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Echo and the Bunnymen - Heaven Up Here
Mobile Fidelity Silver Label / MOFI 1-007
Mastered by Paul Stubblebine on MFSL "Gain 2 Ultra Analog System"
Жанр: Rock, Post-Punk, Neo-Psychedelia
Год выпуска: 2010 (1981) || Лейбл: Mobile Fidelity Sound Lab || Страна-производитель: USA
Аудио кодек: FLAC || Тип рипа: tracks+.cue || Формат записи: 24/192 || Формат раздачи: 24/96
A
side
1. Show of Strength 2. With a Hip 3. Over the Wall
4. It Was a Pleasure 5. A Promise
Bside
1. Heaven Up Here 2. The Disease 3. All My Colours 4. No Dark Things
5. Turquoise Days 6. All I Want
Will Sergeant lead guitar
Ian McCulloch vocals, rhythm guitar
Les Pattinson bass
Pete de Freitas drums
Leslie Penny woodwind

Kirk Pengilly
producer, engineer

The Bunnymen
producer

Martyn Atkins album design
photography Brian Griffin

All tracks written by
Will Sergeant, Ian McCulloch, Les Pattinson
& Pete de Freitas/ Duration: 43:44

Цитата:
Цитата:
Following their more psychedelia-based debut, Crocodiles, and subsequent "Puppet" single, Echo & the Bunnymen returned in 1981 with the darkest and perhaps most experimental album of their career. Heaven Up Here lacks the signature hooks and melodies that would make the Bunnymen famous, showcasing instead a dirge-like songwriting approach built around the circular rhythms of bassist Les Pattinson and drummer Pete DeFreitas. In this setting, the band remarkably flourishes, although they would go on to greater heights by scaling back the album's extremism. Heaven Up Here's strength is the way in which the Bunnymen seamlessly work together to shape each song's dynamics (the tension underlying the crescendo of "Turquoise Days" being a prime example). Ian McCulloch, having found his trademark confidence, sings with soaring abandon and passion throughout the album. Similarly, Will Sergeant's guitar playing, notably freed from verse-chorus structure and pop riffs, is at its angular finest; his playing on "No Dark Things" is pure Andy Gill-esque skronk. The album's opening troika of "Show of Strength," "With a Hip," and "Over the Wall" (the latter with its jarring, direct invocation of Del Shannon's "Runaway") are particularly effective, establishing the theme of distrust and restlessness which continues throughout the album. Indeed, even the album's lone single, "A Promise," is hardly light, pop material. But the message underneath that darkness, especially in McCulloch's lyrics, is a call to overcome rather than wallow, as the album ends with the relatively euphoric "All I Want." Sitting comfortably next to the pioneering work of contemporaries like Joy Division/New Order, and early Public Image Ltd. and Cure, this is a rather fine -- and in the end, influential -- example of atmospheric post-punk. Having reached the British Top Ten, Heaven Up Here is highly regarded among Echo & the Bunnymen's fans precisely for the reasons which, on the surface, make it one of the least accessible albums in the band's catalog.- Aaron Warshaw


Источник оцифровки: tnx aksman

Код класса состояния винила: не указано

    RCM Hannl 'limited' with "Circulating Brush"
    Устройство воспроизведения:
    Music Hall MMF 9.1 Turntable
    Tonearm: Pro-Ject 9cc evo with Pure Silver Wires
    Cartridge: Nagaoka MP-500

    Предварительный усилитель:
    Brocksieper Phonomax (Tube Phono PreAmp)

    АЦП:
  • E-MU 0404 external USB 2.0 Audiointerface

    Interconnections: Silent Wire NF 5

    Программа-оцифровщик:
    Wavelab 6.1 recording software

    Обработка:
    Vacuum cleaning > TT > Brocksieper Phonomax > E-MU 0404 > WaveLab 6 (24/192) > manual click removal >
    analyze (no clipping, no DC Bias offset) > converted to 24/96 with iZotope RX Advanced 1.21
    > split into individual Tracks > FLAC encoded (Vers. 1.21)

    No silence been removed, please burn gapless to match original tracklayout.
    "With my vinyl transfers, I try to catch the whole beauty of vinyl records; therefore I don't use any post-processing or any sound improvement. What you get is a clear and flat transfer. For getting a clear sound, I'll do an extended washing of each record with my RCM, which can take up to 30 minutes brushing on each side. Resistant ticks and clicks I try to remove as good as possible, but the priority is not to lose any musical information in the process. Surface noises, as long they are not too high, are left in place. Only on bad pressings or on records recorded at extremely low levels do I use a fade in-/-out. As John Peel said, "Life is full of surface noises." In some cases this means that I have to make a compromise.... The result has to pass my personal quality criteria, which is IMO quite high" © aksman
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