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Front Line Assembly > Convergence
| Third Mind RecordsTM 9134 2 CD 1988 | Third Mind TMCD 02 [UK] CD 1988 |
| Wax Trax WAXCD 048 [US] |
Tracklist:
01 Lurid Sensation (4:05)
02 Obsession (4:07)
03 Controversy (5:20)
04 Right hand Of Heaven (5:46)
05 Conflict (5:54)
06 Solitude Of Confinement (6:37)
07 Body Count (4:15)
08 Die-Sect (4:38)
09 Headcase Fargone (4:28)
10 Collision (4:47)
11 Concussion (4:14)
12 On The Cross (5:49)
13 Dark Dreams (6:05)
14 The Wrack Part 1 (3:26)
Credits:
Composed by Bill Leeb and Michael Balch except 5, 6, 9, 10, 12 and 13 composed by Bill Leeb. Mixed by Bill Leeb and Michael Balch except 1, 3, 4, 7 and 14 mixed by David Ogilvie and 6, 9, and 10 mixed by Michael Balch.
Info:
Convergence is a compilation of tracks from the Corrosion LP, the Disorder EP and some previously unreleased tracks. It doesnt feature all tracks of those releases - missing are "The Wrack Part III" off Corrosion, and "Aggression" off Disorder.
Tracks 1, 3, 4, 5, 11, 12 and 13 from "Corrosion" LP.
Tracks 2, 7, 8 and 14 from "Disorder" EP.
Tracks 6, 9 and 10 previously unreleased.
A newer version with more tracks titled "Corroded Disorder" was released on Cleopatra in 1995.
Review From Music From The Empty Quarter around the time of release. (Exact publication date unknown.)
FRONT LINE ASSEMBLY CONVERGENCE
Third Mind TM9114 CD
A heavily demanded and quite demanding reissue of the first FLA Third Mind CD. Containing old albums Corrosion and Disorder, plus extras, it showcases their embryonic sound which has led to the massive technology dominance of today's The Blade and Tactical Neural Implant. Sharp, stabbing sequences are replaced by heavy, crash-landing percussion and melodies/basslines become secondary to the rhythm most of the time. Vocally as severe as at present, the style of Bill Leeb and co. reveals obvious links with Skinny Puppy, circa Remission and Bites. Though hardly as innovative as since Caustic Grip (and the patchy Gashed Senses before it) Convergence still draws the listener into its web, but holding less of a compressing feel and the web itself is naturally less intricate. A necessary purchase for those without the textbook already and at a bargain price too.
Deadhead
Review From Melody Maker around the time of release. (Exact publication date unknown.)
FRONT LINE ASSEMBLY
CONVERGENCE CD
Third Mind
TWO albums - 'Corrosion' and 'Disorder'. And three extra tracks. No, no two sonic cathedrals demolished stone by marble stone then reassembled into one single, vast and terrible structure, a pantheon of noise preserved In silver, a CD release that finally merits its opulent packaging.
Of all the forms of audible other-worldliness, it seems to us that Front Line Assembly are at once the most logical and the most beautiful. Like St Peter's, they reach up magnificently and a good half of what they do is palpably useless. There's no-one quite like them, no-one who can so effectively combine a studious fascination in musics decorative qualities with an insatiable demand for harmony. Front 242 are too contemporary, too post-post-modern. Skinny Puppy are too broken, too bloody, too grotesquely human. The Young Gods, the only other real purveyors of sonic architecture, are too primordial, too volatile. No, Front Line Assembly stand alone -majestic, monolithic and not a little absurd.
Many of the 14 titles here ('Lurid Sensation', 'Body Count'. 'Die-sect' etc) might trick you into believing that these Canadians are motivated by the same atavist desires and dystopian nightmares that inspire Skinny Puppy. But ominously tolling bells & "Coverage" its distant Gregorian chants and spectral whispers, don't belong to the vivisectionist laboratory, are unimaginable in cathode ray. Rather they're the properties of some gorgeous gothic mausoleum.
Now we're not saying that Front Line Assembly are a pompous anachronism- they're never, ever Ultravox-simply an anomaly, a near-voiceless, synthesized, sampling goth band. The beats that pervade the album, though as Insistent and rigorous as anything Richard 23 could conjure, don't incite us to dance. Instead they behave like the arches and pillars of a construction that's melodies seem determined to triumph over gravity and time.
THE STUD BROTHERS
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