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- K - Regular Girl
- Low - Those Girls
- K - Were We to Dance
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- The Wolf (vocals by Khan)
- Say Goodbye (vocals by Julee Cruise)
- Aman (vocals by Diamanda Galas)
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- Hazard - Meteosat
- Fennesz - C-Street
- Biosphere - When I Leave (Finely Tuned Version)
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L'argument tourne au drame. Il leur a déjà proposé une bourgadesympathique sur Pluton ("on est presque déjà chez les ploucs là-basaujourd'hui"), mais les deux autres ne captent rien. Il faut dire quela transmission se fait mal. Ils ne parlent que de faire le vide, etaucun degré de gravité ne pourra les aider à atterrir. Il pourrait leurdénicher l'appartement de leurs rêves avec vue sur aurore boréale encontinu, ça n'y changerait rien. D'autant que de nos jours, même lescampagnes sont boudées. Les ruminants s'y font kidnapper si souvent quela traite en devient une gageure. Les vaches tourmentées font tournerle lait. On les voit s'élever par troupeaux entiers, prenant un airbéat, ou plutôt ébahi, tandis qu'on les soustrait à la gravitation. Demal en pis, la voie lactée apparaît comme la meilleure perspective,hélas qui sait où elles sont emmenées. Quand les mamelles s'emmêlent...
"-Peut-être un de ces nouveaux lofts ? On leur prête un tel succès..."
Allez, encore deux gogos au ciboulot désactivé... On n'en sortira pas !Personne ne semble réaliser que dans l'eau cristalline de leurspiscines, les aliens ont toujours la voix qui tremblote. Ca vous prendpar les cheveux, c'est la nouvelle mode pour détrister les esprits. Ceslongues petites choses vertes au mouvement pendulatoire ne sont pastant des haricots que d'adorables petits lézards. Phobie ou consensus ?Les moyens modernes de déridation oxygénatrice ont dépassé toutes lesespérances primitives ! Ca vaut bien le détour...
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The man behind Slicker and Hefty Records steps out from his protective shell to produce one of the finest soundtracks I have personally heard in a while. Hughes has certainly expanded his range from what has been the electro punchiness of previous Slicker releases to a conceptual effort which encompasses various styles of retro-fitted pseudo-pop post-electronica jazz-influenced multi-instrumentalist filmscapes. After about four listens in a row, my only complaint is that it's TOO DAMNED SHORT!
Understood, this is only a soundtrack but this collection is a tease — at 18 tracks, it barely touches over 30 minutes. Nearly every song is strong enough to be developed into something much longer than a minute, and it would seem that the careful efforts put into every delicately woven track could pay off with longer tunes, yet only two break the three-minute mark. As a vocalist, Hughes has a style similar to a drunken Sam Prekop, something which other critics have disliked, but as a soundtrack I'm eager to see the film to make a better judgement on the vocal tracks. The music here is undeniably brilliant, with a moderate mix of live organs, bass guitar, organic percussion, lush strings, horns and electronics. Hughes has scored a variety of moods like the eerie glitch-driven "Red Room" or the 70s-era bass-driven soundtrack style walking tune, "Street Song." Hughes has obviously spent much of his life around both music and film and I'm hoping he brings more of the variety of work presented here into his Slicker guise.
 
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