FSOL* - ISDN

It's one of those albums in which every track is a masterpiece, but, as said, its a real challenge to listen to. Kind of reminds me of Venetian Snares in its brooding and dark nature, except this music is much more slow paced, and this album is for the most part devoid of the normal breakbeat style. Not my favorite Future Sound of London release, that's for sure, but it's worth the money. Now, about that dark room idea...

While this CD is usually considered FSOL's 3rd album... Its not an actual studio album. These 15 tracks are actually tracks that FSOL played over an ISDN internet hook-up throughout 1993 and 1994. So this isn't exactly an album with a theme or story to tell.. as most tracks were recorded days, weeks and months apart.

Still though.. there is some good music on here. Most of these songs have a lot more drum work in them then FSOL fans were used to. Also is the inclusion of jazz influence in a couple tracks. The outcome works well though and this is a compilation of dark tracks. My personally favorite is Amoeba.. almost an alien sounding drum beat.

Probably the least accessible piece of music I've ever listened to in my entire life. Completely devoid of anything resembling hooks or catchy elements, this record is a right challenge to listen to, let alone like. The sheer darkness and aural pandemonium contained on this album is so disturbing and intricate that I still can't get my head around it. Still, I think there's some real dynamite between the lines here if the listener just has the patience to keep on listening long enough. Good luck.

ISDN is not just a high-speed internet connection, it’s a compilation of live recordings that the Future Sound of London did, merged seamlessly into one another. It’s futuristic in the best way possible with sounds and textures and sonic images floating in and out of cyberspace. There’s the super-futuristic jazz of “The Far Out Son of Lung and the Ramblings of a Madman” (led in by a sample from Aliens) and “Smokin’ Japanese Babe.” “Slider” is as dark funk as any I’ve heard, while “Eyes Pop – Skin Explodes – Everyone Dead” sounds like electronic Baroque music. “Tired” starting with a delicate guitar before going into some chugging beats, then some icy synths. That’s what’s so wonderful about this album: it’s a journey in the best sense, with new things to hear and see around every corner. “Egypt” goes for ethnic electro, while “A Study of Six Guitars” has the guitars, definitely, but also some industrial percussion too. Plug in to ISDN today.

the pictures provided here are only of the front and back of the inner cd sleeve--the outer sleeve is not pictured here (as of 12/2003).

the inner sleeve is itself wrapped in a folded cardboard outer sleeve (basically a tri-fold type of sleeve) which is held shut with velcro tabs. the inside of this sleeve is a panaramic of slick 3d graphics, with a glossy finish, while the outside of the sleeve is a tougher laminate type of finish to protect the cardboard. "FSOL ISDN" is embossed in large letters across the center of the front cover, with a sticker affixed along the top indicating "a limited edition of 10,000 copies".

by today's standards, this release will probably seem very cheesy and dated to many listeners. it's worth checking out if you haven't ever heard it: this was an important release for FSOL, and FSOL were very influential artists at that time (early 90's). to understand where "electronic listening music" (or ambient, or idm) is today, one needs to be familiar with the work of FSOL.

This album, with its esoteric artwork and sleeve notes and track titles that explain so little, is often looked at the outcast of the FSOL catalogue. A lot of people say that this album is "creepy", or "evil", or that there is very little musically to grab onto (in stark contrast to their early work). I personally feel, however, that ISDN is the pinnacle of their work: a complete vision of the new and flavorful patchwork that these two guys wanted to bring at the height of their career.No one song on this album jumps out at you and grabs you, instead the album just slinks by in a flurry of bizarre vocal snippets, jagged drum loops, keyboard splotches, guitar stabs, muted horns and unsettling moments of clattering ambience. However, with repeated listens I find that this album really molds itself around you and demonstrates a stunning breadth of skill. "Smokin' Japanese Babe" holds up a broken mirror to Portishead and Massive Attack, "It's My Mind That Works" and "Dirty Shadows" walk a finer line than any track on the "Lifeforms" album, and tracks like "Kai" and "The Far Out Son..." interlock wildly disparate parts into a kind of gritty future hip-hop. All the tracks work splendidly together, and the best ones stand on their own as true gems of improvisation. Truly essential listening for people who want to know how far electronic music can really stretch itself.

Possibly the most disturbed piece of work I have ever heard. I listened to this in its entirety in a darkened room. I don't think I ever fully recovered. I really don't like listening to this, it's very unnerving, it makes me paranoid and its just downright EVIL in places. A masterpiece, but a masterpiece I never want to hear again.