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Dwight Ashley - Discrete Carbon FLAC

Dwight Ashley - Discrete Carbon FLAC
  • Performer: Dwight Ashley
  • Title: Discrete Carbon
  • Genre: Electronic
  • Cat #: AMC-04001
  • Label: Nepenthe Music
  • Country: US
  • Date of release: 2004
  • Style: Abstract, Ambient, Minimal
  • FLAC size 2454 mb
  • MP3 size: 1289 mb
  • Record From CD, Album

Tracklist

1Katalepsis
Voice [Voices] – Izzie Herzberg, JFL23SSB
6:02
2It Happened In November7:41
3Eightfold Way2:46
4Denial6:42
5Eat Me, Drink Me6:36
6Three Insects3:35
7A Colossus Succumbs
Oboe – Kimberly Bryden
4:21
8Examined By Tweezers9:20
9I Thought It Was There5:00
10Untitled1:36
11Carbon4:38
12(no audio)0:06

Credits

  • Composed By, Performer [Performed By], Producer [Produced By], Effects [All Treatments], Synth [Synths], Guitar, Piano, Sounds [Field Recordings], Keyboards [Cheezio M-10], Liner NotesDwight Ashley
  • DesignPaula Ashley
  • Photography By [Photos]Bruce Works

Notes

Recorded at The Rectangle and Zeta Recording, Toledo, Ohio.

℗ Jealous Entropy Publishing (BMI). © 2004 Dwight Ashley.

Tracks 11 - 15 are not listed on packaging.

Packaged in a six-panel clear-tray Digipak.

Barcodes

  • Barcode (Text): 8 29757 79142 5
  • Barcode (Scanned): 829757791425
  • Matrix / Runout: 04031399 [Disc Makers logo] AMC04001
  • Rights Society: BMI

Companies

  • Record Company – Ashley Media Corp.
  • Phonographic Copyright (p) – Jealous Entropy Publishing
  • Copyright (c) – Dwight Ashley
  • Recorded At – The Rectangle
  • Recorded At – Zeta Recording
  • Manufactured By – Disc Makers – 04031399

Comments: (1)
Dagdatus
A journey into the dark infinity of inner space, Dwight Ashley’s premiere solo recording is an aural world rich in paradox and contradiction.

Horror and ecstasy cohabit Discrete Carbon’s vast electronic landscapes, a tension-filled pairing that yields an unexpected, transcendent beauty. Simultaneously disquieting and cathartic, expansive and intimate, Ashley’s arresting compositions move through a dream-sequence of sonic dark alleys and auditory halls of mirrors, to arrive at an eponymous conclusion that offers no salvation.

Ashley’s rendering of the ambient art form on Discrete Carbon resists clichés at every level. Rejecting the meandering “space jams” sometimes associated with the genre, Ashley produces compositions that are focused, structured, and coherent. Ashley’s “experimentalist” nature is evident in his instrumentation: source instruments are frequently indistinguishable as such (to wit, the oboe-cum-cello sequence on Katalepsis), rhythmic textures stand in as melody on a number of tracks, and the album is punctuated throughout by textural detail that is at once subtle and sublime.

With Discrete Carbon, Dwight Ashley demonstrates himself to be a significant ambient artist in his own right, a persistent visionary whose goal it is to take us into uncharted interior worlds. We may go quietly and serenely — or kicking and screaming — but he’s determined we make the trip.
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