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The Future Sound Of London - Dead Cities download mp3 album

The Future Sound Of London - Dead Cities download mp3 album
Album:
Dead Cities
Style:
Leftfield, Abstract, Downtempo, Experimental, Ambient
Released:
1996
Country:
UK & Europe
FLAC vers. size:
1268 mb
MP3 vers. size:
1755 mb
WMA vers. size:
1309 mb
Other formats
MP1 MP2 AAC AHX WAV MOD MPC
Rating:
4.6 ★
Votes:
354

Dead Cities is a 1996 album by electronic music group The Future Sound of London. Though almost without lyrics to speak of, most of the first half of the album (with the exception of "Her Face Forms in Summertime") is dark and full of well structured malevolence in that its songs combine synthetic sounds with samples to create an apocalyptic, dystopian atmosphere.

Жанр: IDM, Downtempo, Experimental, Ambient Исполнитель: The Future Sound Of London Жанр: IDM, Downtempo, Experimental, Ambient Треклист: 01. Herd Killing 02. Dead Cities 03. Her Face Forms I. Треклист: 01. Her Face Forms In Summertime 04. We Have Explosive 05. Everyone In The World Is Doing Something Without Me 06. My Kingdom 07. Max 08. Antique Toy 09. Quagmire, In A State Of Permanent Abyss 10. Glass 11.

Future Sound Of London - Dead Cities (1996) – Quagmire, In a State of Permanent Abyss. The Future Sound Of London 1996 Dead Cities – 13 First Death In The Family, Dead Citie. :46. Future Sound Of London – 13. First Death in the Family, Dead Citie. The Future Sound Of London – First Death in the Family, Dead Citie. L – My Kingdom (Dead Cities,1996). The Future Sound Of London - Dead Cities – Her Face Forms In Summertime. The Future Sound Of London - Dead Cities – Max. 6:12. The Future Sound of London – dead cities.

Is Dead Cities the best album by The Future Sound Of London? BestEverAlbums. com brings together thousands of 'greatest ever album' charts and calculates an overall ranking. This album At A Glance. Dead Cities by The Future Sound Of London (1996) Overall rank: 5,766th. Accolades: Top albums of 1996 (126th). Top albums of the 1990s (1,109th). Best albums of all time (5,766th).

New millennium, new sound. & digital experimentation. FSOLdigital and the Archives. A Monstrous Psychedelic Bubble Exploding in Your Mind. A third is set for release sometime in 2010, and will be more electronic, mixed by the Future Sound of London. Further mixes in the series are expected in the future, to be curated by related artists, and the band took the concept live with an eleven-hour spot at 2009's Green Man festival, to contain live bands and.

Tracklist Hide Credits

1 The Future Sound Of London Herd Killing
Performer [Samples From 'Tougher Than Leather' LP] – Run DMC*Written-By [Samples From 'Tougher Than Leather' LP] – D. McDaniels*, J. Mizell*, J. Simmons*
2:36
2 The Future Sound Of London Dead Cities
Written-By [Outro Poetry] – Dick Verbatim
6:36
3 The Future Sound Of London Her Face Forms In Summertime 5:39
4 The Future Sound Of London We Have Explosive
Performer [Samples From 'Tougher Than Leather' LP] – Run DMC*Written-By [Samples From 'Tougher Than Leather' LP] – D. McDaniels*, J. Mizell*, J. Simmons*
6:19
5 The Future Sound Of London Everyone In The World Is Doing Something Without Me
Performer [Samples From] – Craig ArmstrongRecorded By [Pig] – YageVocals – Cobain*Voice [Samples From An Improvisation By] – Rebecca Caine
4:10
6 The Future Sound Of London My Kingdom
Drums – Richie Thomas 'Caught With The Dat Running'*Performer [Flute Sample From 'Once Upon A Time In America'] – Ennio MorriconePerformer [Guitar Sample From 'Pungent Effulgent'] – Ozric TentaclesPerformer [Voice Sample From 'Rachel's Song (Vangelis)' From Bladerunner Soundtrack] – Mary Hopkin
5:46
7 The Future Sound Of London Max
Alto Saxophone – Richie Thomas*Piano [Fed Through The Machines], Written-By – Max RichterRecorded By [Child's Voice] – The Bloke's A Nutter
2:49
8 The Future Sound Of London Antique Toy 5:43
9.1 The Future Sound Of London Quagmire
Performer [Samples Collected And Collated By] – Baker St. MythologyPerformer [Samples] – Philip Pin
5:13
9.2 The Future Sound Of London In A State Of Permanent Abyss
Performer [Samples From A Lost Recording Of 'Ripple'] – Max Richter
1:44
10 The Future Sound Of London Glass 5:38
11 The Future Sound Of London Yage
Musician – Byron ConPerformer [Samples From 'Jane Jane'] – Riz MaslenPerformer [Samples] – Leon MarRecorded By [Moroccan Flute] – Yage
7:32
12.1 The Future Sound Of London Vit Drowning 4:48
12.2 The Future Sound Of London Through Your Gills I Breathe 0:44
13.1 The Future Sound Of London First Death In The Family
Recorded By, Performer – B*
2:18
13.2 The Future Sound Of London (silence) 0:59
13.3 Headstone Lane Dead Cities Reprise
Recorded By – Simon WellsWhistle [Mouth] – Inert Armchair
1:28

Companies, etc.

  • Phonographic Copyright (p) – Virgin Records Ltd.
  • Copyright (c) – Astralwerks
  • Copyright (c) – Caroline Records
  • Published By – Sony Music Publishing
  • Glass Mastered At – EMI MFG.
  • Recorded At – Earthbeat Studios
  • Recorded At – The Womb, London

Credits

  • Artwork [Choked Up/Sunshine And Brick Image] – Riphead*
  • Artwork [Choked Up/Sunshine And Brick Text] – Cobain*
  • Artwork [Dead Cities City Ruins Photography] – Riphead*
  • Artwork [Dead Cities Human Computer Manipulation] – B Dougans*
  • Artwork [Dead Cities Overall Image Construction] – Cobain*
  • Artwork [Liquide/Dead Cities Logo] – B Dougans*
  • Artwork [Praying Hands/Ecuador/Dead Cities Graffiti/Eggs] – Buggy G. Riphead
  • Artwork [Spike And Dome/Old Woman/Herd Killing Art] – Riphead*
  • Artwork [Spike And Dome/Old Woman/Herd Killing Concept] – Riphead*, Electronic Brain Violence
  • Artwork [Spike Modelling] – Olaf Wendt
  • Engineer – Yage
  • Photography By [Dead Cities Human Photography] – Andrea Giacobbe
  • Producer – The Future Sound Of London
  • Written-By – The Future Sound Of London

Notes

Recorded at Earthbeat Studios, London, 1996.

The credits on the CD are misleading as to what the actual track list is, the back cover of the CD shows 15 tracks, the CD itself has 13 tracks. Two of the tracks are actually two songs in one. The last track has a hidden track after it titled "Dead Cities Reprise" and it starts at around 3:17 after 0:59 seconds of silence and is credited to Headstone Lane (Simon Wells). The total running time of track 9 is 6:57, of track 12 is 5:32 and of track 13 is 4:45.

The track listing listed here is as shown on a promo copy of the album.

℗ 1996 Virgin Records Ltd.
© 1996 Astralwerks/Caroline

Packaging:
Standard jewel case.
Front insert: 12-page stapled booklet, color print exterior and interior.
Back insert: color print exterior, no print interior.
Disc tray: gray.
CD: CMYK print.

Barcode and Other Identifiers

  • Barcode (Text): 0 17046 61812 0
  • Matrix / Runout (Variant 1): MASTERED BY EMI MFG. ASW06181 1-1-2
  • Matrix / Runout (Variants 2, 3): MASTERED BY EMI MFG. ASW06181 1-1-1
  • Matrix / Runout (Variant 4, 5): MASTERED BY EMI MFG. ASW06181 1-1-4
  • Mastering SID Code: IFPI L043
  • Mould SID Code (Variant 1): ifpi 1638
  • Mould SID Code (Variant 2): ifpi 1650
  • Mould SID Code (Variant 3): ifpi 1639
  • Mould SID Code (Variant 4): ifpi 1635
  • Mould SID Code (Variant 5): ifpi 165A

Other versions

Category Artist Title (Format) Label Category Country Year
CDV2814, 7243 8 42068 2 6 The Future Sound Of London Dead Cities ‎(CD, Album) Virgin, Virgin CDV2814, 7243 8 42068 2 6 UK & Europe 1996
DPRO 1376 Future Sound Of London* Dead Cities ‎(CD, Album, Promo) Virgin Music Canada DPRO 1376 Canada 1996
7243 8 42068 2 6 The Future Sound Of London Dead Cities ‎(CD, Album) Virgin, Virgin Music Canada, EBV 7243 8 42068 2 6 Canada 1996
DE 3794 The Future Sound Of London Dead Cities ‎(CD, Album, Promo) Delabel DE 3794 France 1996
CDV2814, 7243 8 42068 2 6 The Future Sound Of London Dead Cities ‎(CD, Album, Unofficial) Virgin , Virgin , Electronic Brain Violence , Electronic Brain Violence CDV2814, 7243 8 42068 2 6 Unknown


  • Sharpbrew
This album is so unique in it's own dystopian sort of way. When you listen to it you almost feel as if you're the only one alive on earth at times. Industrial is brought in which gives it a very dark and brooding atmosphere which is in total contrast to their first album Accelerator which made you "feel good". I can describe this as Cyberpunk. Would be great in a movie like Blade Runner or The Matrix."Max" is a track that stops the doom and gloom and gives you 3 minutes of pure peace. Almost as if you're sailing on an endless river.We Have Explosive is an amazing single. Clever manipulation of sounds and so hard-hitting. This is the one on the album that you should blast at full volume.This is their best album by far. This album is the one that got me into the band along with "Papua New Guinea".The artwork is spooky and phenomenal as well. So weird and quirky and unique.
  • Maridor
This album is dark, paranoid, dystopian, isolating. The songs are unexpected and the writing style goes places I didn't expect. I'm not sure this album is as good as the other stuff (Lifeforms, Cascade, etc) but it's emotionally compelling and in a way more "cool" as it seems to align more with darker Industrial than Ambient.
  • Ungall
Released in 1996, Dead Cities was Garry Cobain and Brian Dougans' fourth full length album as The Future Sound of London. Dead Cities was that very last record and then there was a torturing silence for six years. Even when the duo returned in 2002 with The Isness, it was ... not the same... How can one describe the layered dark samples with memorable vocal lines that are implanted in my brain? "I have killed a man. A man who looked like me." The album is an absolute classic, and its complex ambient and cinematic fragments continue to offer new insight into the minds of FSOL. Dead Cities was not received with as much success as my absolute favorite, earlier 1994 release Lifeforms [the latter climbed to 6 position on the UK Album Charts, while Dead Cities got up to 22]. The music of Dead Cities features more sampled beats carefully blending in big-beat and bringing trip-hop into the mix. We Have Explosive (which also came out as a single) features several samples from Run DMC's album Tougher Than Leather. The rest of the sounds [all very dear and familiar to my mind at this point] all convey the atmosphere of urban decay. An album from the future that rusted in the past. Like a empty feeling after watching a rerun of Blade Runner [and the sample off Mary Hopkin's vocals from the movie's soundtrack], the eerie nostalgia of revisiting a dirty old friend crackles in the hindsight. Oh, and how's this for a shocker for you. The album cover (and the two inserts that house the double vinyl) feature 3D graphics and digitally processed photography by Buggy G. Riphead. This is one of the albums to hold in your hands and marvel at its grandiose and epic stand in time.
  • kolos
Listening in retrospect of FSOL's career, this was the final realisation of a sound which started with Lifeforms, was nurtured with ISDN and finally matured with Dead Cities. It is without doubt the darkest, most emotionally-brittle album they made and clearly paints a picture of the frustrated, turbulent mindset of two artists who had reached a destination in their career, which perhaps wasn't where they wanted it to be. That's not to say the album is weak, as in fact it is probably their strongest, most cohesive work. Still, the overbearing downbeat mood of the music the track titles and even the cover art suggest that nothing more could be said and a time for change was needed. Funnily enough, it happened and 10 years later, they returned with an optimistic, warm new sound as Amorphous Androgynous, which associated itself more with the sounds of the past than the future - almost like an inverted reflection of Dead Cities, which depicts a lonely, suffocating future. The irony is, after two AA albums, I feel myself yearning for a return to the Dead Cities. It will be interesting to see where (if anywhere) FSOL arrive to next.
  • Quashant
You're laying down. The ligts are dimmed.Then it hits, like a soundcheck to check your volume levels. You rise up to set the them right, and go back to your previous position. Futuristic beats cut the air for two minutes. Then... a dark, ominous, EVIL bass surfaces. "I have killed a man..". Now we know. We're on a journey.Maybe FSOL made their name with dancey tracks like Papua New Guinea, but this is something completely different. Highly recommended for any fan of electronic music.
  • Meztisho
When forced to pick a favorite FSOL album, its a hard decision for me.. But I honestly think Dead Cities would be my choice. It combines everything they've done on earlier albums yet still brings new styles to the plate. First thing you'll notice on this album is how much more agressive it is then previous releases by them. The track "We Have Explosive" is a good example of this. Industrial techno I guess you could call it. There are chilled tracks on here too though (My Kingdom) but the noise seems to take over most of the CD. I also find the artwork to be pretty interesting. At first glance it might seem a little cheesey.. but if you look closely you'll notice the background is a REAL city, while that tunnel and man are CGI. If you're new to FSOL there is no better place to start then with Dead Cities.
  • Roru
Along with Pentatoniks "Anthology", Aphex Twins "I care because you do" and BoCs "Twoism", this album has to be one of the most influential Electronica releases in my life. Breakbeat, Ambient, D&B and much more, all merged together to a fantastic musical journey I'm glad I made. Pack your bags, this is Electronica at it's best!