Material - Eternal Drift album flac

B2's peaceful, infinite and eternal beauty inevitably evokes innermost feelings deep inside .. a desire for global peace, love, and wisdom. what a majestic piece of art..

“Eternal Drift (Eternal Thaemlitz Curse Mix)” is a perfect example of mid-90’s ambient bliss. When I am a millionaire—or as soon as an eccentric millionaire who loves vinyl records funds my repress label project—I’ll properly press this track along with the handful of decent cuts on those “From Here To Tranquility” (Silent) compilations that never got pressed on vinyl **.Why? Well…why was Terre Thaemlitz’s remix given less physical space on this release than the track before it, which is nearly 3 minutes shorter in duration? My best guess is because the “Construct Over Destiny Mix” is dance-oriented and maybe they thought djs would want to mix it and, therefore, yes, it needs space. (And how we DO love it when dance tracks are well-pressed with tons of space!) It’s unfortunate though, since Terre’s longer track is given half as much space, and the pressing sounds really poor.Nevertheless, Terre’s remix is melancholic and sincere and truly gorgeous. It stands out among the mostly average ambient music flooding the market in the first half of the 90’s by labels trying to cash-in on the ambient trend with compilations barely offering one or two enjoyable tracks. Hearing Terre’s remix makes me miss the days of yore when the Orb was on top of their game and Seefeel was still a unified theory of strung-out, reverberating power chords.Oh well. We still have Biosphere…Right…?** check out “The Last Human” by Tylervision for an ill 90’s ambient track that is deep and melodic without being cheesy.-------------------------Armed with new knowledge, I'm going to answer my own question. Without looking at the vinyl, I'm going to guess it was cut using a Neumann lathe, (VMS70, 80, or 82?) which uses a computer-controlled 'look-ahead' system to adjust space between grooves. What does this accomplish? It allows vinyl mastering engineers to fit more music into the same space if there isn't a lot of bass. Lacking the kick-thump-oomph of B1, Terre's track requires less space when cut at the same volume. Nevertheless, it's a great track and the volume should have been maximized by giving it an entire side. Ambient tracks without kicks and mid-range vocal loudness have to fight hard against that vinyl noise. Why handicap them by mastering at such a quiet volume just because they aren't intended for the dancefloor?

Agreed, the Thaemlitz mix should have been given a full side to breathe. Unfortunately in the early to mid-90's, these US promos were pressed up cheaply and thrown at us through the record pools -- labels didn't think twice about what went where, especially if the remixer was lesser known. If this had been released today, the Thaemlitz remix would have been given more room because we all know Sprinkles/Thaemlitz to be the premier house producer in the world today. In 1994, though, Thaemlitz was virtually an unknown producer, and one of those studio people who would get a call from a label when they needed some filler on a 12" single. Having said that, this release was still very poorly devised -- they could have at least put one of the a-side mixes and one of the b-side mixes on one side, thus having 20 minutes on one side and 22 on the other without effecting the sound quality all that much.