GrBear · 12-Фев-15 23:55(10 лет 8 месяцев назад, ред. 13-Фев-15 00:22)
Ilya / Blind as Hope Жанр: Trip Hop, Indie, Jazz Носитель: CD Год издания: 2014 Страна исполнителя (группы): UK Аудиокодек: FLAC (*.flac) Тип рипа: tracks Битрейт аудио: lossless Продолжительность: 0:51:53 Источник (релизер): emilot Наличие сканов в содержимом раздачи: нет Треклист:
01. Blind As Hope (6:45)
02. Tapestry (4:21)
03. Lacrimosa (7:08)
04. Endgame (5:24)
05. Call My Name (3:13)
06. The Memory (4:39)
07. Longest Day (5:23)
08. Timeless Light (3:57)
09. A Little Misadventure (4:50)
10. Mystery & Wonder (6:20)
EAC log
Отсутствует.
auCDtect's log
----------------------- DON'T MODIFY THIS FILE ----------------------- PERFORMER: auCDtect Task Manager, ver. 1.5.1RC3 build 1.5.1.4 Copyright (c) 2008-2010 y-soft. All rights reserved http://y-soft.org ANALYZER: auCDtect: CD records authenticity detector, version 0.8.2 Copyright (c) 2004 Oleg Berngardt. All rights reserved. Copyright (c) 2004 Alexander Djourik. All rights reserved. FILE: ILYA - Blind As Hope - 10 Mystery & Wonder.flac Size: 34543880 Hash: 3DCFC923C2E3DB81470646D626D97EBC Accuracy: -m0 Conclusion: CDDA 100% Signature: 32F75F5766466C090AE523FEE96B3B8676894DEF FILE: ILYA - Blind As Hope - 09 A Little Misadventure.flac Size: 28067458 Hash: FD9B89FF25DB2BECC3073870FE4CA3DD Accuracy: -m0 Conclusion: CDDA 100% Signature: A7935B36CA192DE61E6491A1F2142D408A7B5839 FILE: ILYA - Blind As Hope - 08 Timeless Light.flac Size: 19847664 Hash: E74E261F2F50246A7B083B2C73A6800E Accuracy: -m0 Conclusion: CDDA 100% Signature: F2C82ECA139B0ECDF65568511C56776C7628B77B FILE: ILYA - Blind As Hope - 07 Longest Day.flac Size: 29105561 Hash: DA342424E8000AD899672A6F95408B9E Accuracy: -m0 Conclusion: CDDA 100% Signature: 3E41CB2AEF713DD85019BBC0C90EE03E724BE16A FILE: ILYA - Blind As Hope - 06 The Memory.flac Size: 29607420 Hash: 6A9208A1499A53078FA064B00C9B8E28 Accuracy: -m0 Conclusion: CDDA 100% Signature: 466F7EB988FAA65B7D1457515ECDBC96E57A408B FILE: ILYA - Blind As Hope - 05 Call My Name.flac Size: 18540623 Hash: 34844186C01F1AA72BCA6FC2CBC07050 Accuracy: -m0 Conclusion: CDDA 100% Signature: C927F197AFD1702B1C928EEEF592DA3FD3E93013 FILE: ILYA - Blind As Hope - 04 Endgame.flac Size: 34461701 Hash: 1A7122FD6FCA14D8DDEBABAD2208CB0F Accuracy: -m0 Conclusion: CDDA 99% Signature: 8BCA60A95DF63E7D31798477CFE7A957C2E12F87 FILE: ILYA - Blind As Hope - 03 Lacrimosa.flac Size: 38480620 Hash: 9D06DFDA6B1FB4694D444CF343AAEE85 Accuracy: -m0 Conclusion: CDDA 100% Signature: D6EF43AF3D02F29DFF63AFA497919A1E57FCC8CD FILE: ILYA - Blind As Hope - 02 Tapestry.flac Size: 27418891 Hash: A397BF52ED8232C7AA25E20AB91E317F Accuracy: -m0 Conclusion: CDDA 100% Signature: A96009D59D01E337C061384C00F799A77180B471 FILE: ILYA - Blind As Hope - 01 Blind As Hope.flac Size: 41357489 Hash: 40C0B638DF6041B6029E9530C013383A Accuracy: -m0 Conclusion: CDDA 100% Signature: C3ADF0568909FF4F74CE0969E694C699302D6549
Joanna Swan
Nick Pullin
а также сессионные музыканты:
1. BLIND AS HOPE
Tim Lewis, Piano
Valere Speranza, Bass
Matt Jones, Drums
Roger Huckle, Violin
George McCarthy, Tenor
Henry Ducker, Choir boy and The Ilya Worldwide Congregation
2. TAPESTRY
Valere Speranza, Double Bass
Damon Reece, Drums
Roger Huckle, Violin
3. LACRIMOSA
Roger Huckle, Violin
Juliet McCarthy, Cello
Andy Lowe, Double Bass
Dan Moore, Piano. Matt Jones, Drums
Pete Judge, Trumpet
Henry Ducker, choir boy and George McCarthy, Tenor
4. ENDGAME
Tim Lewis, Synths and Piano
Damon Reece, Drums
5. CALL MY NAME
Andy Lowe, Double Bass
Matt Jones, Drums
Roger Huckle, Violin
Juliet McCarthy, Cello
6. THE MEMORY
Dan Moore, Piano
Valere Speranza, Double Bass
Damon Reece, Drums
Juliet McCarthy, Cello
Roger Huckle, Violin
Tim Lewis, Percussion
7. LONGEST DAY
Dan Moore, Rhodes
Matt Jones, Drums
Pete Judge, Flugelhorn
Juliet McCarthy, Cello
Roger Huckle, Violin
8. TIMELESS LIGHT
Stew Jackson, Pedal Steel Guitar
Juliet McCarthy, Cello
Ruth Hammond, Sax
Gary Rowlands, Singing Saw
9. A LITTLE MISADVENTURE
Juliet McCarthy, Cello
Roger Huckle, Violin
Dan Moore, Hammond
Andy Lowe, Double Bass
Matt Jones, Drums
Santi Swan Piti, Vocals
Henry Ducker, BV's
10. MYSTERY & WONDER
Dan Moore, Piano
Andy Lowe, Double Bass
Damon Reece, Drums
Singers: Emily, Mahli and Santi Swan-Piti
Will, Rosa and Eleanor Goodchild
George McCarthy
Об альбоме (english)
From the very first note Joanna Swan sings on the title track to Ilya’s latest album, Blind As Hope, it’s clear that she is intent on redefining the word “sumptuous.” Ilya—basically Joanna Swan and her husband Nick Pullin—hails from Bristol, England. After reaching worldwide fame with their 2004 single “Bellissimo” and album, They Died for Beauty, Ilya has pushed the boundaries on three follow up albums and one ep, all to varying degrees of success (2006’s Somerset rivals They Died for Beauty in its cinematic sweep, where 2012’s Fathoms Deep felt as if the duo’s anchor had broken free and there was panic at sea).
In the hands and minds (and hearts) of less-determined artists, Fathoms Deep might have been the wreckage of what once was. But Ilya dove into the burgeoning ocean of crowd-sourcing and have breached to surface with their finest album in almost a decade. Halfway into the title track, the song is handed over as a kind and gentle nod to their backers—the Ilya Worldwide Congregation—who sing as an assembled chorus and in so doing take the song to a finale suited for a Sunday gospel. This building of a song to an emotional chorus always strikes me as a bit facile: one is easily moved by a voice of many. But at the last minute Swan comes in and ties the bow on the song as only she can do, and what might have been a platitude is instead a moving statement of optimism. (Caughtinthecarousel is honored that Ilya has offered to give the song as a free download to our readers.)
Swan’s voice rushes into the second song: “Come now/Call me by name” she sings on “Tapestry.” The song is at the will of her multi-octave voice, a voice from the heavens. As with several of the songs on this album, there is a minstrel-meets- Game of Thrones aura to it; do not confuse this with Renaissance Faire pabulum. This is music that seems to genuinely traverse a dark and haunting landscape. The success is finalized with Pullin’s biting and insistent guitar; from 3:00 to 3:30 is some of Pullin’s finest work to date.
That attention to musicalities (beyond the obvious towering achievement of Swan’s vocals) is immediately apparent at the very beginning of the next song, “Lacrimosa.” The wonderfully soft tribal tom-tom drum-meets-tiki is directly descendent from Peter Gabriel’s 1980 studio version of “No Self Control” (a song that, by the way, had the great Kate Bush on backing vocals). Where two songs earlier Swan handed part of the vocals to a choir (of sorts), this time she shares the vocals first with the angelic voice of Henry Duckett and then the youthful tenor of George McCarthy. Again, as with the title track, Swan comes in at song’s end, this time aching as she twice sings the words “If you go away,” before her voice drifts into a gorgeous collapsing mumble. The result is a holy trinity in and of itself; a gorgeous requiem for our age.
“Endgame,” follows with a John Barry-esque opening and then harmonizes in a manner reminiscent of The Hollies’ “The Air That I Breathe.” The arrangement is more complex in Pullin’s blueprint than that 60s classic, however, and the song stands on its own as a remnant cinematic echo of 2004’s They Died for Beauty.
“Call My Name,” returns us to the brooding minstrel terrain. The vocals here reach new heights (or depths in this case) for Swan; her voice achieves such astonishing reach that one senses she’d be pleased to no end if people at times take her voice as that of a man’s when she reaches as deep as she does in the first minute of this lush ballad. Once she untethers her voice, the listener feels afloat, riding as high as Swan invites. And then things get crazy. Stupid crazy. Unfair.
It seems every time a review is written for an Ilya project, one is proclaiming a song as their new unheralded masterpiece. Track 6, “The Memory,” is so possessed and terrifyingly sublime that Swan seems otherworldly herself. I once wrote that Swan’s “vocals are thoroughly enmeshed with the narrative of the song, her movements inhabit the song the way only the ghost of the architect can haunt a mansion.” When I wrote that over six months ago, I had no way of knowing that a song would come forth as a perfect illustration of that. If you are a fan of ethereal power vocals, then “The Memory” is the drug that is waiting to meet you for the first—but never the last—time.
Pete Judge’s sensuous flugelhorn invites us to land softly on the gorgeous next song. “Longest Day.” This could have been a track on the duo’s brilliant Somerset album. It is a song that is a chaise longue underneath a soft marine layer forcing the summer sun to simmer down a bit. It’s the tastiest Kir cocktail you’ve ever tasted, with one lonely cube of ice clinking the glass in a rhythm all its own. As they say in France: formidable!
A listener wouldn’t be wrong to perhaps want a bit more air and light into the songs, especially with Swan’s voice that is a seven-course meal compared to the mass produced appetizer voices out there. There’s a famous quote by Noel Coward about another genius vocalist: “Piaf in her dusty black dress is still singing sad songs about bereft tarts longing for their lovers to come back and still, we must face it, singing them beautifully, but I do so wish she would pop in a couple cheerful ones just for the hell of it.” And also—there’s no way to put this other than the truth (as I hear it)—the album’s final three songs are the step-children of the brood. “Timeless Light” is Ilya doing Ilya; “A Little Misadventure” once again recalls Peter Gabriel III (melting face) album, only this time Kate Bush is replaced with Swan’s best operatic intimations of Klaus Nomi.
“Mystery and Wonder” is a perfectly-titled song to close out the album. As with so much of Ilya’s best work, Swan’s voice—and let’s give credit where it is also due, because Pullin knows exactly how to write for her—guides the listener across a lush canvas. Towards the very end of the song, there is a definite African influence; for a brief moment I worried that this was headed in Lion King soundtrack territory. That it veered away from any sort of cloying sentimentality is one of a thousand reasons why Blind As Hope is a clear and early front runner for 2014’s Album of the Year.by Thomas Cooney
Hunter Thomps svn291108
Дорогие друзья! У Ilya не может быть "неожиданно интересный альбом". Может быть "неожиданно скучный альбом", но я такого не знаю.
Старые добрые Ilya! Благодарю!
Как и в случае с Пинк Мартини, подзабыла о них, а зря! Не было ни одного проходного альбома, тут вы абсолютно правы, GrBear.
Так и не понял, при чём тут trip hop, а тем более abstract. Какие-то полу-сектантские подвывания навивающую дипрессию и головную боль. Очень примитивно и однобоко. Жаль, что включил когда в ванну полез. Теперь придется терпеть пока не вылезу.
