James Ruskin ‎– Further Design

Label:
Blueprint ‎– BPLP1
Format:
2 × Vinyl, 12", 33 ⅓ RPM, Album
Land:
Veröffentlicht:
Genre:
Stil:

Trackliste

A1 Enter
A2 Indirect World
A3 Internal
B1 Beginings
B2 The Divide
C1 Time & Place
C2 Form
C3 Unknown Destination
D1 Work
D2 Below

Unternehmen usw.

Mitwirkende

Anmerkungen

"Dedicated to Steve Oates 1965 - 1998"

Barcode und andere Identifikationsmerkmale

  • Matrix / Runout (A-side runout etching): MPO BPLP 1 A CGB@D&M
  • Matrix / Runout (B-side runout etching): MPO BPLP 1 B CGB@D&M
  • Matrix / Runout (C-side runout etching): MPO BPLP 1 C CGB@D&M
  • Matrix / Runout (D-side runout etching): MPO BPLP 1 D CGB@D&M

Andere Versionen (3 von 3) Alle anzeigen

Kat.-Nr. Künstler Titel (Format) Label Kat.-Nr. Land Jahr
BPLP1 James Ruskin Further Design(2x12", Album, Promo, W/Lbl) Blueprint BPLP1 UK 1998 Diese Version verkaufen
BPCD01 James Ruskin Further Design(CD, Album) Blueprint BPCD01 UK 1998 Diese Version verkaufen
BPLP1 James Ruskin Further Design(10xFile, MP3, Album, RE, 320) Blueprint BPLP1 UK 2009

Recommendations

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flamman

flamman

10. November 2006
geändert over 10 years ago
"Time & Place" sounds like a remake from "Gamma Player" by Millsart so much that I actually thought there was a mistake in the tracklisting for Luke Slater's "Fear and Loathing" album.

That aside, this is one of those albums that proves that techno truly can be intelligent! Apart from "The Divide", most tracks I wouldn't play in a club, but late at night their moodiness is excellent to just lay back to and listen (and I don't mean falling asleep!).
EDJ303

EDJ303

23. September 2003

Having set out his architecturally orientated sonic stall with an array of stark singles launched from 1996's appropriately titled first Contact EP with Richard Polson, respected London-based producer James Ruskin got down to the task of his debut long-player for his own accomplished Blueprint imprint. The purposeful titles are the first clue of the minimalism at work here — "Enter," "Internal," "Beginnings," and "Form" all give little away, preferring that the listener ditch their preconceptions in favor of taking the material for solely its aural qualities. Although Ruskin fills the occasional gap with the odd stretch of ambience, this material is a more floor-orientated than later albums and ultimately, like contemporaries Oliver Ho or the Surgeon, it is his perfectly calibrated percussion that speaks the loudest.