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

David Bowie - 1. Outside (The Nathan Adler Diaries: A Hyper Cycle) Album
Performer: David Bowie
Title: 1. Outside (The Nathan Adler Diaries: A Hyper Cycle)
Released: 1995
Label: Virgin
Country: US
Style: Industrial, Drum n Bass, Synth-pop, Experimental
Catalog #: 7243 8 40711 2 7
Genre: Electro
Rating: 4.1
Votes: 460
Formats: CD, Album, Digibook
FLAC size: 1533 mb
MP3 size: 1858 mb


1The Hearts Filthy Lesson
Backing Vocals – Bryony Edwards, Josey Edwards, Lola Edwards, Ruby Edwards
2No Control4:33
3Thru' These Architects Eyes
Guitar [Additional] – Kevin Armstrong
4Segue - Baby Grace (A Horrid Cassette)1:39
5We Prick You4:33
6Hallo Spaceboy5:14
7Wishful Beginnings5:08
8Segue - Nathan Adler0:28
9The Motel6:49
10Strangers When We Meet
Guitar [Additional] – Tom Frish
11I'm Deranged4:31
12Segue - Ramona A. Stone / I Am With Name
Backing Vocals – Bryony Edwards, Josey Edwards, Lola Edwards, Ruby Edwards
13The Voyeur Of Utter Destruction (As Beauty)4:21
14Leon Takes Us Outside1:25
15Segue - Nathan Adler1:00
17A Small Plot Of Land6:34
18Segue - Algeria Touchshriek2:03
19I Have Not Been To Oxford Town3:47


  • BassYossi Fine
  • Bass & KeyboardsErdal Kizilcay
  • Co-producerBrian Eno
  • DrumsJoey Baron, Sterling Campell
  • GuitarCarlos Alomar, Reeves Gabrels
  • Mixed ByDavid Richards
  • PianoMike Garson
  • BassErdal Kizilcay, Yossi Fine
  • Co-producer, EngineerDavid Richards
  • Cover, Design Concept, Cover, PaintingDavid Bowie
  • Cover, Design Concept, Design, Illustration [Image Manipulation]Denovo
  • DrumsJoey Baron, Sterling Campell
  • Effects [Treatments & Strategies]Brian Eno
  • Engineer [Assistant]Andy Grassi, Ben Fenner, Domonik Tarqua, Jon Goldberger
  • GuitarDavid Bowie, Reeves Gabrels
  • Guitar [Rhythm]Carlos Alomar
  • KeyboardsDavid Bowie, Erdal Kizilcay
  • Lyrics ByBowie
  • Mastered ByDavid Richards, Kevin Metcalfe
  • Mixed By [Assistant]David Bowie
  • Mixed By, Technician [Additional Treatments]David Richards
  • Music ByEno (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 ByJohn Scarisbrick
  • Piano [Grand]Mike Garson
  • ProducerBrian Eno, David Bowie
  • SaxophoneDavid Bowie
  • SynthesizerBrian Eno
  • VocalsDavid Bowie


CategoryArtistTitle (Format)LabelCategoryCountryYear
74321303392David Bowie 1. Outside (The Nathan Adler Diaries: A Hyper Cycle) ‎(CD, Album)BMG, Arista74321303392Europe1995
74321369004David Bowie 1. Outside (Version 2) (The Nathan Adler Diaries: A Hyper Cycle) ‎(Cass, Album)Arista74321369004Australia1996
7243 8 40711 4 1, V4 40711David Bowie 1. Outside (The Nathan Adler Diaries: A Hyper Cycle) ‎(Cass, Album, Dol)Virgin, Virgin7243 8 40711 4 1, V4 40711Canada1995
7243 8 40711 2 7David Bowie 1. Outside (The Nathan Adler Diaries: A Hyper Cycle) ‎(CD, Album, Promo, Dig)Virgin7243 8 40711 2 7US1995
74321303394David Bowie 1. Outside (The Nathan Adler Diaries: A Hyper Cycle) ‎(Cass, Album)Arista74321303394Malaysia1995


Originally released in 1995.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 (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


  • 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


It marked Bowie's reunion with Brian Eno, whom he had worked with among others on his Berlin Trilogy in the 1970s. 15 Segue - Algeria Touchshriek. 9 Wishful Beginnings. Outside The Nathan Adler Diaries: A Hyper Cycle Leon Takes Us Outside, Outside and more. David Bowie. David Bowie 1995 34 треков. Outside commonly known as Outside is a David Bowie's studio album released in September 1995. 5 Im Deranged. 14 The Voyeur of Utter Destruction As Beauty. 19 The Motel. David Bowie - The Hearts Filthy Lesson Rubber Mix. 20 Segue - Baby Grace A Horrid Cassette. And David Bowie wanted to say something about it. 21 Hallo Spaceboy. David Bowie - Segue - Nathan Adler. Listen album. David Bowie - Thru' These Architects Eyes. David Bowie -Segue - Nathan Adler Version 1. David Bowie -I'm Deranged. 11 Leon Takes Us Outside. Лента с персональными рекомендациями и музыкальными новинками, радио, подборки на любой вкус, удобное управление своей коллекцией. David Bowie - Strangers When We Meet. David Bowie - I'm Deranged. The diary of Nathan Adler or the art-ritual murder of Baby Grace Blue: A non-linear Gothic Drama Hyper-cycle Lyrics. David Bowie - Thru' These Architects Eyes. About 1. 7 The Hearts Filthy Lesson Rubber mix. Outside Tracklist. David Bowie - Segue - Nathan Adler II. 1 Outside. 10 We Prick You. The Nathan Adler Diaries: A Hyper Cycle. But he didnt say a thing in the most traditional way, because he used another type of songwriting for the album: What Brian did, which was really useful, is he provided everybody with flash cards at the beginning of the day. David Bowie - The Hearts Filthy Lesson Trent Reznor Alternative Mix. 18 The Hearts Filthy Lesson. 2 Nothing to Be Desired. David Bowie - I'm Deranged. Stone, I Am With Name. It marked Bowie's reunion with Brian Eno, whom he had worked with among others on his Berlin Trilogy in the 1970s. 16 No Control. Outside commonly known as Outside is a David Bowie's studio album released in September 1995. It was released on 25 September 1995 through Arista Records, BMG, and RCA Records in Europe and Virgin Records in the United States. David Bowie -I'm Deranged. 1996 20 Песен. Outside centres on the characters of a dystopian world on the eve of the 21st century. David Bowie -The Hearts Filthy Lesson. With the shadow of Tin Machine over him, Bowie was trying to find his true self in the music that he was composing and that he was writing. Формируйте собственную коллекция коллекцию записей David Bowie. 13 Segue - Ramona A. CD 15 Сен 2003 19 Песен. Released September 25, 1995. 22 The Hearts. 19 tracks 75:08. David Robert Jones 8 January 1947 10 January 2016, known professionally as David Bowie, was an English singer, songwriter and actor. 12 A Small Plot of Land. It is subtitled The Nathan Adler Diaries: A : Nathan Adler. To favorites 15 Download album. Listen free to David Bowie 1. Outside subtitled The Nathan Adler Diaries: A Hyper-cycle is the nineteenth studio album by English recording artist David Bowie. David Bowie -Outside. 6 Segue - Nathan Adler. Outside The Nathan Adler Diaries A Hyper Cycle 1995. Outside The Nathan Adler Diaries A Hyper Cycle. 17 I Have Not Been to Oxford Town. David Bowie - 1. Leon Takes Us Outside Lyrics. Слушайте 1. Outside Lyrics. 4 Thru These Architects Eyes. Outside The Nathan Adler Diaries: A Hyper Cycle - David Bowie. Узнавайте о релизах, читайте рецензии, изучайте композиция дорожка трек-листы, рекомендации и прочую информацию о David Bowie - 1. 3 Strangers When We Meet. The album put Bowie back into the. 8 Get Real. He was a leading figure in the music industry and is considered one of the most influential musicians of the 20th century, acclaimed by critics and musicians, particularly for his innovative work during the 1970s. Alternative Rock

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?
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