Close Topic Options

[SurowyTato]

Артист: The Young Gods Альбом: Super Ready / Fragmente, 2007 Издатель: Muve Recordings / 905182 Жанр: Industrial, Experimental Формат файла: EAC-APE-CUE-LOG-HQCovers Ссылка: CD 6 clicks Нахождение: eDonkey Примечание: Recorded at Relief Studio and TYG Studio Artamis Switzerland

Tracklist:
01. I'm The Drug [3:05]
02. Freeze [2:36]
03. C'est Quoi C'est Ca [4:04]
04. El Magnifico [3:28]
05. Stay With Us [4:31]
06. About Time [5:20]
07. Machine Arriere [1:03]
08. The Color Code [5:27]
09. Super Ready / Fragmente [8:59]
10. Secret [3:42]
11. Everythere [3:49]
12. Un Point C'est Tout [5:18]

Recorded at Relief Studio and TYG Studio Artamis Switzerland
Mixed at Relief Studio by Roli Mosimann
Enginereed by Bertrand Siffert
Assisted by Benoît Saillet et Yannick Gremaud
Produced by Roli Mosimann and The Young Gods
Mastered by George Marino at Sterling Sound NYC

Personnel:
Al Comet - sampling
Franz Treichler - vocal
Bernard Trontin - drums

CODE

EAC extraction logfile from 30. October 2007, 9:16 for CD The Young Gods / Super Ready Fragmente Used drive  : LITE-ON DVDRW SOHW-1213S  Adapter: 1  ID: 1 Read mode  : Secure with NO C2, accurate stream, disable cache Read offset correction : 12 Overread into Lead-In and Lead-Out : No Used output format : Internal WAV Routines                     44.100 Hz; 16 Bit; Stereo Other options      :     Fill up missing offset samples with silence : Yes     Delete leading and trailing silent blocks : No     Installed external ASPI interface Range status and errors Selected range     Filename E:\INCOMING\EAC\The Young Gods - Super Ready Fragmente.wav     Peak level 99.9 %     Range quality 100.0 %     CRC BE88AFD4     Copy OK No errors occured End of status report

Anyone who remembers the growled vocals, gunshots, punishing beats, and chalk white figure-laden video of The Young Gods’ Wax Trax debut "Envoyé" remembers a time when the Young Gods could scare the shit out of you. These guys taught Ministry a lesson about being badass with a sampler, they taught The Edge how to make enough noise with a guitar to drown out Bono for a while, and they taught Mike Patton... well, they probably taught him something, because now they’re on his label, the ever-interesting Ipecac Records.
Franz Treichler and company’s latest release is called Super Ready / Fragmenté, but it’s not the title of the album that seems to have garnered most of the attention; rather, it’s the cover. Basically, it’s a gun. At least, it’s an artistically presented gun, made out of stars or tin foil or rhinestone or something, and it looks neat. Treichler will tell you it’s a statement of some sort, an angry reflection of the violent nature of modern culture and political leaders’ willingness to take advantage of that (or some similar nonsense), but let’s be realistic-the gun’s there because it looks neat.
And yes, it’s a metaphor for the album it so perfectly adorns.
Super Ready / Fragmenté sounds neat, in just about every sense of the word. For one, it’s immaculately produced and mixed by the guy who’s been behind the boards for the band from the beginning, Roli Mosimann. Rather than the fuzz, noise, or ambience of earlier works, this particular album revels in direct hits, shunning ambiguity for the straight-ahead force of a band leaving nothing to question. It also has a vague air of cool about it, its electronics mixing seamlessly with its guitars and its drums, and Treichler is always there, crooning urgently over the top of it. It sounds angry and aggressive at some points, sparse and brooding at others, but it manages to make all those bad vibes sound awfully appealing.
Still, there’s a sort of encroaching disappointment that enters the room when you’re listening to a band that used to collect labels like "ground-breaking" and "influential" and "unpredictable" re-till the ground it so neatly broke years before now. "I’m the Drug" and "Freeze", the two tracks that kick off the album, are both loud, noisy, and even kind of catchy in a yelling-along-in-your-car sort of way, but they’re the type of stuff that the band was doing 20 years ago (and more convincingly, I might add). "C’est Quoi C’est Ça" is a fun way to spend four minutes, but the style of electronics that it shows off was done almost verbatim, ten years ago, by U2 (on Pop‘s unfairly overlooked "Do You Feel Loved?"). More ambient material fares just as poorly in the originality department, as transitional tracks like "Machine Arri?re" and final track "Un Point C’est Tout" (which spends much of its time annoyingly simulating the sound of a skipping CD) float along pointlessly as Treichler just keeps ranting over the top of them.
While we’re on the topic, there is the matter of Treichler himself. Undoubtedly, his voice is a more versatile instrument than it once was. Rather than growling his words out, Treichler has kind of taken on the qualities of a subdued Ian Astbury, anthemic in its intent but never quite finding the need to scream. Unfortunately, it’s a quality that starts to grate after six or seven tracks, something that’s especially problematic in that the most ambient material-that is, the songs on which Treichler’s voice sticks out the most-are toward the end of the album. Every once in a while, you just want the guy to shut up and let the music do the talking...
...which he does for a long stretch of the title track, whose combination of the aggression of the earlier more straightforward tunes with the ambience (and length) of some of The Young Gods’ recent forays into mood music, makes it the most forward-thinking thing on the album, and in turn the most successful. The repetition of it is hypnotic, and every one of its nine minutes sounds urgent and purposeful, something you can’t necessarily say about much else on the album.
Maybe the point of Super Ready / Fragmenté never was to forge forward, to define new musical territory. Maybe the point of it was simply a matter of established musicians wanting to play some music and spout off on whatever was bothering them on any given day. Assuming that’s the case, the album isn’t bad, and is actually quite listenable. Still, even as such, it’s far from perfect, and really, there are some bands that have inspired the expectation of a little bit more than "listenable". The Young Gods are one such band; for them, it seems, Super Ready / Fragmenté is just an album. (Mike Schiller, PopMatters)

For over 20 years, the Young Gods have been burning the ears of post-industrial hip kids (if they actually exist) the world over from their own headquarters in remote Switzerland. Their latest offering is the rather enigmatically titled "Super Ready/Fragmente". The album opens with the trance-inducing guitar attack of "I'm the Drug", layered over mathy drumming and grinding electronics. The powerful, soothing vocals of Franz Treichler are the only element of the mix which keep the song from spiraling out into the violent realm of harsh noise a la Load Records.
"Stay with Us" is a soft interlude guided by a surrealistic sitar line and guttural electronic drones which are reminiscent of "Beaches and Canyons" era Black Dice. Treichler's heavily modified voice slips in and out of the song until finally it finally collapses.
Throughout the album, the band traverses the depths of drawn-out minimalism ("machine arriere") and the vertiginous heights of arena rock glory (the title track) with impeccable finesse. The Young Gods are tuned in to the finer nuances of every style, and it's obvious in their refusal to pander to any genre. "Super Ready" takes many risks, and almost all of them pay off in the end.
This is an album full of miracles. It's a miracle that the Gods can pack such a sheer amount of variety into their songs while maintaining a cohesive listenability. It's a miracle that an album this fuzzed out, off-kilter, and esoteric can still seem so approachable. From the keyboard hiss of "Secret" to the backmasked anthemic guitars of closer "Un Point C'est Tout", somehow none of the songs are overtly frightening or alienating. Not needing to burn out or fade away, The Young Gods have clearly found the secret to aging gracefully. (Scott Frazier, antiMusic)

Formed by Franz Treichler in Switzerland The Young Gods having been conjuring their heavy blend of rock, metal and electro with ambient and classical for twenty-two years. Super Ready/Fragmente is their thirteenth album and is a clear statement that they have no intention of putting their feet up just yet.
The Young Gods obviously want to make a strong impression from the start and the first 4 tracks are almost unforgiving in their unrelenting tempo. The opening track, ''I’m The Drug'', is a very industrial sound. Fast, screaming guitars ride over pulsing electronic waves and a thundering rock beat. It’s all toped off with a clean Electro production job. Quite good fun.
''El Magnifico'' shows why artists such as the Chemical Brothers cite The Young Gods as a major influence. They mix industrial dance music with Zeppelin-esque guitar parts bouncing left and right in stereo sound. The Young Gods are known to be an impressive live act and ''El Magnifico'' gives you a good idea why.
The second half of the album is a little more challenging. Whilst the sound production remains tight the music starts to blur and the identity of the tracks seem to get lost .The Nine minute title track ''Super Ready/Fragmente'' is an interesting and original piece of work but it looses something because it’s sandwiched in the middle of a group of songs that sound quite similar.
The two tracks that break away from rest of the album are also the most interesting, ''Stay With Us'' and the final track ''Un Point C’est Tou''t. The latter is a super bluesy soundscape composition, which comes as welcome refreshment at the end of the record. ''Stay With Us'' gives the same sense of respite at the halfway point. Sitar sounds and other worldly vocals take you away from the hissing electrical rock that is the rest of the album. Both tracks remind you that The Young Gods are unafraid to be experimental and produce music that is unique in the context of current musical trends. (William Fairman, bbc.co.uk)

Extractor: Exact Audio Copy v0.95b4
Codec: Monkey's Audio 3.97
Compression: High Lossless
Total Time: 51:28
Ripper: SurowyTato

[ALEKSIKO]

Anyone who remembers the growled vocals, gunshots, punishing beats, and chalk white figure-laden video of The Young Gods’ Wax Trax debut "Envoyé" remembers a time when the Young Gods could scare the shit out of you. These guys taught Ministry a lesson about being badass with a sampler, they taught The Edge how to make enough noise with a guitar to drown out Bono for a while, and they taught Mike Patton... well, they probably taught him something, because now they’re on his label, the ever-interesting Ipecac Records.
Franz Treichler and company’s latest release is called Super Ready / Fragmenté, but it’s not the title of the album that seems to have garnered most of the attention; rather, it’s the cover. Basically, it’s a gun. At least, it’s an artistically presented gun, made out of stars or tin foil or rhinestone or something, and it looks neat. Treichler will tell you it’s a statement of some sort, an angry reflection of the violent nature of modern culture and political leaders’ willingness to take advantage of that (or some similar nonsense), but let’s be realistic-the gun’s there because it looks neat.
And yes, it’s a metaphor for the album it so perfectly adorns.
Super Ready / Fragmenté sounds neat, in just about every sense of the word. For one, it’s immaculately produced and mixed by the guy who’s been behind the boards for the band from the beginning, Roli Mosimann. Rather than the fuzz, noise, or ambience of earlier works, this particular album revels in direct hits, shunning ambiguity for the straight-ahead force of a band leaving nothing to question. It also has a vague air of cool about it, its electronics mixing seamlessly with its guitars and its drums, and Treichler is always there, crooning urgently over the top of it. It sounds angry and aggressive at some points, sparse and brooding at others, but it manages to make all those bad vibes sound awfully appealing.
Still, there’s a sort of encroaching disappointment that enters the room when you’re listening to a band that used to collect labels like "ground-breaking" and "influential" and "unpredictable" re-till the ground it so neatly broke years before now. "I’m the Drug" and "Freeze", the two tracks that kick off the album, are both loud, noisy, and even kind of catchy in a yelling-along-in-your-car sort of way, but they’re the type of stuff that the band was doing 20 years ago (and more convincingly, I might add). "C’est Quoi C’est Ça" is a fun way to spend four minutes, but the style of electronics that it shows off was done almost verbatim, ten years ago, by U2 (on Pop‘s unfairly overlooked "Do You Feel Loved?"). More ambient material fares just as poorly in the originality department, as transitional tracks like "Machine Arri?re" and final track "Un Point C’est Tout" (which spends much of its time annoyingly simulating the sound of a skipping CD) float along pointlessly as Treichler just keeps ranting over the top of them.
While we’re on the topic, there is the matter of Treichler himself. Undoubtedly, his voice is a more versatile instrument than it once was. Rather than growling his words out, Treichler has kind of taken on the qualities of a subdued Ian Astbury, anthemic in its intent but never quite finding the need to scream. Unfortunately, it’s a quality that starts to grate after six or seven tracks, something that’s especially problematic in that the most ambient material-that is, the songs on which Treichler’s voice sticks out the most-are toward the end of the album. Every once in a while, you just want the guy to shut up and let the music do the talking...
...which he does for a long stretch of the title track, whose combination of the aggression of the earlier more straightforward tunes with the ambience (and length) of some of The Young Gods’ recent forays into mood music, makes it the most forward-thinking thing on the album, and in turn the most successful. The repetition of it is hypnotic, and every one of its nine minutes sounds urgent and purposeful, something you can’t necessarily say about much else on the album.
Maybe the point of Super Ready / Fragmenté never was to forge forward, to define new musical territory. Maybe the point of it was simply a matter of established musicians wanting to play some music and spout off on whatever was bothering them on any given day. Assuming that’s the case, the album isn’t bad, and is actually quite listenable. Still, even as such, it’s far from perfect, and really, there are some bands that have inspired the expectation of a little bit more than "listenable". The Young Gods are one such band; for them, it seems, Super Ready / Fragmenté is just an album. (Mike Schiller, PopMatters)

For over 20 years, the Young Gods have been burning the ears of post-industrial hip kids (if they actually exist) the world over from their own headquarters in remote Switzerland. Their latest offering is the rather enigmatically titled "Super Ready/Fragmente". The album opens with the trance-inducing guitar attack of "I'm the Drug", layered over mathy drumming and grinding electronics. The powerful, soothing vocals of Franz Treichler are the only element of the mix which keep the song from spiraling out into the violent realm of harsh noise a la Load Records.
"Stay with Us" is a soft interlude guided by a surrealistic sitar line and guttural electronic drones which are reminiscent of "Beaches and Canyons" era Black Dice. Treichler's heavily modified voice slips in and out of the song until finally it finally collapses.
Throughout the album, the band traverses the depths of drawn-out minimalism ("machine arriere") and the vertiginous heights of arena rock glory (the title track) with impeccable finesse. The Young Gods are tuned in to the finer nuances of every style, and it's obvious in their refusal to pander to any genre. "Super Ready" takes many risks, and almost all of them pay off in the end.
This is an album full of miracles. It's a miracle that the Gods can pack such a sheer amount of variety into their songs while maintaining a cohesive listenability. It's a miracle that an album this fuzzed out, off-kilter, and esoteric can still seem so approachable. From the keyboard hiss of "Secret" to the backmasked anthemic guitars of closer "Un Point C'est Tout", somehow none of the songs are overtly frightening or alienating. Not needing to burn out or fade away, The Young Gods have clearly found the secret to aging gracefully. (Scott Frazier, antiMusic)

Formed by Franz Treichler in Switzerland The Young Gods having been conjuring their heavy blend of rock, metal and electro with ambient and classical for twenty-two years. Super Ready/Fragmente is their thirteenth album and is a clear statement that they have no intention of putting their feet up just yet.
The Young Gods obviously want to make a strong impression from the start and the first 4 tracks are almost unforgiving in their unrelenting tempo. The opening track, ''I’m The Drug'', is a very industrial sound. Fast, screaming guitars ride over pulsing electronic waves and a thundering rock beat. It’s all toped off with a clean Electro production job. Quite good fun.
''El Magnifico'' shows why artists such as the Chemical Brothers cite The Young Gods as a major influence. They mix industrial dance music with Zeppelin-esque guitar parts bouncing left and right in stereo sound. The Young Gods are known to be an impressive live act and ''El Magnifico'' gives you a good idea why.
The second half of the album is a little more challenging. Whilst the sound production remains tight the music starts to blur and the identity of the tracks seem to get lost .The Nine minute title track ''Super Ready/Fragmente'' is an interesting and original piece of work but it looses something because it’s sandwiched in the middle of a group of songs that sound quite similar.
The two tracks that break away from rest of the album are also the most interesting, ''Stay With Us'' and the final track ''Un Point C’est Tou''t. The latter is a super bluesy soundscape composition, which comes as welcome refreshment at the end of the record. ''Stay With Us'' gives the same sense of respite at the halfway point. Sitar sounds and other worldly vocals take you away from the hissing electrical rock that is the rest of the album. Both tracks remind you that The Young Gods are unafraid to be experimental and produce music that is unique in the context of current musical trends. (William Fairman, bbc.co.uk)

Extractor: Exact Audio Copy v0.95b4
Codec: Monkey's Audio 3.97
Compression: High Lossless
Total Time: 51:28
Ripper: SurowyTato

[k-dmitriy]

обычно эти стили идут в электроники