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(Ben) Frost - Music For Sad Children - 2001

Independent Release, 2001
Original Edition of 250 copies, Hand stamped numbered CDR in Handmade Gatefold Sleeve.
Later editions identified by a printed disc (Approx 2000 copies)

Frost’s 2001 debut release, originally pressed in quantities of 250 copies until sold out and repressed again...
Original pressings of this 6 song CDR EP featuring handmade gatefold packaging and handstamped, hand-labelled dics. Later editions are identified by a ‘printed’ disc.

“Music For Sad Children was a surprise hit.
Melancholy piano and musty slow beats, that early EP was equal parts bleak isolationism in the vein of Mick Harris’ Scorn project, and the reminiscent pastoralism of Boards Of Canada.
Even as just a (first release) it was an excellent piece of work that managed to wring surprising emotion out of such a minimalist setup.”
- Cyclic Defrost Magazine, June 2003

01. Poking Holes In Your Research (04:07)
02. Bleeding the Sacred Heart (06:22)
03. Hiding In The Ether (05:53)
04. Age 13... With A Screwdriver (04:56)
05. Understanding Why It Hurts (06:07)
06. Allergy Eleven (04:46)

MP3 / 192 / 152.9MB

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(Ben) Frost - Steel Wound - 2003

Room40 Label, 2003
Special Edition Double Gatefold Digipak, Special Edition

Since his earliest days, Ben Frost has been fascinated by the cinematic qualities of the guitar.
His output to this point has hinted at this, but with Steel Wound he makes a bold statement of intent.

In early 2003 Frost set up a remote studio at a derelict cabin overlooking the icy waters of Bass Strait Australia.
With a constant wind flowing off the sea his only companion, Frost started work on a series of improvisations that would eventually become Steel Wound.
Each of the pieces on Steel Wound is an epic journey, coloured with a deep sense of filmic narrative and suggested dialogues.
The textural quality of the works, laced with field recordings and lost vocal fragments, sketches out the emotional soundscapes Frost had unwittingly gathered during his time at Johanna Beach.
Each piece is a splintered fragment in time - a forgotten memory beautifully rediscovered in a moment of introspection.
- Lawrence English, September 2003

“Seething washes of ambient noise, droning treated guitars and swelling compositions, littered like autumn leaves in the winter wind – cold, atmospheric and truly beautiful.”
-Post Everything.com

01. .011: Swarm (03:59)
02. .014: ...I Lay My Ear To Furious Latin (09:10)
03. .018: You, Me And The End Of Everything (10:34)
04. .028: Steel Wound (09:19)
05. .038: Last Exit To Brooklyn (06:51)
06. .049: And I Watched You Breathe (07:14)

MP3 / 320 / 104.9MB

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Ben Frost - Theory Of Machines - 2007

Bedroom Community Label, 2007
Special Edition Gatefold Digipak, CD Jewel Case, 12” Vinyl LP

From the ominous darkness and intensity of its opening moments, one might expect a death metal album to break out in an instant,
but Theory of Machines is an album whose design is as symphonic as it is confrontational—the tempo doesn’t pick up, no hooks or vocals arrive, and when the drums finally kick in they’re as fragmented and corroded as they could possibly be and still resemble a groove.

In Theory of Machines, Ben Frost exploits every extreme of pitch, volume and timbre, the changes in this music sometimes seem as gradual as changes in the weather—and sometimes as violent.
As the music changes it changes only in texture, colour and intensity so that the sense is not of something being created, altered or even developed, but of something already present being slowly illuminated.

-Adapted from the liner notes by Daniel Johnson

“Simply awesome...
Frost reminds us that minimalism was never just the polished sheen of Reich and Glass, but also the sweat and grime of Michael Gira's Swans...
A deeper, darker minimalism- menacing and claustrophobic...

This is Arvo Pärt as arranged by Trent Reznor... Magnificent”

- Wire Magazine, 2007

01. Theory Of Machines (09:30)
02. Stomp (08.27)
03. We Love You Michael Gira (07:49)
04. ...Coda (01:43)
05. Forgetting You Is Like Breathing Water (11:13)

MP3 / 320 / 83MB

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Ben Frost - Theory Of Machines - 2007

Hvalur 6
Bedroom Community Label, 2009
Gatefold Digipak CD, Special Edition 12" Vinyl LP

A cinematic sensibility pervades this album, whose darkly surreal sound- world owes as much to David Lynch as it does to David Lang.
However the word "cinematic" is used to describe music so lazily and so often that it requires narrow definition before saying that Ben Frost's BY THE THROAT is HIGHLY "cinematic."

This album is expansive and borrows from the grandeur of cinema but stops short of using the clichéd symphonic gestures of hollywood in order to make its emotional points.
Instead it is "cinematic" in the sense which harmonies are designed not to call attention to themselves, but to create an atmosphere of unease while focusing the audience's attention on a whole other level of drama.

Aside from the purely musical language of harmony and melody, like Amiina's strings on "Leo needs a new pair of shoes", there's the level of musique concrète; the weaving of nonmusical sounds into the musical fabric. We hear the snarling of wolves and the groaning of lions in “Killshot”, the microscopic clicking and whirring of hunting killer whales in "Through the roof of your mouth" and the unmistakable sound of a human gasping for breath in “Híbakúsja”.
Then there's the sheer physical experience, the literally visceral effect of Frost's seismic rhythms and high-pitched shrieks on your body.
These extra-harmonic elements are not just effects to punctuate the musical narrative in BY THE THROAT, but are integral, unifying motifs.

Borgar Magnason's menacing doublebass growls throughout BY THE THROAT, and is often so distorted it transforms the instrument into pure bestial noise, the brass choirs of "Peter Venkman" are recorded so closely that they almost transform into pure human breath.
And just as these voices slide away from "notes" and "harmony" to become concrete sound-images—the meanings of these images rattle around and collide into each other, never truly representing each other or any one simple thing, but instead form a whole language of gasping and howling, gut-punching bass snarling metal.

And using this language—the way that, for instance, an auteur of surreal cinema might use a similarly layered, not-quite-distinct vocabulary of literal, symbolic, and abstract imagery—Frost tells a story we can't quite articulate, but which we can feel, profoundly and unmistakably.

-Adapted from liner notes by Daniel Johnson

Ben Frost took the spotlight and smashed it to pieces in 2007 with his breathtaking and critically acclaimed Lp Theory of Machines.
Wire Magazine said "it is simply awesome--- this is Arvo Pärt as arranged by Trent Reznor", the BBC's Mary Anne Hobbs called it "arresting and exquisite".
Boomkat named Frost "one of the most interesting and groundbreaking producers in the world today" and even went so far as to call Theory of Machines "the future of electronic music".

3 years later, Frost has returned with his second Lp for Bedroom Community, BY THE THROAT.
Where Theory of Machines came sterilized in fluorescent light, BY THE THROAT is blood red and cloaked in shadow.

BY THE THROAT Produced by Ben Frost and Valgeir Sigurðsson (Björk, Coco Rosie, Bonnie 'Prince' Billy) Features performances by Amiina, The Arcade Fire's Jeremy Gara, the Swedish metal outfit Crowpath and composer Nico Muhly.

01. Killshot (06:12)
02. The Carpathians (02:57)
03. O God Protect Me 2:55
04. Híbakúsja (07:26)
05. Untitled Transient (00:51)
06. Peter Venkman Pt I (04:30)
07. Peter Venkman Pt II (05:05)
08. Leo Needs A New Pair Of Shoes (07:04)
09. Through The Glass Of The Roof (01:36)
10. Through The Roof Of Your Mouth (04:35)
11. Through The Mouth Of Your Eye (02:49)
12. Studies for Michael Gira (Bonus Track) (08:50)
13. Theory of Machines (Reprise) (Bonus Track) (06:40)

MP3 / 320 / 83MB

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Ben Frost - The Invisibles - Soundtrack To The Invisibles - 2010

I first had the opportunity to work with Marc Silver a few years ago when he invited me to compose music for a film he made inspired by the swarming phenomenon of birds - the images in that film were overwhelmingly powerful and yet - given the current prevalence of technology and extraneous manipulation of the medium of film that is readily available to every film maker today - they were by contrast unbelievably raw and untouched - a series of incredible moments captured and sewn together, without agenda and without interference.

Marc Silver doesn't construct drama - he creates space for it to occur and similarly that is what this score is about; a space, a series of spaces within a space in fact.

You, the public, don't need my music to heighten the inherent tragedy and drama of the Invisibles, and you don't need my music to tell you this situation needs your attention, because through this film, the people, their stories and the spaces that surround them speak every word that needs to be said.

If there is one thing I want more than anything for you to walk away with from this music, it was and is the overwhelming sense of quiet strength, and of hope.

- Ben Frost, 5th November 2010 Reykjavík Iceland

01. Seaworld I (02:52)
02. Seaworld II (03:56)
03. Preventative Measures (02:05)
04. Extortion (02:19)
05. Ransom (01:38)
06 The Gravity Of Numbers (06:06)
07. They Will Keep Coming (02:29)
08. Invisibles (05:54)

MP3 / 320 / 75.8MB

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Updated 31.12.10 23:30
Это сообщение отредактировал s.NO.t

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Ben Frost
Theory of Machines
Bedroom Community 2006

01. Theory of Machines
02. Stomp
03. We Love You Michael Gira
04. ...Coda
05. Forgetting You Is Like Breathing Water

First, in the seconds when Theory of Machines begins to emerge into sound, what it brings to mind isn't any instrument, but an environment. The distant resonances are a little like the end of that old Alvin Lucier tape experiment, I Am Sitting in a Room, in which the re-re-re-recorded sounds of the composer's stuttering voice are gradually obliterated by the sympathetic vibrations of the acoustic in which he's speaking - but here we begin with all resonance, all acoustics, and only eventually do we hear something that sounds like an instrument being played by human hands.

Frost is a master of landscape. He "creates space" acoustically and formally, but he is as well a creator of what can only be described as imaginary geographical spaces, through the breadth and depth of these pieces. Their scale is enormous, exploiting every extreme of pitch, volume and timbre over the course of nearly ten minutes each, recalling the unbounded enormity of the natural world. The changes in the music sometimes seem as gradual as changes in the weather - and sometimes as violent.

This is Ben Frost's Theory of Machines: that music can be expressive without melody, without drama, without adornment of any kind; with only the simple, slow, inexorable progress of an elaborate formal mechanism.

(from the album liner notes)

>> sspace / mihd (52mb)

if this won't cure you of Mogwai, nothing will...
its soo nice, thanks a lot!

if this won't cure you of Mogwai, nothing will...


на ифолдер перезалил
where was you
when this bitches closed oink?
mihd down; new link:

перезалив намечается?smile.gif
citycelebrity.ru - ищем творческих людей!
Да, было бы неплохо biggrin.gif
Ben Frost - Theory Of Machines (2006)
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*.mp3 / VBR (avg=185kbps)
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чё они играют-то?
ато не знаю качать или нет
Ben Frost - Steel Wound [2003]
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"pure phase aural bliss, a total bath for the senses"

01 Ben Frost - Swarm
02 Ben Frost - ...I Lay My Ear to Furious Latin
03 Ben Frost - You, Me And the End of Everything
04 Ben Frost - Steel Wound
05 Ben Frost - Last Exit to Brooklyn
06 Ben Frost - And I Watched You Breath


i love it
▀█▀ █■█ █ ▄█▀ ▄█▀ █■█ █ ▀█▀ █ ▄█▀ █ █ █
интересно, а этот человек не имеет ничего общего с художником Беном Фростом?
но музыка замечательная thumb.gif
ну разве что они оба из австралии. австралийские бены фросты, да.
и, кстати, что-то креативили совместно.
Очень круто!!!! Понравилось!!! 47 минут в космосе просто!!!
да чот так себе -жмут в клавиши на реверах
не понравилось -без ударных
высказывалось личное мнение
да чот так себе -жмут в клавиши на реверах
не понравилось -без ударных

ну ты ваще как всигда интелектом всё блещешь.Жесть. То что нет ударных каторые так пытаеться услышать твой примитивный мозг ещё не значит что это минус!ты просто походу вообще так и не понял что это за зверь такой Эмбиент!Мы тут с тебя всей московской тусой пост-индастриала угараем!

Это сообщение отредактировал PAKOT - 26.10.07 в 11:06
Спасибо! давно искал альбомы кроме теории машин
а у кого-нить есть Music for Sad Children?

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272 ответов с 25.12.06 в 12:03
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