to the Big Sea
DR10 -4.95 dB -17.14 dB 13:20 03-Night of the Iguana
DR9 -5.26 dB -17.02 dB 5:51 04-Channel 1 Suite
DR11 -4.88 dB -17.65 dB 5:06 05-BlueBirds
DR9 -7.23 dB -19.97 dB 4:54 06-And Relax!
DR10 -3.81 dB -17.49 dB 9:17 07-Diabolus
DR10 -3.80 dB -14.81 dB 4:23 08-Kalima
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Number of tracks: 8
Official DR value: DR9
Samplerate: 96000 Hz
Channels: 2
Bits per sample: 24
Bitrate: 2777 kbps
Codec: FLAC
================================================================================

Whether to categorize Motion as a jazz or electronica album is an intriguing conundrum, because it truly turns out to be a combination of both musical forms, and it is an unequivocally brilliant combination, at that. British arranger/programmer J. Swinscoe -- who virtually is the Cinematic Orchestra -- gathered samples of drum grooves, basslines, and melodies from various recordings and artists that have inspired and influenced him (spaghetti-western composer Ennio Morricone and Roy Budd's spy film scores, '60s and '70s jazz and soundtrack scores from musicians such as Elvin Jones, Eric Dolphy, Andre Previn, David Rose, and John Morris). He then presented the samples that he had collected to a group of musicians, the core of which consisted of Tom Chant (soprano sax, electric and acoustic piano), Jamie Coleman (trumpet, flugelhorn), Phil France (bass), and T. Daniel Howard (drums), to learn and then improvise. Those tracks, in turn, were sampled and rearranged by Swinscoe on computer to create the tracks that make up this first Cinematic Orchestra album. The album bears all of the atmospheric hallmarks of ambient electronica, as well as Swinscoe's soundtrack inspirations and all the improvisational energy of jazz. Most of the songs are built with wave upon wave of repeated loops and instrumental phrases that work into a groove. Yet it feels at any moment as if the music is about to explode, like a steam whistle boiling to its screaming point. On "One to the Big Sea," for example, the same four-note bassline plays over and over with the same ride cymbal rhythm, but instead of seeming rote or mechanical, the riff just seems to continually bubble up and throb, slowly building anticipation and pressure. When a looped piano riff and horn charts enter the music, the juxtaposition seems almost jarring; yet, as they continue to repeat, in turn, atop the bass and cymbals, you can't help but feel that you're waiting for another dramatic leap, which eventually comes by way of the song's cornerstone: a thrilling drum solo. Each song is just as accomplished in its own way, so expertly arranged by Swinscoe that the impression of both structure and improvisation is created, while never sounding for a moment anything less than organic. The music is constructed piece by piece until it is a seamless whole that lives and breathes on its own merits, much like the soundscapes of DJ Shadow. Regardless of how they were made, though, the songs on Motion are by turns eerie, lush, edgy, expansive, gritty, intensely powerful, and gorgeous. Sometimes an album comes along that forces you to reconfigure and re-evaluate all of the assumptions you had previously made about music in order to realize how vast and endless the possibilities are; this is one of those albums.

Lineage:
Rega P10 Turntable with Rega P10 PSU > Rega Apheta 3 Cartridge > PS Audio NuWave Phono Converter ADC > AudioQuest Carbon USB Cable > USB-IN > Audition CC 2019 @ 24bit float, 192kHz capture.
Processing:
24bit wav > Run through Click Repair 3.9.9 at 10/0 on DeClick > Volume Boost +0 DB > Remove DC Bias > Saved as 24bit,96kHz WAV > FLAC > Tagged with Discogs tagger through Foobar.
Scans:
Epson Expression 11000XL -> 16bit 600 DPI with Unsharp Mask -> Color Correction in Photoshop CC 2019 x64 -> 8bit 600DPI PNG.

foobar2000 1.6.9 / Dynamic Range Meter 1.1.1
log date: 2022-02-12 18:57:20
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Analyzed: DJ Krust / Remixes 98-2000 (1)
Faze Action / Remixes 98-2000 (2)
Kenji Eno / Remixes 98-2000 (3)
Les Gammas / Remixes 98-2000 (4)
Nils Petter Molvaer / Remixes 98-2000 (5)
Piero Umiliani / Remixes 98-2000 (6)
The Cinematic Orchestra / Remixes 98-2000 (7)
Tom Tyler / Remixes 98-2000 (8)
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DR Peak RMS Duration Track
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DR11 -4.29 dB -18.35 dB 9:44 08-Re-Arrange (The Cinematic Orchestra Remix)
DR10 -1.45 dB -14.14 dB 5:16 01-Moving Cities (The Cinematic Orchestra Remix Extended Version)
DR9 -3.90 dB -15.37 dB 4:40 04-The Fear Theme (The Cinematic Orchestra's Re-Interpretation)
DR12 -3.82 dB -19.33 dB 7:37 05-Guauanco (The Cinematic Orchestra Extended Version)
DR9 -5.55 dB -16.62 dB 6:22 07-Vilderness (The Cinematic Orchestra Remix)
DR11 -4.29 dB -18.86 dB 6:27 06-Panoramica (The Cinematic Orchestra Remix)
DR10 -3.83 dB -16.86 dB 7:50 03-Channel One Suite (Tom Tyler Remix)
DR10 -1.40 dB -14.50 dB 5:48 02-Ode to the Lizard (The Cinematic Orchestra Chameleon Mix)
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Number of tracks: 8
Official DR value: DR10
Samplerate: 96000 Hz
Channels: 2
Bits per sample: 24
Bitrate: 2765 kbps
Codec: FLAC
================================================================================

Featuring a mix of jazz charts, DJ culture touches, and soundtrack-level layers of sound, Cinematic Orchestra's Remixes 1998-2000 includes seven reconfigurations of electronica gems from the likes of Kenji Eno, DJ Krust, and Piero Umilani. Atop their own core sound of bass, drums, and keyboards, the band deftly mixes in samples from the original tracks. The result is a loose-sounding mix of lengthy wide-screen pieces, which conjure up thoughts of Henry Mancini, John Barry, Jah Wobble, DJ Spooky, Herbie Hancock, and King Tubby. A fine disc for the sophisticated electronica fan.

Lineage:
Rega P10 Turntable with Rega P10 PSU > Virgin Vinyl > Rega Apheta 3 Cartridge > PS Audio NuWave Phono Converter ADC > AudioQuest Carbon USB Cable > USB-IN > Audition CC 2019 @ 24bit float, 192kHz capture.
Processing:
24bit wav > Run through Click Repair 3.9.9 at 5/0 on DeClick > Volume Boost +0 DB > Remove DC Bias > Saved as 24bit,96kHz WAV > FLAC > Tagged with Discogs tagger through Foobar.
Scans:
Epson Expression 11000XL -> 16bit 600 DPI with Unsharp Mask -> Color Correction in Photoshop CC 2019 x64 -> 8bit 600DPI PNG.

foobar2000 1.6.9 / Dynamic Range Meter 1.1.1
log date: 2022-02-12 19:11:50
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Analyzed: The Cinematic Orchestra / Every Day
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DR Peak RMS Duration Track
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DR13 -4.63 dB -20.69 dB 6:10 01-All That You Give
DR11 -3.72 dB -18.20 dB 10:11 02-Burn Out
DR9 -2.59 dB -15.70 dB 6:38 03-Evolution
DR8 -2.99 dB -13.71 dB 9:08 04-Man with the Movie Camera
DR11 -4.39 dB -17.71 dB 11:03 05-All Things to All Men
DR13 -2.64 dB -17.13 dB 6:34 06-Flite
DR11 -4.38 dB -20.14 dB 10:17 07-Everyday
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Number of tracks: 7
Official DR value: DR11
Samplerate: 96000 Hz
Channels: 2
Bits per sample: 24
Bitrate: 2530 kbps
Codec: FLAC
================================================================================

With Every Day, Cinematic Orchestra move beyond the electro-jazz fusion of their debut to make a record more natural, more paced, and, surprisingly, better than the justly hyped Motion. J Swinscoe is more the arranger/conductor here than the producer, but of course, there's little need for samples or effects with such an accomplished band sharing the burden. For the opener "All That You Give," Swinscoe and Co., plus harp player Rhodri Davies, spend a few minutes delicately paving the way for a deeply felt vocal by soul hero Fontella Bass. "Burn Out" is a lush, meditative track with a pleasantly ambling solo from Phil France on electric piano, a few appropriately cinematic-sounding horns, an age-old vocal sample, and occasional creaking static phasing through. Bass returns for another splendid track ("Evolution"), and the mighty Roots Manuva appears on a magisterial, spoken-word quasi-autobiography, "All Things to All Men." Except for a pair of detours into highly programmed "broken beat" production, Every Day is a textured, acoustic work; Cinematic Orchestra take their time setting up these songs -- of the seven tracks, four last over nine minutes. The sounds and styles heard may not be revolutionary, but instead of simply pushing stylistic boundaries, Cinematic Orchestra display a real gift in making emotional, artistic music.

Lineage:
Rega P10 Turntable with Rega P10 PSU > Virgin Vinyl > Rega Apheta 3 Cartridge > PS Audio NuWave Phono Converter ADC > AudioQuest Carbon USB Cable > USB-IN > Audition CC 2019 @ 24bit float, 192kHz capture.
Processing:
24bit wav > Run through Click Repair 3.9.9 at 10/0 on DeClick > Volume Boost +4.55/3.9/4.6/4.15 DB > Remove DC Bias > Saved as 24bit,96kHz WAV > FLAC > Tagged with Discogs tagger through Foobar.
Scans:
Epson Expression 11000XL -> 16bit 600 DPI with Unsharp Mask -> Color Correction in Photoshop CC 2019 x64 -> 8bit 600DPI PNG.

foobar2000 1.6.9 / Dynamic Range Meter 1.1.1
log date: 2022-02-12 19:44:54
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Analyzed: The Cinematic Orchestra / Man with a Movie Camera
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DR Peak RMS Duration Track
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DR7 -22.77 dB -34.42 dB 0:06 01-The Projectionist
DR10 -16.61 dB -29.94 dB 0:20 02-Melody
DR12 -4.90 dB -21.47 dB 4:01 03-Dawn
DR12 -1.09 dB -15.93 dB 10:19 04-The Awakening of a Woman (Burnout)
DR11 -3.31 dB -17.91 dB 6:58 05-Reel Life (Evolution II)
DR9 -4.75 dB -17.45 dB 1:46 06-Postlude
DR11 -1.86 dB -15.27 dB 5:48 07-Evolution (Versao Portuense)
DR11 -1.95 dB -17.01 dB 8:05 08-Work It! (Man with the Movie Camera)
DR6 -5.97 dB -16.79 dB 0:23 09-Voyage
DR12 -12.37 dB -29.91 dB 2:06 10-Odessa
DR10 -2.25 dB -15.66 dB 2:21 11-Theme de Yoyo
DR15 -13.09 dB -32.77 dB 2:27 12-The Magician
DR10 -2.69 dB -14.98 dB 2:54 13-Theme Reprise
DR11 -5.17 dB -17.92 dB 1:18 14-Yoyo Waltz
DR12 -2.59 dB -16.64 dB 4:50 15-Drunken Tune
DR14 -5.62 dB -29.16 dB 1:13 16-The Animated Tripod
DR11 -2.71 dB -17.80 dB 6:07 17-All Things
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Number of tracks: 17
Official DR value: DR11
Samplerate: 96000 Hz
Channels: 2
Bits per sample: 24
Bitrate: 2745 kbps
Codec: FLAC
================================================================================

It was just a matter of time before the Cinematic Orchestra received a commission for a film score, but this 2003 release actually dates from 1999. The genesis of Man With a Movie Camera lies in the selection committee of a Portuguese film festival, which asked Cinematic Orchestra to score their re-airing of Dziga Vertov's 1929 film of the same name, a silent Soviet documentary focused on a day in the life of an average worker. Performed live by the orchestra, Man With a Movie Camera doesn't allow J Swinscoe to indulge in his usual post-production magic, but it is a surprisingly adept score, with occasional bursts of on-the-one jazz-funk wailing to break it up. (Pity the poor comrade who's soundtracked 70 years later with a hyper-speed Pretty Purdie-type drum solo and some old-school-rap samples in the background.) Scattered moments of brilliance abound, and at one point, someone on sax comes up with a brilliant foghorn recreation. The cinematic material lies in '70s astral jazz, with evocative, tremulous work from soprano sax and violin. Just two caveats: several of these performances were later echoed in tracks appearing on the Cinematic Orchestra's 2002 release Every Day, and some passages have a baffling, you-had-to-be-there quality. Apparently it was a hit at the festival, though only the DVD release of Man With a Movie Camera has the film itself, along with a Cinematic Orchestra performance live in the studio, plus a Channel 4 documentary on the making of the record.

Lineage:
Rega P10 Turntable with Rega P10 PSU > Virgin Vinyl > Rega Apheta 3 Cartridge > PS Audio NuWave Phono Converter ADC > AudioQuest Carbon USB Cable > USB-IN > Audition CC 2019 @ 24bit float, 192kHz capture.
Processing:
24bit wav > Run through Click Repair 3.9.9 at 10/0 on DeClick > Volume Boost +0 DB > Remove DC Bias > Saved as 24bit,96kHz WAV > FLAC > Tagged with Discogs tagger through Foobar.
DR Analysis:
[hide]foobar2000 1.3.10 / Dynamic Range Meter 1.1.1
log date: 2020-05-07 13:43:29

foobar2000 1.6.9 / Dynamic Range Meter 1.1.1
log date: 2022-02-12 20:05:10
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Analyzed: The Cinematic Orchestra / Ma Fleur
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DR Peak RMS Duration Track
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DR9 -7.82 dB -22.11 dB 6:10 01-To Build a Home
DR10 -7.70 dB -21.12 dB 4:37 02-Familiar Ground
DR9 -7.74 dB -22.27 dB 1:49 03-That Home
DR11 -3.18 dB -16.97 dB 5:14 04-Child Song
DR12 -6.40 dB -25.49 dB 5:08 05-Music Box
DR10 -5.49 dB -18.70 dB 4:32 06-Ma Fleur
DR10 -11.42 dB -24.87 dB 2:43 07-Prelude
DR9 -1.91 dB -14.49 dB 5:55 08-As the Stars Fall
DR13 -6.18 dB -21.79 dB 3:02 09-Into You
DR12 -0.71 dB -19.41 dB 6:32 10-Breathe
DR10 -0.73 dB -14.78 dB 8:44 11-Time and Space
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Number of tracks: 11
Official DR value: DR11
Samplerate: 96000 Hz
Channels: 2
Bits per sample: 24
Bitrate: 2627 kbps
Codec: FLAC
================================================================================

For the true follow-up to 2002's Every Day -- since 2003's Man with a Movie Camera soundtrack had actually been recorded four years earlier -- J. Swinscoe & co.'s Cinematic Orchestra produced another soundtrack, this one virtually invisible. Not long after Every Day's release, Swinscoe began writing music for another Cinematic LP, but in another direction from where he'd gone previously. This was a series of quiet, contemplative instrumentals, with Rhodes keyboards and reedy clarinets, simply begging for a narrative (call them orchestrations for cinema). With scripts for each supplied by a friend -- each track got its own story, together comprising different scenes from a single life -- and a series of unpeopled photographs supplied by Maya Hayuk, Cinematic Orchestra had the narrative they needed for their invisible soundtrack. (Added vocals from Fontella Bass, Lou Rhodes, and Patrick Watson represent the same person at different ages.) The results form an intensely affecting record, but one whose monochromatic format unfortunately serves no large purpose; when every song attempts to become a mini-masterpiece of melodrama, patience grows thin. Swinscoe tells us that he wanted to record an album where "leaving the spaces as empty as possible was paramount," but he can hardly complain if we choose to leave him the space to himself.

Lineage:
Rega P10 Turntable with Rega P10 PSU > 180Gram Virgin Vinyl > Rega Apheta 3 Cartridge > PS Audio NuWave Phono Converter ADC > AudioQuest Carbon USB Cable > USB-IN > Audition CC 2019 @ 24bit float, 192kHz capture.
Processing:
24bit wav > Run through Click Repair 3.9.9 at 5/0 on DeClick > Volume Boost +2.7/3.9/5/1.7 DB > Remove DC Bias > Saved as 24bit,96kHz WAV > FLAC > Tagged with Discogs tagger through Foobar.
Scans:
Epson Expression 11000XL -> 16bit 600 DPI with Unsharp Mask -> Color Correction in Photoshop CC 2019 x64 -> 8bit 600DPI PNG.

foobar2000 1.6.9 / Dynamic Range Meter 1.1.1
log date: 2022-02-12 20:15:23
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Analyzed: The Cinematic Orchestra / Live at the Royal Albert Hall 02.11.2007
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DR Peak RMS Duration Track
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DR13 -1.60 dB -18.46 dB 5:14 01-All That You Give
DR13 -2.26 dB -17.61 dB 7:37 02-Child Song
DR13 -1.27 dB -16.93 dB 6:03 03-Flite
DR12 -1.59 dB -17.70 dB 8:42 04-Familiar Ground
DR12 -0.16 dB -18.16 dB 7:48 05-To Build a Home
DR11 -8.49 dB -22.77 dB 3:03 06-Prelude
DR13 0.00 dB -19.57 dB 5:49 07-Breathe
DR12 0.00 dB -17.17 dB 8:28 08-Time & Space
DR13 -1.83 dB -18.46 dB 13:16 09-Man with the Movie Camera
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Number of tracks: 9
Official DR value: DR12
Samplerate: 96000 Hz
Channels: 2
Bits per sample: 24
Bitrate: 2837 kbps
Codec: FLAC
================================================================================

As a venue, the Royal Albert Hall in London is the stuff of legend. It is so elegant it inspires greatness in performers no matter the discipline, as well as rapt and supportive attentiveness in audiences. Some of its past performers have included Frank Sinatra, a double bill by the Beatles and the Rolling Stones, Led Zeppelin, Pink Floyd, and Bob Dylan, to name a few. It therefore goes without saying that the weight on Cinematic Orchestra mastermind Jason Swinscoe to pull off something grand for a recording and video document of this CO performance was considerable. In order to accomplish this feat, he swelled the ranks of his group to over 40 members, including the entire 24-piece Heritage Orchestra! Vocalists Heidi Vogel, Lou Rhodes, and Grey Reverend are all present to reprise their roles from various selections on studio recordings. Original Cinematic Orchestra turntablist PC returned to the fold for the evening as well. The sound is as lush, lively, and beautiful as one could possibly imagine. Vogel's performance on the set opener, "All That You Give" (it originally appeared on 2002's Every Day), is just gorgeous. After Swinscoe announces her with a beautiful string intro, her soulful croon comes on full: sultry, emotional, and smooth. The dynamics and textures Swinscoe assembles with the strings and horn sections are as lush as a Gil Evans arrangement but as tight as Manny Albam's. There are truly expansive and adventurous moments here, as on "Flite," introduced by a Rhodes piano with the rhythmic pulse set in play by rolling drum breaks and a skeletal but beautifully articulate upright bassline. Solo space is accorded sparingly while incorporating the entire orchestra -- the brass section (killer trombones), which becomes a bedrock for reining everyone in, is itself sassy and swaggering, holding the fort against edgy funky guitars and those dreamy piano chords.
This gives way to the spidery beginnings of "Familiar Ground," which seem like minimal soundscapes for single instruments abstractly lilting and disappearing in the ether until nearly the three-minute mark when the piece comes into view with its body. When the choral vocals announce themselves so wordlessly and surreally, the effect is complete and it goes on for another five minutes or so before Vogel turns in a stellar performance. Soloists are allowed to let fly in places and let abstraction into the fold for a bit before Swinscoe calls everything back to a lush and disciplined order. In concert, the track "To Build a Home," sung by guitarist Reverend with backing from Vogel, was more conceptual than arresting -- seemingly owing much to Coldplay and the Moody Blues. Here it becomes a true Cinematic Orchestra offering, with a languid, sad, dramatic kind of tension without being overwrought. The appearance of the nearly 12-minute "Man with a Movie Camera" jam is wonderfully noir-ish and puts on display all that this group has to offer instrumentally. This ambitious composition and difficult arrangement, which walks a line between film music, late-era jazz improv, classical, and cabaret music, is still grounded -- even with the cracking extended drum breaks; distorted turntable scratches; soprano, tenor, and alto sax flights; and guitar noise. The closer features Rhodes bringing her unique plaintive voice to "Time and Space." Its melancholy is heartbreak personified but balanced by a glimmer of hope, borne out by the dreamy, gauzy strings and countered with the ominous sampler and turntable sounds. As cellos and grand piano stretch the middle to accommodate both ends of this spectrum, the feeling of sadness and resolve is almost unbearable -- not for the emotion, but for its indescribable beauty -- before Rhodes is drawn back out to bring it, and the evening, to a close. The album is a truly moving demonstration of this group's amazing gifts; the DVD presentation will no doubt leave you open-mouthed in a quiet kind of awe.

Lineage:
Rega P10 Turntable with Rega P10 PSU > Virgin Vinyl > Rega Apheta 3 Cartridge > PS Audio NuWave Phono Converter ADC > AudioQuest Carbon USB Cable > USB-IN > Audition CC 2019 @ 24bit float, 192kHz capture.
Processing:
24bit wav > Run through Click Repair 3.9.9 at 10/0 on DeClick > Volume Boost +2.81/3.57/2.19/2.91 DB > Remove DC Bias > Saved as 24bit,192kHz WAV > FLAC > Tagged with Discogs tagger through Foobar.
Scans:
Epson Expression 11000XL -> 16bit 600 DPI with Unsharp Mask -> Color Correction in Photoshop CC 2019 x64 -> 8bit 600DPI PNG.

foobar2000 1.6.9 / Dynamic Range Meter 1.1.1
log date: 2022-02-12 20:31:08
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Analyzed: The Cinematic Orchestra / The Crimson Wing: Mystery of the Flamingos
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DR Peak RMS Duration Track
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DR10 -3.93 dB -18.32 dB 2:51 01-Opening Titles
DR10 -4.14 dB -19.44 dB 2:37 02-Arrival of the Birds
DR10 -3.17 dB -16.61 dB 3:21 03-The Dance
DR9 -0.75 dB -16.23 dB 3:10 04-Soda
DR11 -4.85 dB -22.03 dB 5:11 05-Hatching
DR13 -0.68 dB -17.30 dB 3:57 06-Marabou
DR11 -1.56 dB -17.96 dB 7:16 07-Exodus
DR10 -3.85 dB -19.04 dB 5:17 08-Transformation
DR14 -1.52 dB -20.99 dB 1:47 09-Hyena
DR11 -3.53 dB -20.21 dB 3:33 10-Life of the Bird
DR10 -2.91 dB -17.36 dB 4:05 11-First Light
DR9 -3.46 dB -17.57 dB 3:23 12-Crimson Skies
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Number of tracks: 12
Official DR value: DR11
Samplerate: 192000 Hz
Channels: 2
Bits per sample: 24
Bitrate: 4900 kbps
Codec: FLAC
================================================================================

The Cinematic Orchestra has certainly been designed to compose and perform music for films, but that they are now involved with the Disney group is likely to be something even they could not have initially imagined. The Crimson Wing: Mystery of the Flamingos is an evocative soundtrack behind the French documentary about the strikingly colorful, elegant, and noble but rarely seen pink birds. It is a Disneynature production shot in north Tanzania, with the CO receiving mighty support from string players of the London Metropolitan Orchestra. As a result, Jason Swinscoe and the CO have never been more symphonic or expansive than on this recording, where thematic horizons and deep-seeded romantic emotional content is at the very core of their music beyond previously recorded efforts. They've been consistent since their Canadian-based beginnings mixing electronica and jazz with R&B and trance grooves, but here take a giant leap into what is more a signature sound. With this recording, they are taking to heart their surname, with music that is more traditionally classical, while retaining the electronic and percussive undercurrent that identifies them as singularly unique. This soundtrack traces a journey similar to March of the Penguins, starting with the minimalistic and swelling "Opening Titles," the crystalline waltz and huge sound in "Arrival of the Birds," and a Latin-tinged "The Dance" in 5/4 time with castanets and marimba identifying their modal jazz leanings. Precious bells, thick harmonics, and shimmering breaths in 7/8 time signify "Soda," while the hymnal and reverent-at-dawn flute music in "Hatching" merges into tick-tock algorithms and amalgamated underground bass clarinet for "Marabon." As the film progresses, you can hear the sophistication of the flamingos' serene and supreme confidence move into maturity and earthiness. A folkish "Exodus" is easily comparable to the Americana style of Aaron Copland, "Transformation" takes into account a Steve Reich or Philip Glass horizon-waltz minimalism, the light-house-beacon stance of "Hyena" does not suggest laughing so much as flashes of on and off brilliance, while "Life of the Bird" has the ineffable quality of humid landscape music in a symphonic, two-beat foundation. Where "First Light" comes near the end of the movie in its under-the-surface, darkness-to-sunrise facade, "Crimson Skies" is the coda that evokes a vocalized love story between avian presence and nature that provides the perfect epilogue. Where there is mystery, there is also definition, beauty, delightful, unpredictable, and conclusive results that still leave the mind wandering, and wondering how many more layers are left to be peeled away in order to discover the inner sanctum of self. This music perfectly reflects an elusive aspect of living and life, matching how we see and revere creatures we cannot speak to or understand. But thanks to the Cinematic Orchestra, we have a better understanding through music about how these wondrous birds live, eat, play, commune, and above all -- dream.

Lineage:
Rega P10 Turntable with Rega P10 PSU > Rega Apheta 3 Cartridge > PS Audio NuWave Phono Converter ADC > AudioQuest Carbon USB Cable > USB-IN > Audition CC 2019 @ 24bit float, 192kHz capture.
Processing:
24bit wav > Run through Click Repair 3.9.9 at 10/0 on DeClick > Volume Boost +0.8/+1.35/+3.45/+2.65 DB > Remove DC Bias > Saved as 24bit,192kHz WAV > FLAC > Tagged with Discogs tagger through Foobar.
Scans:
Epson Expression 11000XL -> 16bit 600 DPI with Unsharp Mask -> Color Correction in Photoshop CC 2019 x64 -> 8bit 600DPI PNG.

foobar2000 1.6.9 / Dynamic Range Meter 1.1.1
log date: 2022-02-12 20:43:22
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Analyzed: The Cinematic Orchestra / To Believe
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DR Peak RMS Duration Track
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DR9 -4.60 dB -18.60 dB 5:28 01-To Believe
DR9 -2.88 dB -15.57 dB 6:53 02-A Caged Bird/Imitations of Life
DR10 -3.16 dB -16.04 dB 9:07 03-Lessons
DR9 -3.58 dB -17.19 dB 7:10 04-Wait for Now/Leave the World
DR12 -3.03 dB -18.32 dB 6:17 05-The Workers of Art
DR10 -2.03 dB -16.23 dB 7:07 06-Zero One/This Fantasy
DR9 -3.08 dB -16.94 dB 11:33 07-A Promise
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Number of tracks: 7
Official DR value: DR10
Samplerate: 192000 Hz
Channels: 2
Bits per sample: 24
Bitrate: 4849 kbps
Codec: FLAC
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Over a decade after the release of 2007's Ma Fleur, the Cinematic Orchestra return with their fourth album of expansive soundscapes, To Believe. During the gap between efforts, the primary duo of Jason Swinscoe and Dominic Smith remained active with multiple projects (including a Disney soundtrack, a live album, and a compilation of tracks composed for avant-garde short films), but didn't return focus to their core material until late 2016. Emerging three years later with To Believe, the pair toned down the overt jazziness of Ma Fleur -- consider this set more "Time and Space" than "Ma Fleur" -- retaining their meandering nature and elevating the music to a new level of elegance and beauty. A fresh crop of guest vocalists were recruited to do the heavy lifting, with Moses Sumney suffusing the title track with drama and gravity; Roots Manuva layering warmth and a pulsing heartbeat to the beat-forward "A Caged Bird/Imitations of Life"; and labelmate L.D. Brown (aka Grey Reverend) doing his best José González-fronting-Alt-J on the swirling "Zero One/This Fantasy." Soulful English vocalist Tawiah appears from the ether to deliver a scene-stealing performance on "Wait for Now/Leave the World," much like Heidi Vogel on the expansive 11-minute closer, "A Promise," which briefly glitters to life in a surprise burst that pleases as much as it disappoints, simply for not lasting long enough. On the instrumental side, the uplifting "Lessons" evokes Radiohead at their most experimental and glitchy, while the deceptively gorgeous "The Workers of Art" sweeps with bittersweet tenderness. Although these seven songs mostly float from here to there -- a sometimes frustrating collection of ideas that tease resolution without any satisfying denouement -- the atmosphere that the Cinematic Orchestra creates is evocative and spurs the imagination. To Believe is very much an experience that requires engagement if a worthwhile connection is desired; otherwise, it makes for a terrific soundtrack to a film that resides purely in the soul.