1967
by The Implicit Order
-
Digital Album
Immediate download of 19-track album in your choice of high-quality MP3, FLAC, or just about any other format you could possibly desire.Free Download
1. |
Night Drive
04:24
|
|||
2. |
Incidental 1
00:47
|
|||
3. |
Drugs & Tapes
04:01
|
|||
4. |
||||
5. |
Car Crash 1989
01:02
|
|||
6. |
||||
7. |
Phantom Anesthetist
03:33
|
|||
8. |
||||
9. |
Satans Slave
04:42
|
|||
10. |
||||
11. |
Melting Close
07:06
|
|||
12. |
3bc - Incidental 6
00:48
|
|||
13. |
Wake Up Call
03:18
|
|||
14. |
||||
15. |
||||
16. |
Compactor - Incidental 8
00:57
|
|||
17. |
Green Meadow
01:25
|
|||
18. |
Final Incidental
00:42
|
|||
19. |
Now, Please...
00:39
|
about
This album in a way chronicles my 23 years of recording music. I record the stuff I want to hear, and these tracks represent some of the things that have happened over the last 23 years. You will find new songs, recycled old work taken from cassette, Interludes/Incidentals from friends and truth and lies from my strange fucked-up life.
The contributors tracks are untouched.
Cover art by Brian Horst.
REVIEW from acloserlisten.com :
1967 is a walk down one man’s memory lane. A dark, tumultuous and heavily drug influenced walk. A compilation of recordings unearthed from Anthony Washburn’s twenty three year career at making music, rearranged, crushed and mixed with interludes (referred to as “Incidentals”) from friends to form one long stream of thought that wanders in the background adding intensity and uncertainty to the audience’s lives.
Kicking off with what sounds like a sample of a party with reverb heavy snares and synths audible from afar, it all disappears, and falls under the weight of an overpowering drone which in a way or another remains the only constant throughout the recordings; the one piece of logic that traces the history of the subsequent tracks. It moves in and out of focus to allow other noises and voice samples to shine, but in a way remains there, gluing it all together and proving itself the single most important layer of sound in the tapestry that makes up 1967.
There is always a sense of deep sadness in the tracks, the stories told of night terrors, Morse code clashing against what sounds like a processed wind chime, the drug heavy audio message that seems to go nowhere, all contribute to a sense of loss; a sense of constant motion towards the unknown. Every step taken is a revelation, albeit a bleak one. Every word uttered is a confession, but it might equally be a flat out lie. It puzzles the listener, makes him guess, then play the record again to try to fit all the pieces of the puzzle together, but that never seems to come to fruition. The highlight of the album “Satan’s Slave” is the track with the most solid flow and is also the only track with differing artwork, a man and a woman dancing with the two hideous demons lurking in the background, probably conveying the man’s ill intentions or a reflection of the artist’s idea of humans in general. Here the drone’s state is changed into a constant ebb and flow rather than the ongoing static elsewhere and balances the album, helping the tracks that lie east and west of it gel together as one whole.
For all the bleakness therein, “Green Meadow” suggests the feeling that maybe, just maybe, after all the darkness Washburn has found his way towards something better – indeed, the one approximation of hope comes at the “Final Incidental”, which actually sounds happy! The last track is even funny in a way and leaves the audience with a feeling that Washburn’s going to be alright. Music saved his soul and “2012 won’t be the year [he] dies”. (Mohammed Ashraf)
This is a WHOLENESS RECORDINGS release:
WHOLE012012
The contributors tracks are untouched.
Cover art by Brian Horst.
REVIEW from acloserlisten.com :
1967 is a walk down one man’s memory lane. A dark, tumultuous and heavily drug influenced walk. A compilation of recordings unearthed from Anthony Washburn’s twenty three year career at making music, rearranged, crushed and mixed with interludes (referred to as “Incidentals”) from friends to form one long stream of thought that wanders in the background adding intensity and uncertainty to the audience’s lives.
Kicking off with what sounds like a sample of a party with reverb heavy snares and synths audible from afar, it all disappears, and falls under the weight of an overpowering drone which in a way or another remains the only constant throughout the recordings; the one piece of logic that traces the history of the subsequent tracks. It moves in and out of focus to allow other noises and voice samples to shine, but in a way remains there, gluing it all together and proving itself the single most important layer of sound in the tapestry that makes up 1967.
There is always a sense of deep sadness in the tracks, the stories told of night terrors, Morse code clashing against what sounds like a processed wind chime, the drug heavy audio message that seems to go nowhere, all contribute to a sense of loss; a sense of constant motion towards the unknown. Every step taken is a revelation, albeit a bleak one. Every word uttered is a confession, but it might equally be a flat out lie. It puzzles the listener, makes him guess, then play the record again to try to fit all the pieces of the puzzle together, but that never seems to come to fruition. The highlight of the album “Satan’s Slave” is the track with the most solid flow and is also the only track with differing artwork, a man and a woman dancing with the two hideous demons lurking in the background, probably conveying the man’s ill intentions or a reflection of the artist’s idea of humans in general. Here the drone’s state is changed into a constant ebb and flow rather than the ongoing static elsewhere and balances the album, helping the tracks that lie east and west of it gel together as one whole.
For all the bleakness therein, “Green Meadow” suggests the feeling that maybe, just maybe, after all the darkness Washburn has found his way towards something better – indeed, the one approximation of hope comes at the “Final Incidental”, which actually sounds happy! The last track is even funny in a way and leaves the audience with a feeling that Washburn’s going to be alright. Music saved his soul and “2012 won’t be the year [he] dies”. (Mohammed Ashraf)
This is a WHOLENESS RECORDINGS release:
WHOLE012012
credits
released 02 February 2012
tags
license
Some rights reserved. Please refer to individual track pages for license info.
feeds
feeds for about
The Implicit Order is not involved in any wave, stream, genre or scene. I/O started in 1989 as a Mail Art project and by the early 90’s it developed into a musical project incorporating many of the early Industrial/Experimental ideas of the late 70’s, 1980’s and beyond. I try to inject a sense of the Occult, humor, the unknown and an off-kilter view into the image and recordings. ... more
discography
-
May 2013 -
Apr 2013 -
Mar 2013 -
Feb 2013 -
Jan 2013 -
Jan 2013 -
Jan 2013 -
Jan 2013 -
Dec 2012 -
Nov 2012 -
Oct 2012 -
Sep 2012 -
Sep 2012 -
Aug 2012 -
Jul 2012 -
May 2012 -
Apr 2012 -
Apr 2012 -
Mar 2012 -
Feb 2012 -
Feb 2012 -
Feb 2012 -
Dec 2011 -
Dec 2011 -
Nov 2011 -
Aug 2011 -
Jul 2011 -
Jun 2011 -
Jun 2011 -
Sep 2010 -
Oct 2009 -
Jun 2009 -
Jan 2009 -
Jun 2008 -
Mar 2008 -
Jan 2008 -
Jun 1999 -
Jul 1998
contact / help
For help with downloads, click here.
For all other inquiries, including help with merch, click here.
Redeem download codes here.
