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    Ian O'BrienA History Of Things To Come

    Label:Peacefrog Records – PFG 009 CD
    Format:
    CD, Album
    Country:UK
    Released:
    Genre:Electronic
    Style:Future Jazz, Downtempo, Ambient

    Tracklist

    1Lucia Pt. One4:13
    2Veksel
    Drum Programming [Additional]Domu
    8:32
    3Spirits
    Cowbell, Drum [Gato], ShakerMarcelo Salazar
    4:32
    4A Midwestern Night's Dream
    Composed ByPat Metheny
    NoisesMarcelo Salazar
    4:25
    5Lucia Pt. Two8:34
    6Air0:49
    7Zed2:05
    8Vista Beleza5:07
    9Teentown
    Bongos, Triangle, Drums [Daddy]Marcelo Salazar
    Composed ByJaco Pastorius
    4:48
    10Theme From Apollo2:55
    11Yemura
    FluteNathan Haines
    8:12
    12A Little Of The Bandit's Soul1:48
    13Teentown Beats
    Bongos, Triangle, Drums [Daddy]Marcelo Salazar
    4:22
    14Vagalume2:30
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    Credits

    Notes

    Released in a Digipak.

    (C) 2001 Peacefrog Records

    Barcode and Other Identifiers

    • Barcode: 5050294110720
    • Matrix / Runout: IMPRESS PFG009CD 03 5
    • Matrix / Runout (Mould Text): MADE IN THE UK BY UNIVERSAL M&L
    • Mastering SID Code: IFPI L135
    • Mould SID Code (Variant 1): IFPI 04B1
    • Mould SID Code (Variant 2): IFPI 04F4

    Other Versions (1)View All

    Title (Format)LabelCat#CountryYear
    A History Of Things To Come (2×LP, Album)Peacefrog Records, Peacefrog RecordsPFG009LP, PFG 009 LPUK2001

    Reviews

    scoundrel's profile picture
    scoundrel
    Edited 16 years ago
    Ian O’Brien’s third album, A HISTORY OF THINGS TO COME, marks somewhat of a change in direction for him. Whereas his first two albums were lush in their instrumentation and sound, A HISTORY… is much more spare, and ambient at times (like on the delicate “Vista Beleza”). The tracks here are also more freeform: where “Lucia (Pt. 1)” is almost all sound, “Spirits” is almost all African rhythms, which reappear on “Yemura.” But the Pat Methany cover, “A Midwestern Night’s Dream,” recaptures the emotional power while still remaining stripped-down, and “Zed” has a subdued funk that shows that he hasn’t lost his touch. “Teentown” and its propulsive brother, “Teentown Beats,” stick out as a more in-your-face track, almost at odds with the rest of the album, especially given how “Theme from Apollo,” which follows directly, is beatless. As is “Vagalume,” the rich, sweeping final track, which reminds us the gorgeous heights to which O’Brien can take us. So while this album is undoubtedly full of beauty, it’s a little more uneven than what O’Brien can normally deliver.