The Future Sound Of London – Dead Cities
Label: |
EBV – 7243 8 42068 1 9 |
|---|---|
Format: |
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Country: |
UK |
Released: |
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Genre: |
Electronic |
Style: |
Experimental |
Tracklist
| A1 | The Future Sound Of London– | Herd Killing |
| A2 | The Future Sound Of London– | Dead Cities |
| A3 | The Future Sound Of London– | Her Face Forms In Summertime |
| A4 | The Future Sound Of London– | We Have Explosive |
| B1 | The Future Sound Of London– | Everyone In The World Is Doing Something Without Me |
| B2 | The Future Sound Of London– | My Kingdom |
| B3 | The Future Sound Of London– | Max |
| B4 | The Future Sound Of London– | Antique Toy |
| C1 | The Future Sound Of London– | Quagmire / In A State Of Permanent Abyss |
| C2 | The Future Sound Of London– | Glass |
| D1 | The Future Sound Of London– | Yage |
| D2.1 | The Future Sound Of London– | Vit Drowning |
| D2.2 | The Future Sound Of London– | Through Your Gills I Breathe |
| D3.1 | The Future Sound Of London– | First Death In The Family |
| D3.2 | The Future Sound Of London– | (silence) |
| D3.3 | Headstone Lane– | Dead Cities Reprise |
Companies, etc.
- Record Company – Virgin Records
- Phonographic Copyright ℗ – Virgin Records Ltd.
- Copyright © – Virgin Records Ltd.
- Pressed By – EMI Records
- Published By – Sony Music Publishing
- Recorded At – Earthbeat Studios
- Recorded At – The Womb, London
- Recorded At – The Electronic Farm
- Recorded At – Hyde Park
Credits
- Alto Saxophone [Alto-Sax Sample] – Richie Thomas* (tracks: B3)
- Artwork [Additional Modelling] – Olaf Wendt
- Composed By ['Ripple'] – Max Richter (tracks: C2)
- Composed By [Flute Sample] – Ennio Morricone (tracks: B2)
- Composed By [Voice Sample] – Vangelis (tracks: B2)
- Concept By – Electronic Brain Violence
- Drums – Richie Thomas 'Caught With The Dat Running'* (tracks: B2)
- Engineer [Engineered By] – Yage
- Flute [Moroccan Flute] – Yage (tracks: D1)
- Instruments [Some Weird Greek Instrument] – Byron Con (tracks: D1)
- Mixed By [Regurgitated Bits] – Leon Mar (tracks: D1)
- Performer [Guitar Sample Swapped For Cubase] – Ozric Tentacles (tracks: B2)
- Performer [Guitar Stab, Wah Guitar And Vocal Yell Sourced From] – Run DMC* (tracks: A1, A4)
- Performer [Intro Breath Environment Sourced From An Orchestra Re-working Of Eggshell By] – Craig Armstrong (tracks: B1)
- Performer [Sourced From Shrine By] – Riz Maslen (tracks: D1)
- Photography By, Artwork [Image Construction] – Buggy. G. Riphead*
- Piano, Written-By [Midi-files] – Max Richter (tracks: B3)
- Recorded By – Simon Wells (tracks: D3.3)
- Recorded By [Child's Voice] – The Bloke's A Nutter (tracks: B3)
- Recorded By [Pig] – Yage (tracks: B1)
- Recorded By, Performer – B* (tracks: D3.1)
- Samples [Original Samples Collected And Collated By], Collected By [Original Samples Collected And Collated By] – Baker St. Mythology (tracks: C1)
- Samples [Sourced From 'Childhood Memories Of Pin'] – Philip Pin (tracks: C1)
- Samples [Voice Sample] [Sung By] – Mary Hopkin (tracks: B2)
- Vocals [From 'I Need Re-calibrate'] – Garry Cobain (tracks: B1)
- Voice [Layered Voices Sampled From An Improvisation By] – Rebecca Caine (tracks: B1)
- Written-By [Outro Poetry From 'Dead Cities'] – Dick Verbatim (tracks: A2)
- Written-By, Producer [Produced By] – The Future Sound Of London
Notes
Issued in a gatefold sleeve with printed card inner sleeves.
Recorded at Earthbeat Studios, London '96.
A1 [1] + A4 [4] 'We Have Explosive' and Herd Killing mix
Guitar stab, wah guitar and vocal yell sourced from Run DMC - LP Tougher Than Leather. courtesy of Profile Records Inc., and Protoons Inc.
We Have Explosive' vocal - B's processing tools
A2 [2] outro poetry from 'dead cities' by dick verbatim
B1 [5] 'Everyone in the world is doing something without me'
vocal by Cobain from ' I need re-calibrate' recorded at The Womb - London
Layered voices sampled from an improvisation by Rebecca Caine
Intro Breath environment sourced from an orchestra re-working of Eggshell by Craig Armstrong.
Pig - recorded and rendered at the electronic farm - Norfolk - by Yage on an 'Always' working vacation
B2 [6] Guitar sample swapped for cubase with Ozric Tentacles - Taken from Pungent Effulgent
Flute sample -sourced from Once Upon A Time In America ( Ennio Moricone) courtesy of General music/Warner Chappell
Voice sample -from Rachel's song (Vangelis) from the film soundtrack Bladerunner - sung by Mary Hopkin courtesy of Warner Records/EMI United Partnership
Drums - Richie Thomas 'caught with the dat running'
B3 [7] Child's voice recorded 'Outside of the web' at Little Venice by 'The Bloke's a Nutter'
Piano fed through the machines - restructured and re-collaged from midi-files written by Max Richter
Alto-Sax sample mechanically removed from a day's recording of Richie Thomas
C1 [9] Original samples collected and collated by Baker St. Mythology
Quagmire environment 'He thinks he's very funny' sourced from 'Childhood memories of Pin' from the Philip Pin archives courtesy of PA PIN
C2 [10] 'In a State of Permanent Abyss' environment from lost recording of Max Richter's 'Ripple'.
Girl crying in the park unknown - Hyde Park June 96
D1 [11] moroccan flute by Yage recorded at sordid accomodation - London - 1989
'jane jane' sourced from shrine by riz maslen 1983
'some weird greek instrument no one can the name of apart from the greeks who are in greece' - played by byron con
'regurgitated bits' leon mar
D3.1 [13] Recorded and performed on an unscheduled Baker St-Dollis Hill day trip by B
14 Mouth whistle by inert armchair sampling from The Best Selling Show
laughter - 'honey sunshine' from a hi-8 'putts goes to Sri Lanka'
D3.3 Dead cities re-prise recorded by Simon Wells at Headstone Lane
from Snuff-recordings, 'The Disappearance of Troy Motherwell'.
℗ 1996 Virgin Records Ltd.
© 1996 Virgin Records Ltd.
Printed in UK
Recorded at Earthbeat Studios, London '96.
A1 [1] + A4 [4] 'We Have Explosive' and Herd Killing mix
Guitar stab, wah guitar and vocal yell sourced from Run DMC - LP Tougher Than Leather. courtesy of Profile Records Inc., and Protoons Inc.
We Have Explosive' vocal - B's processing tools
A2 [2] outro poetry from 'dead cities' by dick verbatim
B1 [5] 'Everyone in the world is doing something without me'
vocal by Cobain from ' I need re-calibrate' recorded at The Womb - London
Layered voices sampled from an improvisation by Rebecca Caine
Intro Breath environment sourced from an orchestra re-working of Eggshell by Craig Armstrong.
Pig - recorded and rendered at the electronic farm - Norfolk - by Yage on an 'Always' working vacation
B2 [6] Guitar sample swapped for cubase with Ozric Tentacles - Taken from Pungent Effulgent
Flute sample -sourced from Once Upon A Time In America ( Ennio Moricone) courtesy of General music/Warner Chappell
Voice sample -from Rachel's song (Vangelis) from the film soundtrack Bladerunner - sung by Mary Hopkin courtesy of Warner Records/EMI United Partnership
Drums - Richie Thomas 'caught with the dat running'
B3 [7] Child's voice recorded 'Outside of the web' at Little Venice by 'The Bloke's a Nutter'
Piano fed through the machines - restructured and re-collaged from midi-files written by Max Richter
Alto-Sax sample mechanically removed from a day's recording of Richie Thomas
C1 [9] Original samples collected and collated by Baker St. Mythology
Quagmire environment 'He thinks he's very funny' sourced from 'Childhood memories of Pin' from the Philip Pin archives courtesy of PA PIN
C2 [10] 'In a State of Permanent Abyss' environment from lost recording of Max Richter's 'Ripple'.
Girl crying in the park unknown - Hyde Park June 96
D1 [11] moroccan flute by Yage recorded at sordid accomodation - London - 1989
'jane jane' sourced from shrine by riz maslen 1983
'some weird greek instrument no one can the name of apart from the greeks who are in greece' - played by byron con
'regurgitated bits' leon mar
D3.1 [13] Recorded and performed on an unscheduled Baker St-Dollis Hill day trip by B
14 Mouth whistle by inert armchair sampling from The Best Selling Show
laughter - 'honey sunshine' from a hi-8 'putts goes to Sri Lanka'
D3.3 Dead cities re-prise recorded by Simon Wells at Headstone Lane
from Snuff-recordings, 'The Disappearance of Troy Motherwell'.
℗ 1996 Virgin Records Ltd.
© 1996 Virgin Records Ltd.
Printed in UK
Barcode and Other Identifiers
- Barcode (Text): 7 24384 20681 9
- Barcode (Scanned): 724384206819
- Label Code: LC3098
- Price Code (F): PM264
- Matrix / Runout (Side A runout): D V 2814 A-1-1-1
- Matrix / Runout (Side B runout): D V 2814 B-1-1-1
- Matrix / Runout (Side C runout): D V 2814 C-1-1-1
- Matrix / Runout (Side D runout): D V 2814 D-1-1-1
Other Versions (5 of 37)
View All| Title (Format) | Label | Cat# | Country | Year | |||
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Recently Edited
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Dead Cities (CD, Album) | Astralwerks | ASW 6181 | US | 1996 | ||
| Dead Cities (CD, Album, Stereo) | Virgin | CDV2814, 7243 8 42068 2 6 | Europe | 1996 | |||
| Dead Cities (CD, Album, Limited Edition, Cardboard Slipcase) | Virgin | CDVX2814, CDVX 2814, 7243 8 42231 2 0 | UK & Europe | 1996 | |||
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Recently Edited
|
Dead Cities (CD, Album, Promo) | Astralwerks | ASW 6181 AD | US | 1996 | ||
|
Recently Edited
|
Dead Cities (CD, Album) | Virgin | CDV 2814, 7243 8 42068 2 6 | UK | 1996 |
Recommendations
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1995 UK & EuropeVinyl —12", 33 ⅓ RPM -
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Reviews
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I didn’t appreciate how great this album was when it came out. A combination of the art work and not liking the We Have Explosives track put me off it.
Listening to it properly again for the first time in over 20 years, I know realise i missed out on another FSOL master piece. There’s so many complex layers to every track with influences from all over the place.
I think it’s aged better than Lifeforms, and I’d now rate it as their best album. Wonderful stuff. -
Edited 4 years agoThe last great album of the 90's for FSOL, who as is often the case, play with perceptions, mastering the art of transitions. A concept album with complex colours and multiple influences (Vangelis, Santana, John Barry, Max Richter, Aphex Twin, Ennio Morricone etc...). Bricolage, programming, collage, live instruments and sampling that takes us into a reverie that crosses ages. One of the project's climax points. -
This album is a journey through space, time, and sound. There are subtle nuances tucked away inside nooks that I’m still discovering over 20 years after countless listenings. You need to have time to get your surroundings right, prepare a fat spliff, get comfortable and drop the needle. The CD is great, but the wax is on another level. Everyone saying it’s not worth the money.....you don’t know what you’re missing. It’s worth every cent. -
We need a reissue, this album is great. Sorry, i'm not paying upward of 60 bucks for an album that should be 20 to 30 bucks. If it was a special edition than I could see how it's upward of 60 bucks but from what I see it looks like a standard album. -
Edited 8 years agoQuagmire / In A State Of Permanent Abyss.
What a fantastic use these producers make of the drums and percussion from Heads,Hands and Feet by Santana (The MoonFlower lp) ....
Some of my fave live drumming of all time is on that lp but to then have it expertly reprogrammed into a wicked slice of breakbeat is just so so good!
As for the rest of the lp...
Well I'm still digesting it!...
I cannot believe I have slept on this plus other lps by FSOL.
Never again!
Peace ;) -
Edited 8 years agoOne of my favourite FSOL album with "Accelerator" and "Lifeforms". Probably their "darkest" release with "ISDN". It's the starting point to enter the wide universe of FSOL, but it gives a good idea of the range of exploration made by this duo. Their recent stuff like "Archived" and "Environment" series are not as accessible as this album.
Dead Cities is the most famous FSOL release because of the two titles ("Herd Killing" & "We Have Explosive") used in the WipeOut 2 soundtrack. This driving me to the big question about this album :
Why "Landmass" title is not present in Dead Cities tracklist (and in any other FSOL release) ???
I suppose this track has just been made for WipeOut 2 and FSOL gave all rights to Sony. With "Landmass", Dead Cities could have been a complete masterpiece, too bad... -
I've grown up with FSOL since the early 90's, and I can say this is their most complete album from start to finish. What I mean by "complete' is that as an album it stands on it's own, the way songs ebb and flow into and out of each other to the types of songs. From the very aggressive to the tender and heartfelt songs that make a person question their own existence, this album is one of the pinnacles of electronic music. -
Edited 17 years agoThe strangest prediction of a dystpoian world will emanate from your stereo when you play this. Textures undulating with Orwellian- painted moon-lit soundscapes leave you staring down at the wreckage of your spaceship that was your perception of ambient music before you listened to Dead Cities. There isn't much room for light in this world, and to open your eyes once or twice and remind yourself of the photons. This is not just the future sound of london, but if it is, you had better get there when it will be.
Or not?
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