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Secret Places

Echonomist - Secret Places
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Echonomist - Secret Places

Echonomist

Secret Places

Innervisions

Cat: IVLP 13
Released: 
Genre: Disco/Nu-Disco
Formats: 
320KB/S MP3
High quality compressed file. The file includes embedded artist/title info & artwork and is suitable for home/iPod/phone use.
WAV
Uncompressed lossless file, with large file size (e.g. 70MB per track). The files contain no embedded artist/title info or artwork but playback is universally compatible on all software/hardware.
FLAC
Compressed lossless file with very efficient file sizing e.g. 40MB per track. The files also include embedded artist/title info & artwork. Playback, metadata and artwork are moderately well supported (but not for iTunes, iPod or Windows Media Player).
ALAC
Compressed lossless file with efficient sizing e.g. 45MB per track. The files contain artist/title info & artwork, and while not widely supported for playback at present, they are compatible with iTunes/iPod.
AIFF
Uncompressed lossless file with a large file size (e.g. 70MB per track). The files include embedded artist/title info and artwork in iTunes and some others, with playback universally compatible on all software/hardware.
Play Wishlist
TITLE
LENGTH
BPM
01:33
79
07:28
121
07:40
122
06:30
109
01:37
130
Entire Release:

Review

Earlier in the summer, Innervisions dropped the club mix of 'Secret Places', the title track from Echonomist's debut album. The album, which is presented here in its entirety, arrives some 17 years after his first single. Since the Greek producer has plenty of experience, it's unsurprising to find that he's used the opportunity the format provides to showcase many different sides of his musical outlook. So, we get an attractive blend of ambient, subtly post-punk influenced downtempo pop ('A Different Frame'), dark-wave influenced throb-jobs (the title track), pulsating electro-disco (the dark Italo-ish 'The Sequence Cabinet'), mind-mangling vocal tech-house ('Falling Head First', 'High End'), evocative neo-progressive house ('Empty Hours'), deep, dubby and ghostly electronica ('When In Rome') and quirky leftfield synth-pop workouts that defy easy categorization ('Back To Mine').

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