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|Audio-CD, 13. September 1999||
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.Label: Form & Function.Published: 1999/'? & © 1999 Ninja Tune.Released under exclusive license by Zomba Rec
Der Brite Jason Swinscoe hat fast so eine bewegte musikalische Biografie wie der New Yorker Moby hinter sich: Klarinetten- und Violinschüler, dann Kunststudent, Interesse an Jazz und Hardcore, dann Beschäftigung mit Sampling und elektronischer Musik, Arbeit als DJ, Radiomacher und Clubbetreiber. Mit seinem Cinematic Orchestra versucht sich Swinscoe nun an einer Synthese aus Jazz und Clubsounds, die bei ihm zur multi-stilistischen Soundtrack-Musik mutiert. Nach einigen Singles ist Motion das erste Album des Cinematic Orchestra, das, eingespielt mit Samplern, Effektgeräten und traditionellen Instrumenten, mit spannenden Soundscapes aufwartet. --Dirk DigglerAlle Produktbeschreibungen
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The smoky lounge atmosphere of "Durian" introduces you to its quiet melancholic tones of a jazz based ensemble and touches with varying intensity of downtempo, Bristol sound ("Channel 1 suite" loop a la Portishead), and nervous break beats with live like drumming. The trumpet has either sad distilled tones ("Durian") or is nervous ("Channel..."). Haunting female vocals have this far away feel ("Diabolus") or a stronger appeal, more demanding (N.Simone impression in "Durian"). The percussion is energetic (ride cymbal getting tougher as "Channel..." goes) or includes playful soft rim shots ("Ode to the Big Sea" with it's intro classic Brubeck style). "Diabolus" has a sustained background brass which creates an impression of questioning notes which is reinforced by the loop of the bass.
It's all skillfully blended and is always sustained with an almost dangerous feel easily recognizable in underground modern day trip hop et al. But the gorgeous classic references of the edgy Blue note years makes it audible again and again just like the stubborn loops which create the texture of its density. The drawling voices are countered by dynamic and true to life drumming explosions. It will certainly satisfy curious ears and jazz amateurs who wish to extend their audio portfolio to other areas, especially for those broken in to hard bop and tolerant towards talented groups like Massive Attack or Skalpel. In all it's dreamy but challenging audio spiel...it has that quality of unexpectedly weaving the immediately agreeable of warm jazz with the shamelessly rebellious of this modern day's electronic risk taking endeavors.
It's a jazzed up version of break beats...or maybe the reverse.
Motion is definately on the darker side; The songs redefine how music is both composed and performed through the use of sombre grooves and earnest angst-ridden layering. Crashing symbols tumble over loops of wistfully broody guitar and upright bass melodies with hints of horns and strings. At times, the sonic structure is reminiscent of the more emotional era of Talk Talk and Hector Zazou, with the element of Late-60's Davis and Coltrain.
More organic and sensual than other members of the Ninjatune Posse, Cinematic Orchestra delivers to the listener the missing soundtrack to a rainy French Noire film that has yet to be shot: Nice and sombre.
Disregard comparisons to artists such as Amon Tobin and Portishead. (No offense, J.M..) Tobin and company may be good, and use similar means of production, but their sound is distinctly electronic. The Cinematic Orchestra, on the other hand, sounds EXACTLY like a jazz ensemble playing in a dingy, smoke-filled club.
This is a good thing. If you hate jazz, this album will convince you that it's not all Kenny G and airy ad jingles. "Motion" is the soundtrack to film noir never made. It's perfect for rainy days of contemplation, or just for chilling after you've come home from a DJ set. In that sense perhaps the comparisons J.M. made are useful, because it's obvious that all of the artists he/she mentioned have the same goals, inspiration, and talent.
A note: if you live in Ottawa, be sure to catch the Orchestra live on June 19th. They'll be at the Babylon, 317 Bank. Be there by 10:30 if you want good seats.