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A CERTAIN RATIO
Mind Made Up

rock
Mute, 2018

total time: 50:03

aver. mark: -    mark it!

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CD:13,16€
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cat. no: CDSTUMM413
EAN: 5414939961298
format : CD
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number of discs : 2
 


no. title play mp3
1 I Feel Light 3:21
2 Down Down Down 4:30
3 Everything Is Good 4:25
4 Way to Escape 3:53
5 Rialto 2006 3:59
6 Mind Made Up 5:21
7 Teri 3:45
8 Bird to the Ground 3:43
9 Starlight 5:19
10 Which Is Reality? 3:39
11 Skunk 2:27
12 Very Busy Man 5:42


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https://youtu.be/yqGs2jla6n0

Recenzja BBC Music:

In 2005, A Certain Ratio began playing gigs again. It's taken this Manchester crew the last five years to amass enough new material for an album. It's fitting that they've now returned, setting up an odd bounce-back echo between their 1977 formation and the current electro-twitch landscape dominated by LCD Soundsystem. Due to present-day nostalgia, the ACR approach is once again resonating with a contemporary vitality.

The roots of ACR's sound on Factory Records began alongside Gang of Four and The Pop Group's punk-funk scratches and continued to spread its influence with the early-1980s funk-punk expansions of Pigbag, The Higsons and Rip Rig + Panic. Martin Moscrop (guitar/trumpet) and Jez Kerr (bass/vocals) are the only original members, but drummer Donald Johnson has been around almost as long. The remaining players are intact from the 1996 roster, which also featured Denise Johnson (vocals), Liam Mullan (keyboards) and Tony Quigley (keys/saxophone).
The style is mainly redolent of the 1980s output, successfully inflated by modern production qualities. The 80s and 90s are amalgamated, but there's not much left of the visceral late-70s. Johnson's vocal contributions almost have an Acid Jazz soulfulness, contrasting sharply with Kerr's languid repetitiveness. Nimble basslines abound, with the tightly-connected combo making involved intertwinings in the name of funk. Skinny guitar parts mesh with pert slap-bass, as crisply snicking hi-hat is surrounded by synth clouds.

The directness of the vocals is both a strength and weakness. The hooks sink deep, but lines can become a touch simplistic in their repetitions. Kerr sounds perpetually distracted, as if drugged into a hazy trance of resignation. This is a strong part of ACR's unique atmosphere. On Teri, he could be serenading a robot. The delivery is so deadpan and disengaged that Kerr might be in a mocking mood. On Bird to the Ground the well-wo
.......
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A Certain Ratio to zespół związany z nurtem postpunkowym. Został założony w 1977 roku w Manchesterze w Anglii. Nazwa zespołu została zaczerpnięta z utworu "The True Wheel" Briana Eno. Grupa w oryginalny sposób łączyła elementy muzyki latynoskiej, funka i dance. Od początku swojej działalności związani z wytwórnią Factory Records, po jej rozwiązaniu przeszli do wytwórni A&M.

Album "Mind Made Up" z 2008 r. jest jak dotąd ostatnim wydawnictwem grupy i został zadedykowany zmarłemu w 2007 r. założycielowi wytwórni Factory Records, w której zespół A Certain Ratio debiutował. Tony Wilson, bo o nim mowa był brytyjskiem dziennikarzem, prezenterem radiowym i propagatorem brytyjskiej muzyki rozrywkowej lat 80 i 90 XX wieku.

Recenzja BBC Music:

In 2005, A Certain Ratio began playing gigs again. It's taken this Manchester crew the last five years to amass enough new material for an album. It's fitting that they've now returned, setting up an odd bounce-back echo between their 1977 formation and the current electro-twitch landscape dominated by LCD Soundsystem. Due to present-day nostalgia, the ACR approach is once again resonating with a contemporary vitality.

The roots of ACR's sound on Factory Records began alongside Gang of Four and The Pop Group's punk-funk scratches and continued to spread its influence with the early-1980s funk-punk expansions of Pigbag, The Higsons and Rip Rig + Panic. Martin Moscrop (guitar/trumpet) and Jez Kerr (bass/vocals) are the only original members, but drummer Donald Johnson has been around almost as long. The remaining players are intact from the 1996 roster, which also featured Denise Johnson (vocals), Liam Mullan (keyboards) and Tony Quigley (keys/saxophone).
The style is mainly redolent of the 1980s output, successfully inflated by modern production qualities. The 80s and 90s are amalgamated, but there's not much left of the visceral late-70s. Johnson's vocal contributions alm
.......
more

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