here is the NFO file from Indietorrents
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Christina Carter – Imaginee
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Artist……………: Various Artists
Album…………….:
Genre…………….:
Source……………: CD
Year……………..: 2012
Ripper……………: EAC (Secure mode) / LAME 3.92 & Asus CD-S520
Codec…………….: LAME 3.99
Version…………..: MPEG 1 Layer III
Quality…………..: Extreme, (avg. bitrate: 233kbps)
Channels………….: Joint Stereo / 44100 hz
Tags……………..: ID3 v1.1, ID3 v2.3
Information……….:
Ripped by…………: somebody on 10.12.2013
Posted by…………: somebody on 14.12.2013
News Server……….: news.astraweb.com
News Group(s)……..: alt.binaries.sounds.mp3.m
Included………….: NFO
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Tracklisting
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1. Christina Carter – A Friend of a Friend [03:20]
2. Christina Carter – What Kind of Face [01:13]
3. Christina Carter – An Assistant [00:55]
4. Christina Carter – Letter L [11:06]
5. Christina Carter – Blank Actual Empty [06:19]
6. Christina Carter – Imaginee [07:19]
7. Christina Carter – Avenue of Corner [00:26]
8. Christina Carter – Lyrical Flowers [00:41]
9. Christina Carter – Two Lovers in One Magazine [12:45]
10. Christina Carter – You Get Out of My Head [00:32]
11. Christina Carter – A Fascination of Faces [00:50]
12. Christina Carter – Drama in Paradise [07:38]
13. Christina Carter – You Taught Me [01:29]
14. Christina Carter – Symbols [19:18]
Playing Time………: 01:13:52
Total Size………..: 122,59 MB
Album info
Imaginee is a landmark release from Christina and the most ambitious statement of her artistic career to date. A mixture of presentations comprising spoken word poetry and musical compositions for voice, piano and guitar this is a singular release by an artist who is truly pushing herself and her art into profound new zones. It moves through alternately personal, reflective, beautiful, provocative, disturbing and intimate modes as Christina’s beautiful, yet fragile, vocals are offset against sparse and creative arrangements. The verdict – even next to personal favourites like Coupled, Seals and Trickster this ranks as a fucking masterpiece.
The album (comprising 8 poetry and 6 musical presentations) sounds like it has two natural halves split by the piano-only instrumental title track in the middle. The poems are a mixture of reflective (“A Friend of a Friend”, “A Fascination of Faces”), observational (“What Kind of Face”, “An Assistant”, “Avenue of Corner”) and self-assessing (“You Get Out Of My Head”, “You Taught Me”) covering possible themes from relationships to simply story-teller. Often written in the first person, they are sometimes directed to a variety of characters (father, friend, lover, God) – it is never clear, perhaps left to the listener or Imaginee. Not content with just the lyrical content or delivery style, Christina has also adopted a number of production techniques from distance, up-close, phasing and echo to give these a further dimension beyond simple spoken poems; it’s this kind of detail that really bring the album to life. Each track evokes a slightly different meaning on subsequent listens but personally I really enjoyed the lyrical content of “What Kind of Face” whilst there was a certain fragility and disturbing quality to “You Get Out Of My Head”.
The musical compositions, which are interspersed between the poems, are the apex of Christina’s song craft to date. The piano led “Letter L” has a kind of continuous vocal prose (not unlike Seals) with a Joy Shapes-style arrangement (like “Here” or “Voice”), simple two-note bass interspersed with jerky stabbed notes that sound like deconstructed Texas blues guitar translated for piano. “Actual Black Empty” is one of the clear highlights – an arrangement of gently plucked guitar overladen with minimalist distorted lead accompanied by non-conventional slow droning harmonica sounds like the kind of dysfunctional blues you want to trip on. This is matched by the intimate, close vocal of “You have the life…” with the sort of painstakingly beautiful melody that has graced latter year classic Charalambides albums like Vintage Burden or Exile. If that wasn’t enough the beautifully titled “Two Lovers In One Magazine” is another mindblower and the absolute zenith of Christina’s vocals prowess to date, created virtually by echo, phased, layered, double-tracked and backward vocals, all harmonising in an almost mantra chanting embrace “How good to know…”. With only a two note piano accompaniment, this is a like a continuous euphoric wave of vocal and melodic ecstasy that will have you spinning. The track closes with flutters of blossoming notes, arpeggios and triplets evoking the spirit of Alice Coltrane (to these ears anyway in a slightly twisted way).
Following some of the more surreal poems is “Drama In Paradox” – possibly the most fragile and amazing vocal I’ve heard from Christina – unless you have no soul you will find this both beautiful and deeply affecting beyond mere description. The album closes with the epic 19 minute blues dirge of “Symbols”. A vocal-led intro gives way to sparse, desolate harmonica interspersed with the sort of overdriven, minimalist blues-playing of Loren Connors or Jandek. Like weeping notes of liquid blues from the gutter, my kinda thing.
Overall, this is a major statement from an artist that is continually pushing the boundaries of her craft. Whether it’s the thought-provoking (at times surreal) poetry, the beauty and melody of those vocals, or the closing fragility of that blues dirge, this comes with my highest possible recommendation! [Volcanic Tongue]