CD Methods of Silence [Camouflage] (CD 407026),
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Methods of Silence [Camouflage]

  • 1. One Fine Day
    2. Love Is a Shield
    3. Anyone
    4. Your Skinhead Is the Dream
    5. On Islands
    6. Feeling Down
    7. Sooner Than We Think
    8. Picture of Life, A
    9. Rues, Les - (French)
    10. Rue de Moorslede - (TRUE instrumental)
  • Additional Info
    Manufacturer Part Number (MPN): 82002-2

  • Credits
    EngineerDan Lacksman

    Camouflage: Marcus Meyn, Oliver Kreyssig (vocals, programming); Heiko Maile (vocals, programming, moorsuphon).
    Additional personnel: Caroline, Michael Moers (vocals); Ingo Ito, Johannes Luley (guitars); Georges Alexander Van Dam, Jean-Michel Alexandre (violins); Jean-Paul Dessy (violoncello); Simone Winter (oboe); Patrick Dussart de la Iglesia (alto saxophone); Dan Lacksman (tambourine, harmonium, vocals); Thomas Dorr (crash cymbals, hi-hat, background vocals); James Herter (background vocals).
    Producers: Camouflage, Dan Lacksman, Axel Henninger.
    Principally recorded at Synsound Studios, Brussels, Belgium in 1989.
    Personnel: Heiko Maile, Marcus Mayn (vocals, programming, background vocals); Oliver Kreyssig (vocals, background vocals); Ingo Ito, Johannes Luley (guitar); George Alexander Van Dam, Jean-Michel Alexandre (violin); Patrick Dussart de la Iglesia (viola); Jean-Paul Dessy (cello); Simone Winter (oboe); Thomas Dorr (hi-hat, background vocals); James Herter (background vocals).
    Recording information: Dnyaton Studio, Braunshardt (11/19/1988-??/??/1989); Snysound Studios, Brussels, Belgium (11/19/1988-??/??/1989).
    Photographer: Heike Higendorff.
    Unknown Contributor Role: Heiko Maile.
    On their 1989 sophomore album, Camouflage entered the synth pop game when most people had already moved on. Camouflage's material contrasted sharply with the vibrancy of the ensuing decade, and the album's widening addition of violins, saxophones, and guitars couldn't prevent the band from being forced into a prematurely outdated pigeonhole. Regardless, "On Islands" and "One Fine Day" were sweet, multi-textured pop that swayed like a hammock strung between industrial pylons, while "Rue de Moorslede" regaled itself with a taut instrumental of circus organs, filtered horns, and the recurring sound of doors slammed shut. It was the opposite of '90s IDM -- simple, sonically precise, forever reliant on pop song structures -- and, along with Depeche Mode's Violator a year later, one of the last times when a band could get away with it. ~ Dean Carlson

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