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David Bowie - 1. Outside (The Nathan Adler Diaries: A Hyper Cycle) album download

David Bowie - 1. Outside (The Nathan Adler Diaries: A Hyper Cycle) album download Performer: David Bowie
Album: 1. Outside (The Nathan Adler Diaries: A Hyper Cycle)
Country: Europe
Released: 1995
Style: Industrial, Drum n Bass, Synth-pop, Experimental
Size MP3: 1804 mb.
Size FLAC: 1220 mb.
Rating: 4.8/5
Votes: 647
Other Formats: AHX AC3 MP4 MP1 DMF MPC VQF

Outside (subtitled The Nathan Adler Diaries: A Hyper-cycle) is the nineteenth studio album by English recording artist David Bowie, released on 25 September 1995 by Arista Records. It marked Bowie's reunion with Brian Eno, whom he had worked with among others on his Berlin Trilogy in the 1970s. Outside centres on the characters of a dystopian world on the eve of the 21st century.

Music By. David Bowie, Sterling Campbell, Mike Garson, Reeves Gabrels, Brian Eno, Erdal Kizilcay, Kevin Armstrong. Bryony Edwards, Josey Edwards, Lola Edwards, Ruby Edwards. Segue - Nathan Adler Lyrics. Thru These Architect's Eyes Lyrics.

Tracklist: 1. Leon Takes Us Outside, 2. Outside, 3. The Hearts Filthy Lesson, 4. A Small Plot Of Land, 5. Segue – Baby Grace (A Horrid Cassette), 6. Hallo Spaceboy, 7. The Motel, 8. I Have Not Been To Oxford Town, 9. No Control, 10. Segue – Algeria Touchshriek, 11. The Voyeur Of Utter Destruction (As Beauty), 12. Segue – Ramona A. Stone, I Am With Name, 13. Wishful Beginnings, 14. We Prick You, 15. Segue – Nathan Adler, 16. I’m Deranged, 17. Thru’ These Architects Eyes, 18. Strangers When We Meet.

Segue - Nathan Adler (I) Lyrics. Old Touchschriek was the main name server suspected of being a shoulder surfer. But he didn't know from shit about challenge response systems Now Ramona A Stone we know was selling interest drugs. He jumps up on the stage with a criss criss machete and slashes around cutting a zero on everything

Artists David Bowie . utside: The Nathan Adler Diaries: A Hyper Cycle. utside: The Nathan Adler Diaries: A Hyper Cycle David Bowie. This album has an average beat per minute of 122 BPM (slowest/fastest tempos: 78/200 BPM). See its BPM profile at the bottom of the page. Tracklist . 1. Leon Takes Us Outside.

Design: Album Design & Image Manipulation: Denovo Album Cover Concept: David Bowie and Denovo Photography: John Scarisbrick Front Cover Painting: "Head of DB (11"x11") acrylic on canvas 1995 by David Bowie. Released: September 1995 Label: Arista/BMG/RCA Producers: David Bowie, Brian Eno, David Richards

David Bowie soundtrack "Lost Highway" 1997, DAVID BOWIE We Prick You, David Bowie - Wishful Beginnings, David Bowie - The Voyeur of utter Destruction (as beauty) (live in France 1995), David Bowie - No Control, David Bowie - I Have Not Been To Oxford Town (Hartford 1995), 7. The Motel-David Bowie, David Bowie - Hallo Spaceboy, 4. A Small Plot of Land-David Bowie, David Bowie - The Hearts Filthy Lesson, David Bowie - Fame, Outside (Shepherds Bush Empire, London - 1. 8. 1997), 1. Leon Takes Us Outside-David Bowie. David Bowie - The Hearts Filthy Lesson. 4. A Small Plot of Land-David Bowie. 5. David Bowie - Hallo Spaceboy. 6. 7. The Motel-David Bowie. David Bowie - I Have Not Been To Oxford Town (Hartford 1995).

Tracklist Hide Credits

1 Leon Takes Us Outside 1:25
2 Outside 4:04
3 The Hearts Filthy Lesson
Backing Vocals – Bryony Edwards, Josey Edwards, Lola Edwards, Ruby Edwards
4 A Small Plot Of Land 6:34
5 Segue - Baby Grace (A Horrid Cassette) 1:39
6 Hallo Spaceboy 5:14
7 The Motel 6:49
8 I Have Not Been To Oxford Town 3:47
9 No Control 4:33
10 Segue - Algeria Touchshriek 2:03
11 The Voyeur Of Utter Destruction (As Beauty) 4:21
12 Segue - Ramona A. Stone / I Am With Name
Backing Vocals – Bryony Edwards, Josey Edwards, Lola Edwards, Ruby Edwards
13 Wishful Beginnings 5:08
14 We Prick You 4:33
15 Segue - Nathan Adler 1:00
16 I'm Deranged 4:31
17 Thru' These Architects Eyes
Guitar [Additional] – Kevin Armstrong
18 Segue - Nathan Adler 0:28
19 Strangers When We Meet
Guitar [Additional] – Tom Frish

Companies, etc.

  • Record Company – Virgin Records America, Inc.
  • Phonographic Copyright (p) – David Bowie
  • Copyright (c) – David Bowie
  • Licensed To – Virgin Records America, Inc.
  • Manufactured By – EMI Manufacturing (USA)
  • Glass Mastered At – EMI MFG.
  • Recorded At – Mountain Studios
  • Mastered At – The Town House
  • Published By – Tintoretto Music
  • Published By – Upala Music Inc.
  • Published By – Jones Music America
  • Published By – Exploded View Music


  • Bass – Erdal Kizilcay, Yossi Fine
  • Co-producer, Engineer – David Richards
  • Cover, Design Concept, Cover, Painting – David Bowie
  • Cover, Design Concept, Design, Illustration [Image Manipulation] – Denovo
  • Drums – Joey Baron, Sterling Campell*
  • Effects [Treatments & Strategies] – Brian Eno
  • Engineer [Assistant] – Andy Grassi, Ben Fenner, Domonik Tarqua*, Jon Goldberger
  • Guitar – David Bowie, Reeves Gabrels
  • Guitar [Rhythm] – Carlos Alomar
  • Keyboards – David Bowie, Erdal Kizilcay
  • Lyrics By – Bowie*
  • Mastered By – David Richards, Kevin Metcalfe
  • Mixed By [Assistant] – David Bowie
  • Mixed By, Technician [Additional Treatments] – David Richards
  • Music By – Eno* (tracks: 1, 3 to 6, 8 to 16, 18), Bowie*, Kizilcay* (tracks: 1, 3 to 5, 10, 12, 15), Armstrong* (tracks: 2), Garson* (tracks: 1, 3 to 5, 10, 12, 15), Gabrels* (tracks: 1, 3 to 5, 10 to 12, 15, 17), Campbell* (tracks: 1, 3 to 5, 10, 12, 15)
  • Photography By – John Scarisbrick
  • Piano [Grand] – Mike Garson
  • Producer – Brian Eno, David Bowie
  • Saxophone – David Bowie
  • Synthesizer – Brian Eno
  • Vocals – David Bowie


Recorded at Mountain Studios, Switzerland.
Mastered at The TownHouse Digital Mastering Studios, London.

Gatefold sleeve with CD accessible for the inside of sleeve. Liner notes are booklet style attached to left side. Heavy cardboard square inside of gatefold for protection.

Barcode and Other Identifiers

  • Barcode (As Printed): 7 2438-40711-2 7
  • Barcode (Scanned): 724384071127
  • Matrix / Runout (Variant 1): 2-1-3 40711
  • Matrix / Runout (Variant 2): MASTERED BY EMI MFG. 2-1-13 40711
  • Matrix / Runout (Variant 3, 2-1-11 mirrored): MASTERED BY EMI MFG. 2-1-11 40711
  • Matrix / Runout (Variant 4, 2-1-16 mirrored): MASTERED BY EMI MFG. 2-1-16 40711
  • Matrix / Runout (Variant 5): MASTERED BY EMI MFG. CA 2-1-5 40711
  • Matrix / Runout (Variant 6, 2-1-1 mirrored): MASTERED BY EMI MFG. 2-1-1 40711
  • Matrix / Runout (Variant 7): 40711 : 2-1-12 MASTERED BY EMI MFG.
  • Mastering SID Code (Variants 1 to 7): IFPI L043
  • Mould SID Code (Variants 1, 2): IFPI 1621
  • Mould SID Code (Variant 3): IFPI 1654
  • Mould SID Code (Variant 4): ifpi 1636
  • Mould SID Code (Variant 6): ifpi 1631
  • Mould SID Code (Variant 7): ifpi 1634
  • Other (ISBN): 1-885381-08-5

Other versions

Category Artist Title (Format) Label Category Country Year
74321303392 David Bowie 1. Outside (The Nathan Adler Diaries: A Hyper Cycle) ‎(CD, Album) BMG, Arista 74321303392 Europe 1995
74321369004 David Bowie 1. Outside Version 2 (The Nathan Adler Diaries: A Hyper Cycle) ‎(Cass, Album) Arista 74321369004 Australia 1996
7243 8 40711 4 1, V4 40711 David Bowie 1. Outside (The Nathan Adler Diaries: A Hyper Cycle) ‎(Cass, Album, Dol) Virgin, Virgin 7243 8 40711 4 1, V4 40711 Canada 1995
7243 8 40711 2 7 David Bowie 1. Outside (The Nathan Adler Diaries: A Hyper Cycle) ‎(CD, Album, Promo, Dig) Virgin 7243 8 40711 2 7 US 1995
74321303394 David Bowie 1. Outside - The Nathan Adler Diaries: A Hyper Cycle ‎(Cass, Album) Arista 74321303394 Malaysia 1995

this is bowie at his most abstract and while i'm taking a very uncommon view here, i may even argue that this is his best record with one unfortunate clarification: this disc is not what it was meant to be.the disc is actually a pared down four hour jam attached to a concept that is far from clear. to get an idea of the kind of analysis that has gone into the record, take a stumble over here as one random example. it won't take long to recognize that this was meant to be digested like a work of literature or an abstract film, not a record full of disconnected pop songs.frustratingly, we didn't get the entire disc, which makes it difficult to determine what's going on. the disc was supposed to initially be released as a double disc record. some bootlegs have surfaced that demonstrate that what got cut out was largely the remainders of the tracks that are "segues", meaning that the "segues" are really not "segues" at all but shortened versions of much longer tracks. presumably, these tracks were cut out and removed due to their abstraction and strangeness and what i've heard from the boots combined with the nature of the segues as they appear on the disc seem to solidify this deduction. now, why would bowie do that? he's david bowie, he can do whatever he pleases, right? apparently, david bowie couldn't find a label to release it on. re-read that statement: david bowie couldn't find a label to release the record on, which should tell you a little bit more about the abstraction of the intended release. a recording of david bowie producing a bowel movement would go platinum....to make things even worse, the second and third parts of the trilogy were never written or released! so, we're left with an introduction that goes nowhere.......which is very kafkaesque and, despite the non-linear narrative that is more characteristic of burroughs, there is a high level of absurdity on the disc, one that's high enough that the parallel may have been conscious. i'm just going to refer you to the previously cited paper to read up further on the story because it's very close to my own interpretation, except to inject a suggestion that i think pulls the whole thing together: i think that all of the characters on the disc are not just being played by bowie, they are manifestations of bowie himself. what bowie is exploring here is a set of multiple personalities, likely in the setting of a psychiatric institution (there are hints at this throughout the disc). he is exploring the murder of his inner female child through the parable of a murder mystery and in the process describes the myriad relationships between his own multiple personalities. while nathan adler is the "normal bowie", the white middle-aged guy, leon is his inner american black man and ramona appears to be his grown inner female, which has never been particularly hidden. by casting adler as the "private eye", which actually comes off as a bit of an ironic pun, he's casting his most public persona in the role of an investigator looking into the various components that make up who he is and trying to determine which one killed the inner female child. the key point that i'm trying to get across is that the disc should be viewed as a psychological analogy, not a literal murder-mystery.that opens up the question: who killed bowie's inner female child? it's not answered, although different suspects are explored; indeed, the point of the disc appears to be precisely to explore the different strains of his own personality that he thinks may be guilty, if it's not to get a simple point across - i'm happily married now and she's dead. i'd hazard a guess that it was nathan adler that killed her, a typical post-modern twist. so, i think that the disc is interpreted properly as a eulogy directed at bowie's feminine alter-ego. "hallo spaceboy" appears to be the track that explains this properly. yet, it's as much of a severing as it is a suicide; the idea of freedom through death is explored in a couple of other tracks, most notably the 13th, and appears to be rooted in the idea of splitting the inner female child off into a non-physical existence that is independent of his own. as mentioned, i think there are some rather complex psychological issues floating through the disc.musically speaking, the disc is often described as "industrial". i don't think this is accurate. first, let me point out the eno presence, which is going to initially take people back to the late 70s and absolutely should - that sound is here and the disc as a whole is overwhelmingly dissonant in character. however, it's also been fused with an influence from the rising british rave scene. this disc strongly foreshadows the coming popularity of an act like the prodigy to the point that, while nothing on here would fit very well into that act's early catalogue, several of the tracks would fit very well on the fat of the land. these tracks are in the style of the singles on that disc. when asked about influences for the disc, which besides those two sources are admittedly difficult to pinpoint, he brought up a swiss act named after an early swans record. while i don't hear much early swans in here, i do hear a significant influence from gira's work in the early 90s. the record is characterized musically by the interplay of eno's trademark synthesizer work, gabrels' messy and sometimes angular guitar work and garson's abstract piano playing, of which there is a lot of on this disc. as has often been the case throughout bowie's career, some of the best moments on this disc are indeed driven by garson's playing. while a few of the songs have defined parts, most of them are entirely linear in the sense that there are not a lot of repeating verses or choruses on the disc. the disc is built upon a jam and it's not difficult to hear that this is the case, but it's an asset to the sound as it both brings out a bit of a "jam band" sound and allows the substantially talented musicians that he managed to get together in a single room an opportunity to breathe, ebb and explore, creating somewhat of a twisted rock opera out of the process. bowie's delivery has more passion and honesty in it on this disc than anything he had produced since the late 70s and would ever produce again, likely driven by the intensely personal nature of the disc.it will be a tragedy of history if bowie's magnum opus is never released in it's desired form, so let me parrot a widely articulated request of mr. bowie: release the disc as it was meant to be released. if you can't find a label or don't want to bother with it then get somebody to double check the master and toss it up on your website in the manner of some of your largest protégés. that would take, what, a week?