FSOL discography (11 albums EPs) FLAC [h33t]

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The Future Sound of London Discography (11 albums/EPs)

Tales Of Ephidrina
1993 Astralwerks

Papua New Guinea
Hypnotic 1992

Cascade
Astralwerks 01/01/1993

The Far-Out Son of Lung and the Ramblings of a Madman (ep)
Astralwerks 01/01/1994

ISDN
Astralwerks 10/01/1994

ISDN (Limited Edition)
Virgin Records (UK) 5 Dec 1994

Lifeforms (Double CD)
1994 Astralwerks


Lifeforms (remixes-EP)
1994 Astralwerks

Accelerator (US)
Cleopatra 03/19/1996

Dead Cities
Astralwerks 10/29/1996

My Kingdom (EP)
1996 Virgin

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Amorphous Androgynous (FSOL)
Tales Of Ephidrina
1993 Astralwerks

1 Liquid Insects (7:21)
2 Swab (4:17)
3 Mountain Goat (4:38
4 In Mind (5:38
5 Ephidrena (8:17)
6 Auto Pimp (7:20)
7 Fat Cat (4:04)
8 Pod Room (5:27)

One year before Garry Cobain and Brian Dougans released Lifeforms, their breakthrough album as Future Sound of London, the duo recorded Tales of Ephidrena as Amorphous Androgynous. Charting an intriguing fusion of industrial techno with the free-form organic passages that would become the norm in ambient techno several years later, Tales of Ephidrena was the first hint of what was to become the trademark sound of FSOL.
- John Bush

Named in displaced reference to a form of speed popular with late-night studio hounds, Ephidrina is probably the nearest the group have come to an even compromise between their ambient and dance pretensions, trading equally between lush, contemplative textures and upbeat, simplistic rhythmic structures. Enjoyable but by no means essential.
- Sean Cooper

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The Future Sound Of London - Papua New Guinea

Label: Jumpin' & Pumpin'
Catalog#: CDS TOT 17
Format: CD5"
Country: UK
Released: 1992
Genre: Electronic
Style: Ambient House, Breakbeat
Discogs.com Rating: 4.5/5 (62 votes)

1 Papua New Guinea (7" Original)
2 Papua New Guinea (Andrew Weatherall Mix) (11:31)
3 Papua New Guinea (Dub Mix) (1.20)
4 Papua New Guinea (Journey To Pyramid) (5:25)
5 Papua New Guinea (Graham Massey of 808 State Mix) (3.45)
6 Papua New Guinea (Dumb Child Of Q Mix) (4:20)
7 Papua New Guinea (12" Original) (4:57)
8 Papua New Guinea (Hamish McDonald Mix) (5:04)

Needs no explanation I assume! My favorite mix (other than the glorious original)is the "dum mix" even though it's only 1'20" long! Sorry, High Contrast's drum & bass remix just didn't do the original justice. The Plumps faired slightly better remixing "Stakker Humandoid" but we all know that classics remain classics no matter what!

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The Future Sound of London
Cascade
Astralwerks 01/01/1993

1. Cascade, Pt. 1 - 7:18
2. Cascade, Pt. 2 - 9:08
3. Cascade, Pt. 3 - 4:14
4. Cascade, Pt. 4 - 4:32
5. Cascade, Pt. 5 - 6:11
6. Cascade, Shortform - 4:16

YAGE - Engineer
Annalee Valencia - Art Direction, Design
The Future Sound of London - Producer, Main Performer

After "Papua new Guinea" is "Cascade" of one the first Songs the FSOL produced and immediately probably the best TRACK it has ever created. Actually part 1-5 consists the CD, together approx. 32min of extended play. Furthermore the final 4min. is enough for single edit

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The Future Sound of London
The Far-Out Son of Lung and the Ramblings of a Madman (ep)
Astralwerks 01/01/1994

1. Far-Out Son of Lung and the Ramblings of a Madman (4:41)
2. Snake Hips (8:33)
3. Smokin' Japanese Babe (5:42)
4. Amoeba (5:00)

Originally released on white-label, this four-track collection of highlights from the group's ISDN concerts hit like a genrecidal bomb, working jazz, hip-hop, funk, and ambient simultaneously, and forcing eventual release of the full-length collection, ISDN.
- Sean Cooper, All Music Guide

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The Future Sound of London
ISDN
Astralwerks 10/01/1994

1. Just a Fuckin Idiot (5:39)
2. Far-Out Son of Lung and the Ramblings of a Madman (4:29)
3. Appendage (2:25)
4. Slider (7:22)
5. Smokin' Japanese Babe (4:59)
6. You're Creeping Me Out (6:31)
7. Eyes Pop - Skin Explodes - Everybody Dead (3:45)
8. It's My Mind That Works (3:24)
9. Dirty Shadows (6:15)
10. Tired (6:31)
11. Egypt (4:11)
12. Kai (4:24)
13. Amoeba (5:20)
14. Study of Six Guitars (4:12)
15. Snake Hips (5:51)

John Williams - Bass Programming
John Williams - Bass Programming
YAGE - Engineer
The Future Sound of London - Composer, Producer, Main Performer
Robert Fripp - Guitar

While webcast concerts and performances swiftly became commonplace by the end of the 1990s, there had to be pioneers somewhere in earlier years, and FSOL was among them. Instead of touring for the Lifeforms album in 1994, they instead set up a series of appearances on a variety of radio stations, as well as concert dates involving broadcasting to specific venues. ISDN, named after the high-speed connection that made these ventures possible, compiles a variety of cuts from four different sessions, including one with Robert Fripp. All four were live performances, with only new material appearing on ISDN itself, making it a fine standalone collection of intrinsic value beyond its gee-whiz factor. While not a cohesive listen like Lifeforms by default -- the selections aren't organized in chronological fashion -- all are edited together to provide a reasonable enough simulation of a standalone performance. Stylistically the duo explore both the experimental reaches of Lifeforms' unsettling ambient approach and the rougher sounds which would come to dominate on Dead Cities. "The Far Out Son of Lung and the Ramblings of a Madman" makes for a great taste of the latter, with a steady, aggressive hip-hop loop mixed with muted jazz trumpet and cascading, unnerving synth swirls and sighs, not to mention sudden guitar stabs. Similarly aggro efforts appear, like the steady, booming breakbeat echo and intense synth bassline on "Slider." On the calmer but no less intriguing side, standouts include "Just a Fuckin' Idiot" and especially "Dirty Shadows," subtle and threatening in atmosphere, resembling a spooked-out In the Nursery track. Besides Fripp, there's one other guest on the album -- sort of: John Williams gets some of his acoustic bass work sampled for a core loop on "Smokin Japanese Babe," which predates the commercial explosion of trip-hop by mere months.
- Ned Raggett, All Music Guide

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The Future Sound of London
ISDN (Limited Edition)
Virgin Records (UK) 5 Dec 1994

1. Just A Fuckin Idiot (5:39)
2. The Far Out Son Of Lung And The Ramblings Of A Madman (4:29)
3. Appendage (2:25)
4. Slider (7:22)
5. Smokin Japanese Babe (4:59)
6. You're Creeping Me Out (6:31)
7. Eyes Pop - Skin Explodes - Everybody Dead (3:45)
8. It's My Mind That Works (3:24)
9. Dirty Shadows (6:15)
10. Tired (6:31)
11. Egypt (4:11)
12. Are They Fightin Us
13. Hot Knives
14. A Study Of Six Guitars (4:12)
15. An End Of Sorts

John Williams - Bass Programming
John Williams - Bass Programming
YAGE - Engineer
The Future Sound of London - Composer, Producer, Main Performer
Robert Fripp - Guitar

Recorded live at Earthbeat Studios, London, 1994 during various ISDN transmission

The original version of the album (limited pressing, edition of 10,000 copies that sold out in 3 days.) came in black g/fold card sleeve with velcro, not white. Editing and three tracks were changed for the newer release as well:
Track 12 was "Are They Fightin Us" - 6:24
Track 13 was "Hot Knives" - 3:21
Track 15 was originally "An End of Sorts" - 5:26

ISDN is not just a high-speed internet connection, its a compilation of live recordings that the Future Sound of London did, merged seamlessly into one another. Its futuristic in the best way possible with sounds and textures and sonic images floating in and out of cyberspace. Theres 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 Ive 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. Thats whats so wonderful about this album: its 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.
- scoundrel

While webcast concerts and performances swiftly became commonplace by the end of the 1990s, there had to be pioneers somewhere in earlier years, and FSOL was among them. Instead of touring for the Lifeforms album in 1994, they instead set up a series of appearances on a variety of radio stations, as well as concert dates involving broadcasting to specific venues. ISDN, named after the high-speed connection that made these ventures possible, compiles a variety of cuts from four different sessions, including one with Robert Fripp. All four were live performances, with only new material appearing on ISDN itself, making it a fine standalone collection of intrinsic value beyond its gee-whiz factor. While not a cohesive listen like Lifeforms by default -- the selections aren't organized in chronological fashion -- all are edited together to provide a reasonable enough simulation of a standalone performance. Stylistically the duo explore both the experimental reaches of Lifeforms' unsettling ambient approach and the rougher sounds which would come to dominate on Dead Cities. "The Far Out Son of Lung and the Ramblings of a Madman" makes for a great taste of the latter, with a steady, aggressive hip-hop loop mixed with muted jazz trumpet and cascading, unnerving synth swirls and sighs, not to mention sudden guitar stabs. Similarly aggro efforts appear, like the steady, booming breakbeat echo and intense synth bassline on "Slider." On the calmer but no less intriguing side, standouts include "Just a Fuckin' Idiot" and especially "Dirty Shadows," subtle and threatening in atmosphere, resembling a spooked-out In the Nursery track. Besides Fripp, there's one other guest on the album -- sort of: John Williams gets some of his acoustic bass work sampled for a core loop on "Smokin Japanese Babe," which predates the commercial explosion of trip-hop by mere months.
- Ned Raggett, All Music Guide

_______________________




Future Sound Of London
Lifeforms (Double CD)
1994 Astralwerks

CD1

A01 Cascade (6:00)
A02 Ill Flower (3:25)
A03 Flak (4:53)
A04 Bird Wings (1:30)
A05 Dead Skin Cells (6:51)
A06 Lifeforms (5:18
A07 Eggshell (6:46)
A08 Among Myselves (5:53)

CD2

B01 Domain (2:48)
B02 Spineless Jelly (4:42)
B03 Interstat (0:55)
B04 Vertical Pig (6:45)
B05 Cerebral (3:31)
B06 Life Form Ends (5:03)
B07 Vit (6:48
B08 Omnipresence (6:39)
B09 Room 208 (6:13)
B10 Elaborate Burn (3:16)
B11 Little Brother (5:13)

Having indulged in more explicitly ambient realms with the Amorphous Androgynous side project, FSOL returned to full action with Lifeforms, a double-disc effort that ranks as one of the best experimental techno releases of the '90s. If not as immediately memorable on a song per song basis as, say, Aphex Twin's Selected Ambient Works collections, as an overall piece, Lifeforms makes for an inventive, fascinating aural experience, as rich and detailed as the Orb's best work. Where FSOL differs from that band in particular is the comparative lack of overt humor and less immediate desire to make people groove -- this is something to listen to rather than necessarily dance to. In comparison to Accelerator, this is an extremely subtle listen, with rhythms generally buried in the mix, serving the melodies rather than vice versa. In comparison to the upfront breaks and steady house beats just two years previous, here they're stuttered, echoed, often approaching dub in pace and impact. Meanwhile, the space-alien bubbles and noises and haunting tones take to the fore, making for a disorienting, evocative experience, a mix of natural sounds and artificial elements much like the band's own artwork. Even the singles, Cascade and Lifeforms, play down the beat. The one for Cascade is barely there, swooping samples and soft synth hooks to the fore, while Lifeforms, for its comparatively more direct impact, relies as much on its keyboard swell and chiming melody as much as the complex overlay of rhythms. There are a few guest appearances here and there, but they're mostly notable for how the band incorporate them instead of letting them stand out -- Robert Fripp's guitar on Flak, Talvin Singh's tablas on Life Form Ends, and Toni Halliday from Curve doing a vocal texture on Cerebral.
- Ned Raggett

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Future Sound Of London
Lifeforms (remixes-EP)
1994 Astralwerks

01 Lifeforms (Path 1) (4:43)
02 Lifeforms (Path 2) (6:49)
03 Lifeforms (Path 3) (5:24)
04 Lifeforms (Path 4) (9:03)
05 Lifeforms (Path 5) (6:02)
06 Lifeforms (Path 6) (2:48
07 Lifeforms (Path 7) (4:02)

Originally, Elizabeth Fraser of the Cocteau Twins was going to appear on this song, a highlight of the similarly titled album, but record company hoo-hah meant it turned up as an instrumental. For the single release, Fraser was able to take a proper vocal bow, along with Talvin Singh, who had contributed tablatronics to the Life Form Ends snippet that also appeared on the album. Consisting of seven different mixes, or paths, of the song, the Lifeforms EP experiments with radically redesigned versions of the original song, substituting the straightforward beats with a variety of alternate rhythms. Other melodic or textural parts from the album take get similarly revamped -- groans, whistles, and echoes suddenly played up or mixed down and out, synth parts or samples turned into new central beats, and more. All seven takes are well worth hearing (the third is essentially the original album mix) but the standouts include the second, which builds up in intensity without ever quite going over the top, and the vocal-heavy, slow funk loop fourth.

- Ned Raggett

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The Future Sound of London
Accelerator (US)
Cleopatra 03/19/1996

1. Expander (5:40)
2. Stolen Documents (5:12)
3. While Others Cry (5:27)
4. Calcium (5:22)
5. It's Not My Problem (4:02)

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