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Rare are the artists who know how to transcribe reality into music. Ben Frost is part of this elite group. After Aurora, which reflected the turmoil of electrogenic generators from Congo and its sociopolitical climate, the Australian continues his exploration of the synthesizer and the visual possibilities of music on The Centre Cannot Hold, which could have equally been called 50 Shades of Blue. Frost chose his ultramarine version to adorn the album sleeve, and closes with the track Entropy In Blue, a symbol of the chaos that he wanted to represent with beat-less long slicks, that would be the perfect soundtrack for the collapse of an ice pack. However, for this album, Ben Frost left the North Sea and his homeland (Iceland) to head for Chicago, and shut himself away in a studio with Steve Albini. The legendary producer of the Pixies and Nirvana, who two years ago declared his hatred for dance music, fits well with Frost, a type who gets bored at techno nights and composes with textures and colours. The duo applied themselves to testing the limits of machines over 10 days with an atypical approach: Albini was in charge of recording each track produced by Ben Frost, who composed his long pieces of drone music while working on the proximity of microphones and amplifiers, on this notion of space which is so dear to him and that we feel immediately when listening to him. Then it’s up to Albini to take charge of the final cut, razor-sharp, before Ben Frost takes on a more explicit meaning. The album is named after a verse from the poem The Second Coming in which the Irishman W. B. Yeats describes the post-First World War world in a sombre manner, a text which became the ‘official poem’ of the Iraq war, like a symbol of the Australian’s confrontation with his machines. © SB/Qobuz
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Ben Frost, Composer, Producer, MainArtist
2017 Ben Frost under exclusive license to Mute Artists Ltd. 2017 Ben Frost under exclusive license to Mute Artists Ltd.
Ben Frost, Composer, Producer, MainArtist
2017 Ben Frost under exclusive license to Mute Artists Ltd. 2017 Ben Frost under exclusive license to Mute Artists Ltd.
Ben Frost, Composer, Producer, MainArtist
2017 Ben Frost under exclusive license to Mute Artists Ltd. 2017 Ben Frost under exclusive license to Mute Artists Ltd.
Ben Frost, Composer, Producer, MainArtist
2017 Ben Frost under exclusive license to Mute Artists Ltd. 2017 Ben Frost under exclusive license to Mute Artists Ltd.
Ben Frost, Composer, Producer, MainArtist
2017 Ben Frost under exclusive license to Mute Artists Ltd. 2017 Ben Frost under exclusive license to Mute Artists Ltd.
Ben Frost, Composer, Producer, MainArtist
2017 Ben Frost under exclusive license to Mute Artists Ltd. 2017 Ben Frost under exclusive license to Mute Artists Ltd.
Ben Frost, Composer, Producer, MainArtist - Valgeir Sigurðsson, Producer - Lawrence English, Producer - Daniel Rejmer, Producer
2017 Ben Frost under exclusive license to Mute Artists Ltd. 2017 Ben Frost under exclusive license to Mute Artists Ltd.
Ben Frost, Composer, Producer, MainArtist
2017 Ben Frost under exclusive license to Mute Artists Ltd. 2017 Ben Frost under exclusive license to Mute Artists Ltd.
Ben Frost, Composer, Producer, MainArtist
2017 Ben Frost under exclusive license to Mute Artists Ltd. 2017 Ben Frost under exclusive license to Mute Artists Ltd.
Ben Frost, Composer, Producer, MainArtist
2017 Ben Frost under exclusive license to Mute Artists Ltd. 2017 Ben Frost under exclusive license to Mute Artists Ltd.
Albumbeschreibung
Rare are the artists who know how to transcribe reality into music. Ben Frost is part of this elite group. After Aurora, which reflected the turmoil of electrogenic generators from Congo and its sociopolitical climate, the Australian continues his exploration of the synthesizer and the visual possibilities of music on The Centre Cannot Hold, which could have equally been called 50 Shades of Blue. Frost chose his ultramarine version to adorn the album sleeve, and closes with the track Entropy In Blue, a symbol of the chaos that he wanted to represent with beat-less long slicks, that would be the perfect soundtrack for the collapse of an ice pack. However, for this album, Ben Frost left the North Sea and his homeland (Iceland) to head for Chicago, and shut himself away in a studio with Steve Albini. The legendary producer of the Pixies and Nirvana, who two years ago declared his hatred for dance music, fits well with Frost, a type who gets bored at techno nights and composes with textures and colours. The duo applied themselves to testing the limits of machines over 10 days with an atypical approach: Albini was in charge of recording each track produced by Ben Frost, who composed his long pieces of drone music while working on the proximity of microphones and amplifiers, on this notion of space which is so dear to him and that we feel immediately when listening to him. Then it’s up to Albini to take charge of the final cut, razor-sharp, before Ben Frost takes on a more explicit meaning. The album is named after a verse from the poem The Second Coming in which the Irishman W. B. Yeats describes the post-First World War world in a sombre manner, a text which became the ‘official poem’ of the Iraq war, like a symbol of the Australian’s confrontation with his machines. © SB/Qobuz
About the album
- 1 disc(s) - 10 track(s)
- Total length: 00:49:56
- Main artists: Ben Frost
- Composer: Ben Frost
- Label: Mute
- Genre: Electronic
2017 Ben Frost under exclusive license to Mute Artists Ltd. 2017 Ben Frost under exclusive license to Mute Artists Ltd.
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