Fader: First Light (CD)

Fader

First Light

CD

CD (Compact Disc)

Herkömmliche CD, die mit allen CD-Playern und Computerlaufwerken, aber auch mit den meisten SACD- oder Multiplayern abspielbar ist.

Lieferzeit beträgt mind. 4 Wochen
(soweit verfügbar beim Lieferanten)

EUR 9,99*

Verlängerter Rückgabezeitraum bis 31. Januar 2025

Alle zur Rückgabe berechtigten Produkte, die zwischen dem 1. bis 31. Dezember 2024 gekauft wurden, können bis zum 31. Januar 2025 zurückgegeben werden.

Versandkosten

Label: Blanc Check, 2017
Bestellnummer: 7192190
Erscheinungstermin: 23.11.2018

Weitere Ausgaben von First Light

Album digital in HD (Werbung)

Product Information

Debut album from Fader - a new band formed by Neil Arthur (Blancmange/Near Future) and Benge, whose work includes his own solo albums, co-production with Gazelle Twin, plus he's in two other critically acclaimed bands - Wrangler and John Foxx And The Maths.

The music was recorded and mixed at Benge's MemeTune Studios while Arthur worked on lyrics and vocals in his home studio. The album is full of powerful electronic pop songs - up-tempo, dark, with flickers of beauty in the sounds and rhythms. Opening with the psychedelic strangeness of "3D Carpets", the album launches with a salvo of exhilarating electronic rock/pop songs including "Check The Power" - an OCD meltdown with fierce electro surges - and "I Prefer Solitude" with its brilliantly insistent chorus. From that point the record buries deeper into melancholy nostalgia; internalized, dead-of-night fears; stream-of-conscious visions of city life and evocative descriptions of lost and lonely figures who find themselves out of time and out of place. The slower tracks such as "Laundrette", "Trip To The Coast" and "Liverpool Brick" are full of longing, with Arthur writing some of the finest lyrics of his career. "Laundrette" is a particularly British spin on the solitary mood of Edward Hopper's Nighthawks. The title track is a flow of scrambled epiphanies and mixed-up thoughts while "Way Out" pitches a detached vocal and sense of distance with waves of aggressive, noisily anthemic synths, but then builds through a beautiful keyboard line that makes misery sound oddly inspiring. "Guilt, Doubt And Fear" is a mangled pop song, the catchy hooks snared into a red-eyed, insomniac's voice - croaky but rich; half-spoken, a damaged croon. By comparison "Winter Garden" is almost elegant in its minimalist approach, while "Wonderland" is a human drone on the landscape.