Last post on FSOL to take them to the end of the 1990s and the start of the new Millennium.


1995’s John Peel Session featured three entirely new tracks, which took the breakbeats and chaotic sampling of “ISDN” away from their previous lush synthscapes and toward a new, more contemporary sound.


In 1996, they released “Dead Cities”, which expanded upon these early demos. The new material was a mix of ambient textures and dance music. Lead single My Kingdom introduced the sound, with a video featuring shots of London, and a sound suggesting a dystopian city. The album also featured the band’s first collaboration with the composer Max Richter; it was a lot darker in tone than anything they had done previously with a theme of a city in ruins in a post-apocalyptic styled landscape filled with melancholy, moments of beauty and brutality, the latter of which was expressed with the big-beat techno track “We Have Explosive”, released in 1997; it was used on the Mortal Kombat: Annihilation soundtrack, and (before the single release) in 1996 on the video game wipE’out” 2097, along with the track “Landmass”, which they wrote especially for “2097” and wipE’out”.


We Have Explosive was the second single from the album, and the band’s highest charting single (beating My Kingdom by one spot to number 12), and over the course of its five-part extended version included hints of funk, something which would be heard again when the band returned many years later. The album was promoted by what the band described as “the fuck rock’n’roll tour” via ISDN, lasting several months and gaining much media attention by being the first band to do a world tour without leaving their studio. While 1994’s tour had focussed on creating soundscapes and unreleased material, the 1996 and 1997 shows were more conventional, each offering a different take on the Dead Cities experience, blending then-current tracks with occasional exclusive pieces of the time. However, the final few performances jettisoned this material for tracks from a series of unreleased sessions, containing more live sounding material, including considerable use of guitar and percussion. These “1997 sessions” were highly sought after by fans, with some tracks forming the basis of the band’s psychedelic projects of the following decade, while others appeared on the “From The Archives” series.


FSOL – The Ramblings Of A Madman


FSOL – Smokin’ Japanese Babe


FSOL – We Have Explosive (Pt 3)
FSOL – We Have Explosive (Pt 4)
FSOL – We Have Explosive (Pt 5)

Don’t Forget, It’s your last chance to:

WIN THE ORIGINAL CD SINGLE OF PAPUA NEW GUINEA by answering the following question: Who is FSOL’s regular engineer, from PNG through to much more recent releases and has now started to release his own material?

Send your answer to acidtedblog@googlemail.com by 23 June 2009.

~ by acidted on June 22, 2009.

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