Jan 23, 2018

RhoDeo 1803 Roots

Hello,

Today’s artist are a Chilean rock band formed in 1987 on the initiative of the keyboardist and guitarist Andrés Bobe of Paraíso Perdido and his friend, the keyboardist Rodrigo Aboitiz of Rare Apparatus, thus initiating a new project, where later would be joined by Beto Cuevas, Mauricio Claveria, Luciano Rojas and when Andrés Bobe died after a motorcycle accident, Pedro Frugone would enter.  The group would become very popular in Latin America with the release of his album Invisible (one million copies sold) although their best-selling record was his MTV Unplugged with a million and a half copies sold, as well as being the only Chilean musical group to achieve an American Grammy Award ....N'Joy

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The band begins with Rodrigo Aboitiz, who was part of the band Rare Apparatus and Andrés Bobe, who until then had been a member of the bands Lost Paradise, The Band of Little Vice and the last stage of Rare Apparatus, where he meets Rodrigo  Aboitiz and vocalist Shia Arbulu (former member of the group Nadie).  Shia baptized the new group as La Ley, in reference to the homonymous song that appears in the album The law of the desert / The law of the sea of the Spanish band Radio Futura, one of the favorites of Bobe. At first, La Ley had the aspiration to be a techno music group, having clear influences to British new wave bands such as Duran Duran, Depeche Mode, The Cure and The Smiths.

In 1988 they manage to record an EP cassette for EMI, entitled The Law, containing 6 tracks, three remixes and one instrumental, including 5 promotional vinyl of 45 '. After their first work as a team (which is not included as official work of the group) undergo the first transformation: Shia Arbulú leaves the group and returns to his native Spain. Bobe then summons a series of musicians for what would be the definitive formation.  The first to approach was Luciano Rojas, bassist of "Paradise Lost", and friend of Andres;  then Mauricio Clavería, drummer of Pancho Puelma and the Partners, and Iván Delgado, keyboardist, saxophonist and voice of "Paradise Lost".

At this moment Luis Alberto "Beto" Cuevas arrives in Chile, a young Chilean graduate in graphic design who until then had lived most of his life in Venezuela and Canada.  Upon his arrival, he met Mauricio Clavería, who invited him to go to a rehearsal of the band to do a test, presenting him to Bobe as "a cousin", and he had to learn the lyrics of the song "Desierto"  "  Seeing that Cuevas' voice and style fit very well, and that he also mastered English very well, it was when Bobe, Aboitiz, Rojas and Clavería opted to definitively enter La Ley as their frontman

In 1990, they published their plaque titled Desiertos, which counted Rodrigo Aboitiz and Andrés Bobe as producers. As a new group, La Ley needed the support of a manager, but Fonseca was in charge of representing EMI's strongest group, Los Prisioneros.  His collaborator, Alejandro Sanfuentes, recommended then that they become independent from the hand of Fonseca.  The result was the removal of the stores from the Desierto album, of which only 500 copies were sold, turning it into an article of worship among the fans of the band.  EMI did not want to do without the recordings made, but arguing copyright The Law manages to get the master tape of the recording.  The group ventures to play in small places in the neighboring towns of the city of Santiago (Chile), in a van.

They decided to send the master tape of the song Desierto to Argentina to produce 2000 copies on vinyl, with the intention of distributing them in each presentation and thus have a secure source of income.  With these they realize the videoclip of the song that gives title to the disc, with locations in the Mapocho river and the Coffee of the Hill, place where they touched every week.  The videoclip is the idea, produced and directed by the filmmaker Gustavo Fiorenza. In 1991 the mother of Aboitiz dies, who decides to leave the group arguing that her death prevented him from having a clear mind and open to new ideas.  Bobe then decided to buy a Roland Workstation sequencer, to support and sequence the sections that corresponded to Aboitiz in the songs.

Transformed into a quartet, La Ley is presented in the program About TVN channel conducted by Juan Guillermo Vivado.  The list of songs included songs by the band The Rolling Stones and the vocalist would be the Chilean singer Andrea Tessa.  Beto sang the songs "Angie" and "Under My Thumb".  The Chilean radio announcer Rolando Ramos took the demo of these songs and made it public, calling the attention of the PolyGram label, who offer the group a contract for three albums.  At the end of 1991, the Law publishes its first official material, Doble Opuesto, produced by Mario Breuer.

 In the fall of 1992 The Law begins to record in Argentina and Chile, also under the direction of Mario Breuer the following album, titled with the same name of the band: The Law. The disc leaves in February of 1993, selling 15,000 copies  the first day.  The video of the song "Tejedores de Ilusión" written, produced and directed by Gustavo Fiorenza is nominated for the MTV awards as the best Latin video.

 Given the success of La Ley, the organizers of the Viña del Mar International Song Festival invite the group for the first time.  During their presentation, in February of 1993, they were given a Gold Disc for the registered sales of their second work, The Law and Platinum Disc for Doble Opuesto Sales.

It is at this moment when the group has its first contact with Mexico;  his first presentation was at the Ángela Peralta theater in Mexico City;  then they left for Monterrey, making radio appearances in the city of Cuernavaca Morelos and performing at the Roxy Theater in Los Angeles.

 After its presentation at the Viña Festival, La Ley is contracted by Channel 13 to compose and interpret the music of the Champagne television series.  This song, titled "In the city", turns out to be a hit, which quickly reaches frequent rotation on the radios.  To take advantage of this impulse, at the beginning of 1994 the group recorded with Humberto Gatica a maxi single called Cara de Dios composed of four songs, including "En la ciudad".  This album turns out to be a bestseller [citation needed] and they receive an invitation to the International Festival of Viña del Mar in February 1994. They are also invited to the Acapulco Festival for the month of May, as well as presentations in the United States.


At this time, Andrés Bobe had conversations with Rodrigo Aboitiz, to return to the keyboards.  However, at dawn on April 10, 1994, Bobe suffers an accident while returning to his girlfriend Constanza Piwonka's house.  After the band played at a concert for the benefit of the daughter of Hector Robles, player of the Palestino football team, at the intersection of Monseñor Edwards and Ortega y Gasset streets, in the La Reina district of Santiago, Andrés lost the control of his motorcycle, receiving a blow to the head that causes his death in a few minutes, despite wearing a helmet. He was only 32 years old. This tragic event occurs at the moment in which the group La Ley had a great projection in the national and international scene.

After the loss of Bobe, several problems arise for the musicians, both with the record company and with the relatives of the guitarist, for the ownership of the group's name.  Part of the Chilean press covered the dark moment that La Ley lived with something of morbid (the group would respond later to that with the song "Cielo market").  The media began to speculate about the future of the group, stating that La Ley would cease to exist as the "brain" of the group was no longer there.

Andrés Bobe was an outstanding musician of the underground scene of the late eighties in Chile.  He was given different tributes and the most remembered was at the National Stadium, where the teams of the University of Chile and Colo-Colo played, Andrés Bobe was a follower of the University of Chile, a team that won 4-0.  In addition, during the concert that Depeche Mode offered in April of that year, they learned of Bobe's death and made a minute of silence in memory of him.  The death of Andrés Bobe truncated the session "Unplugged" for MTV: La Ley was going to be the first Hispanic-American group to record an unplugged session for the MTV of Hispano-America.  Andrés Bobe had also been hired by the Lucybell group to produce his first album, work that was finally in charge of Mario Breuer.

Pedro Frugone, former guitarist of Vienna and Anachena, who had been a support musician of La Ley on some occasions, is officially invited to join the group.  With him The Law is presented at the Acapulco Festival in May 1994. However, Frugone had problems officially joining as the band's lead guitarist;  He had signed an exclusivity contract as a member of the Anachena group, owned by BMG Ariola Chile.  When BMG learned that Frugone was recording an album for another band and record label, he complained about breach of contract.  Warner had to pay an amount to free him from his obligations to Anachena, that same year Aboitiz returns to occupy the keyboards.

 Under the production of Humberto Gatica and under the record label Warner Music México, once the contract with PolyGram is finished, La Ley begins to record the album Invisible.  Frugone left the recording for differences with Gatica, so that his official presentation as a member of the group is not made until December.  In January La Ley begins a tour through different cities of Chile, presenting the new songs.  In February 1995, they performed again at the Viña Festival, in addition to offering a free concert on Avenida Perú in the city of Viña del Mar, along with the Chilean singer Nicole under the auspices of Pepsi.

Invisible went on sale in July 1995, with advertising and releases in several countries of Latin America and the US Hispanic market.  This plaque managed to give them international fame, defining the future style of La Ley and placing five singles on the radio: "El duelo", "Día Cero", "Cielo Market", "Hombre" and "1-800 dual".  The success of this album surpassed in sales During 1995, the Law announced its move to Mexico: this situation caused controversy in the Chilean media and art.  Some artists who considered themselves nationalists criticized the fact that La Ley left the country to seek international success.

 In 1996 they are invited to participate along with other Spanish-American rock bands in the compilation Silencio = Muerte: RED HOT + LATIN, for the benefit of the victims and the fight against AIDS.  Participate with the song "You Come and Go", authored by Bobe, Aboitiz and Cuevas. The tour of Invisible lasted nearly two years without stopping, managing to fill the 11 and 12 of October of 1996 the National Auditorium of Mexico, one of the most important venues in the country.

After the success of Invisible, Warner offered the group a high budget to record their next material.  The Law went to Cuernavaca Mexico to record the models of it.  The next album would mark a break with the previous ones, in terms of sound and proposal, so that initially it had been planned to record it in British studios, but at the last moment New York studios were chosen;  the Chung King studios, House of Metal.

 After the elaboration of this new project, Rodrigo Aboitiz returns to abandon The Law. The versions on this new estrangement vary.  It was thought that perhaps it was due to the birth of his son, but the reason most often adduced is his then strong vice for drugs, caused by the extensive tour that involved the promotion of Invisible.  Cuevas decides to expel him from the group, arguing that Aboitiz was a very obsessive person.  Although Aboitiz went to rehabilitation in Mexico, Cuevas prevented him from returning.

In February of 1998, with a great promotion campaign, the album Vertigo was released, an album with electronic and dance touches.  This work did not have good reception in the specialized criticism and many of its followers have come to consider this as the weakest work of The Law, to which must be added the rejection of the Chilean public for its decision to settle in Mexico  .  Fotofobia came to be considered as the worst song of the year in Chile. However, Vertigo "is a work in which La Ley puts its experimental side to the test, entering the field of acid house, as can be seen in its theme" Opacity ".

At this stage, Luciano felt uncomfortable inside the group, due in large part to the absence of his friend Rodrigo.  The disagreements are accentuated and reach a peak when Rojas leaves his classmates hours before the presentation at the Latin American Music Festival "Vive Latino" in 1998. After his departure from La Ley, Rojas and Aboitiz had a meeting to  a new project: the "Saiko" group, where Iván Delgado, co-founder of La Ley and a new member, Denisse Malebrán, was also present.

In 1999 La Ley recorded the album Uno, which was released in March 2000. Five singles and three videos came out of this album: "Aquí", "Fuera de Mí", "Eternidad", "Espacio Espacial" and "Paraíso".  This album took to the group to a great international level of popularity, having numerous recognitions as the Grammy.

The following year, bassist Archie Frugone, brother of Pedro Frugone, joined the group and were invited by the MTV network to perform an acoustic session called La Ley MTV Unplugged.  This album receives Gold and Platinum Records throughout the Americas, as well as three Latin Grammy nominations (Spanish-American Grammys), taking the award for "Best Vocal Album for a Rock Group", two MTV Awards Latin America (MTV awards)  for Latin America): "Best Rock Artist" and "Best Group of the Year", several nominations for the Billboard Latin Awards and an ASCAP award for Beto Cuevas, as composer for "Lie".

The feelings of the group before the attack to the Twin Towers of September 11 and the American invasion of Afghanistan gave rise to the recording of the album Libertad, produced by Humberto Gatica and KC Porter. For this work the themes "Amate y Sálvate", "Más Allá" (inspired by a fanatic who committed suicide by not fulfilling her dream of knowing Beto Cuevas in person and "My Law"

The following year they released their compilation Historias y hysteria with all their successes, celebrating 15 years of career and their first recordings.  At that time the dissolution of the Law is announced. Although several reasons have been mentioned for the separation, the true reasons are unknown.

 In 2005 La Ley was invited to play at the Viña del Mar Festival;  during the presentation Luciano Rojas and Rodrigo Aboitiz appear surprisingly on stage, making an anthology of the first songs of the group, with the song "Desiertos".  The group won the public awards to artists, the Gold and Silver Seagulls.  That night the last song was "Weavers of illusion", making a remembrance to his deceased founder Andrés Bobe.  After having finished their farewell tour, they announced that the group would retire, but left open the possibility of meeting again as a quintet;  in that place the rough edges of past years were filed.

 After the dissolution, each member undertook independent projects: Beto Cuevas worked as an actor in some films  and began his solo career.  Pedro Frugone also released his solo album where he ventures as a singer.  Mauricio Claveria formed in Mexico the indie group Los Concorde, together with Jonas de Plastilina Mosh, Poncho (bassist from La Lupita) and Leonardo de Lozanne (vocalist of the Mexican rock band Phobia).  Rodrigo Aboitiz and Ignacio Redard (composer, lyricist and vocalist), form the synthpop band The Plugin.

On October 18, 2013, Beto Cuevas announces on his Twitter account the return of the band, to perform at the 2014 Viña del Mar Festival. The other great novelty was the arrival to the band of Zeta Bosio, ex-Soda player  Stereo. On January 29, 2014, nearly 80,000 people appeared in the city of Mar del Plata, Argentina, in a free 5-song show, and on February 26 they had a successful visit to the Viña del Mar Festival. The show included tributes  the founder of the band Andrés Bobe and Gustavo Cerati, in addition to the release of his new single, "Forget".

At the end of November 2015, Beto Cuevas declared on Radio Cooperativa that La Ley would release the first single of his new album on January 15, 2016, and that this one itself, entitled Adaptación, would be published in March .2 Three days later of the announced thing, the Law publishes You are no longer, song far from the compositions rock of the first stage of the group, approaching more to pop.  On the other hand, in another interview with Radio Cooperativa, the band confirms that Adaptación would see the light on April 8, 2016.

At the end of 2015 the band announced the world tour Adaptation for 2016. The tour began with a successful concert at the Teatro La Cúpula on January 28;  during February and March the band performed in different Chilean locations (for the first time in almost 20 years according to the group);  After this, the dates of the tour for the United States, Mexico, Argentina and the return to Chile for some shows in cities that were left out of the first leg of the tour were announced.

On May 28, 2016, La Ley was presented at the Vivo X el Rock festival in Peru.  Almost a month later, on June 24, the second adaptation single, Reino de la Verdad, was released. On Friday, July 29, 2016, it is announced, through the official Facebook page of Beto Cuevas, that the band has been permanently separated.  The news creates natural disconcert in its public and in some media, considering that they were in full promotion of a newly released album with more than sixty presentations to be made.  The official statement says the following:

     Dear friends, after several conversations and months of touring, today the last chapter of a book called The Law is closed. Some of you may wonder why.  I can only tell you that life goes around a lot and just as one day it reunited us, today it separates us.  On my part there is only the love, respect and gratitude for all who accompanied us during this adventure.  For now and as always, I will continue composing, singing and creating for you.  See you soon!  Beto Cuevas

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Doble Opuesto was the first successful album of the Chilean rock/pop group La Ley (a failed first album, Desiertos, was released in 1990). The album was released in October 1991 under the production of Jorge Melibosky. Band members for this record were Andrés Bobe (guitars), Mauricio Clavería (drums), Alberto Cuevas (vocals) and Luciano Rojas (bass). Bobe provides the voice for the song "En Lugares".

This album is a classic, years since it has been released and the only thing it lacked for it to be a giant was its publicity and airtime. La Ley delivers a great introductory attempt that will set the mark for an incredible evolvement in spanish rock. "Prisioneros De La Piel" is a great song that describes the aging of a Father from a son's perspective, and how he is ready to meet his death. The best song "Solo Ideales" is La Ley's greatest song ever, as it shares the thoughts of many of us to change the world, and make it a better place, but describes just that, thoughtless actions. "Angie" is a remake cover of the Rolling Stones that with time I grew to admire more than then original. Songs like "A Veces", "Doble Opuesto" and "Desiertos", let you glide through the album enjoying different aspects of Bobe's great guitar playing, while also enjoying the bands dedicated and above averaged singer Beto Cuevas. A must have album for any latin rock lover. Too bad for its small success at the time of release, because this album would of given prodigal Soda Stereo some airplay and market competition.

In April 2008, the Chilean edition of Rolling Stone magazine ranked this album as the 21st best Chilean album of all time.



La Ley - Doble Opuesto   (flac  260mb)

01 Doble Opuesto 4:27
02 Placer 4:25
03 En Lugares 4:04
04 Desiertos 5:19
05 Que Va A Suceder 4:22
06 Prisioneros De La Piel 3:21
07 A Veces 4:41
08 Angie 4:33
09 Sasha 3:48
10 Solo Ideales 4:56

La Ley - Doble Opuesto (ogg   106mb)

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Vértigo is the fifth album by the Chilean band La Ley. It was released on Tuesday, February 17, 1998. Recorded at the Chung King studios (House of Metal-NY), it is an album that would mark a trend within rock in Spanish.  Your futuristic concept.  The record was recorded as a quintet by La Ley;  However, before the album was released Rodrigo Aboitiz was expelled from the group.  The album is characterized by many as one that anticipated what was going to happen in the new millennium.  However, at the time disappointed the public by the abrupt turn of the group.

These twelve songs show the Chilean group led by Beto Cuevas, initially very attached to pop, experimenting with other darker, sophisticated and somewhat sinister styles, as in the brief theme Shygun.  The Law demonstrates that the use of machines becomes a constant and that it can be a vital instrument when merging rock with acid house, as in Opacity.  But in general it is decided to use sequences and loops in the manner of ornamental details.  The same happens with the reading given to industrial music on topics such as Certain civilians, where only a pop theme can be varnished with hardness.

However, the album surprised the critics and the public by the sudden turn of the band.  Thus, Vertigo is considered the least quoted disc of La Ley, and its first single Fotofobia was rated as the worst song of the year 1998 in Chile.  However, the mix of electronics may unattract you at first, but after listening to it 3 or 4 times, the songs become better and better. Another great album provided by latin rock's best band. Unsurprisingly then, over the years the album has been revalued by different sectors, coming to be reissued in 2013.



 La Ley - Vértigo   (flac  365mb)

01 Fotofobia 2:58
02 Guerrillero 4:02
03 VI 4:15
04 X Ti 3:47
05 Tanta Ciudad 5:16
06 Sed 4:25
07 Ciertos Civiles 3:54
08 Krazyworld 4:03
09 Opacidad 5:21
10 Shygun 2:02
11 Ciclos 3:56
12 Solitaryman 6:21

La Ley - Vértigo (ogg  122mb)

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Grammy-winning alternative Latin rock threesome La Ley made its first live album in Miami after more than a decade touring Latin America. MTV Unplugged mostly gathers the band's 1990s hits, leaving behind its late-'80s pop/rock style. Recorded at Miami Broadcast Center, Chilean La Ley was joined by bassist Archie Frugone, keyboardist Pete Wallace, and guitarist Toshi Yanagi, among other talented musicians, allowing singer Beto Cuevas, drummer Mauricio Clavería, and guitarist Pedro Frugone to deliver a high-quality acoustic performance, playing for the first time a bolero/pop called "Mentira," crossover hits "Krazyworld" and "The Corridor"; classic "Prisioneros de la Piel" and "El Duelo," performed along with Mexican singer Ely Guerra.



La Ley - MTV Unplugged   (flac  512mb)

01 Animal 6:05
02 Dia Cero 4:30
03 Mentira 4:52
04 Prisioneros De La Piel 3:41
05 Hombre 4:07
06 Krazyworld 4:11
07 Intenta Amar 4:51
08 El Duelo 5:28
09 The Corridor 5:22
10 Aquí 3:38
11 Delirando 3:55
12 Cielo Market 3:49
13 La Luna 2:25
14 Fuera De Mí 5:00
15 Paraíso 2:44
16 Al Final 5:20

La Ley - MTV Unplugged (ogg  183mb)

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This album is a comprehensive "best-of" La Ley. It focuses primarily on the 1995-2004 period: the Warner years. "El Duelo," "Aquí," "Cielo Market," and "Mentira" are good examples of that era. This album also features three tracks from the band's earlier period (from the late '80s until 1994), when the group was recording in Chile for Polygram. All the hits that helped the band's breakthrough are here: "Doble Opuesto," "Tejedores de Ilusión," and "Prisioneros de la Piel." There are also three new songs included: "Mírate," "Bienvenidos al Anochecer," and "Histeria." So far, this is the best place to start if you are a newcomer to La Ley.



La Ley - Historias e Histeria   (flac  493mb)

01 Mirate 4:01
02 Dia Cero 4:25
03 Doble Opuesto 4:01
04 Mentira 4:48
05 Bienvenido Al Anochecer 5:20
06 Aquí 4:45
07 Prisioneros de la Piel 3:18
08 Ámate y Sálvate 4:23
09 Histeria 4:09
10 Fuera de Mi 4:42
11 Cielo Market 3:38
12 Intenta Amar 4:58
13 VI 4:06
14 El Duelo 2:57
15 Más Allá 4:54
16 Tejedores de Ilusión 4:15

La Ley - Historias e Histeria (ogg   168mb )

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Jan 22, 2018

RhoDeo 1803 Neverwhere 4

Hello,


 Confused ? Why not delve into London's underbelly......'N Joy

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Neil Richard MacKinnon Gaiman born 10 November 1960 is an English author of short fiction, novels, comic books, graphic novels, audio theatre, and films. His notable works include the comic book series The Sandman and novels Stardust, American Gods, Coraline, and The Graveyard Book. He has won numerous awards, including the Hugo, Nebula, and Bram Stoker awards, as well as the Newbery and Carnegie medals. He is the first author to win both the Newbery and the Carnegie medals for the same work, The Graveyard Book (2008). In 2013, The Ocean at the End of the Lane was voted Book of the Year in the British National Book Awards

Gaiman was able to read at the age of four. He said, "I was a reader. I loved reading. Reading things gave me pleasure. I was very good at most subjects in school, not because I had any particular aptitude in them, but because normally on the first day of school they'd hand out schoolbooks, and I'd read them—which would mean that I'd know what was coming up, because I'd read it." When he was about ten years old, he read his way through the works of Dennis Wheatley, where especially The Ka of Gifford Hillary and The Haunting of Toby Jugg made an impact on him. One work that made a particular impression on him was J. R. R. Tolkien's The Lord of the Rings from his school library, although it only had the first two volumes of the novel. He consistently took them out and read them. He would later win the school English prize and the school reading prize, enabling him to finally acquire the third volume.

For his seventh birthday, Gaiman received C. S. Lewis's The Chronicles of Narnia series. He later recalled that "I admired his use of parenthetical statements to the reader, where he would just talk to you ... I'd think, 'Oh, my gosh, that is so cool! I want to do that! When I become an author, I want to be able to do things in parentheses.' I liked the power of putting things in brackets." Narnia also introduced him to literary awards, specifically the 1956 Carnegie Medal won by the concluding volume. When Gaiman won the 2010 Medal himself, the press reported him recalling, "it had to be the most important literary award there ever was" and observing, "if you can make yourself aged seven happy, you're really doing well – it's like writing a letter to yourself aged seven."

Gaiman has said Roger Zelazny was the author who influenced him the most, with this influence particularly seen in Gaiman's literary style and the topics he writes about. Other authors Gaiman says "furnished the inside of my mind and set me to writing" include Moorcock, Ellison, Samuel R. Delany, Angela Carter, Lafferty and Le Guin.

In the early 1980s, Gaiman pursued journalism, conducting interviews and writing book reviews, as a means to learn about the world and to make connections that he hoped would later assist him in getting published. He wrote and reviewed extensively for the British Fantasy Society. His first professional short story publication was "Featherquest", a fantasy story, in Imagine Magazine in May 1984.

When waiting for a train at London's Victoria Station in 1984, Gaiman noticed a copy of Swamp Thing written by Alan Moore, and carefully read it. Moore's fresh and vigorous approach to comics had such an impact on Gaiman that he would later write "that was the final straw, what was left of my resistance crumbled. I proceeded to make regular and frequent visits to London's Forbidden Planet shop to buy comics".

In 1984, he wrote his first book, a biography of the band Duran Duran, as well as Ghastly Beyond Belief, a book of quotations, with Kim Newman. Even though Gaiman thought he had done a terrible job, the book's first edition sold out very quickly. When he went to relinquish his rights to the book, he discovered the publisher had gone bankrupt. After this, he was offered a job by Penthouse. He refused the offer.

He also wrote interviews and articles for many British magazines, including Knave. During this he sometimes wrote under pseudonyms, including Gerry Musgrave, Richard Grey, and "a couple of house names". Gaiman has said he ended his journalism career in 1987 because British newspapers regularly publish untruths as fact. In the late 1980s, he wrote Don't Panic: The Official Hitchhiker's Guide to the Galaxy Companion in what he calls a "classic English humour" style. Following this he wrote the opening of what would become his collaboration with fellow English author Terry Pratchett on the comic novel Good Omens, about the impending apocalypse.

...more next week


Neverwhere is a radio drama based on the novel Neverwhere by Neil Gaiman. It was dramatised by Dirk Maggs.

Created by Neil Gaiman
Written by Neil Gaiman, Dirk Maggs
Directed by Dirk Maggs, Heather Larmour
Produced by Heather Larmour

Broadcast

On Saturday 16 March 2013, BBC Radio 4 and BBC Radio 4 Extra broadcast the first, hour-long, episode of Neverwhere. The subsequent five half-hour episodes were broadcast throughout the following week on Radio 4 Extra and made available worldwide after broadcast on BBC iPlayer. It was rebroadcast on BBC Radio 4 starting on Dec 25th 2013 and continuing for 6 days.


Beneath the streets of London there is another London. A subterranean labyrinth of sewers and abandoned tube stations. A somewhere that is Neverwhere.

An act of kindness sees Richard Mayhew catapulted from his ordinary life into a subterranean world under the streets of London. Stopping to help an injured girl on a London street, Richard is thrust from his workaday existence into the strange world of London Below.

So begins a curious and mysterious adventure deep beneath the streets of London, a London of shadows where the tube cry of 'Mind the Gap' takes on new meaning; for the inhabitants of this murky domain are those who have fallen through the gaps in society, the dispossessed, the homeless. Here Richard meets the Earl of Earl's Court, Old Bailey and Hammersmith, faces a life-threatening ordeal at the hands of the Black Friars, comes face to face with Great Beast of London, and encounters an Angel. Called Islington.

Joining the mysterious girl named Door and her companions, the Marquis de Carabas and the bodyguard, Hunter, Richard embarks on an extraordinary quest to escape from the clutches of the fiendish assassins Croup and Vandemar and to discover who ordered them to murder her family. All the while trying to work out how to get back to his old life in London Above.

A six part adaption of Neil Gaiman's novel adapted by Dirk Maggs, sees James McAvoy as Richard lead a stellar cast

Cast

Richard Mayhew - James McAvoy
Lady Door - Natalie Dormer
The Marquis de Carabas - David Harewood
Hunter - Sophie Okonedo
The Angel Islington - Benedict Cumberbatch
Mr. Croup - Anthony Head
Mr. Vandemar - David Schofield
Old Bailey - Bernard Cribbins
Lamia - Lucy Cohu
The Abbott - George Harris
The Earl - Sir Christopher Lee
Jessica - Romola Garai
Figgis/The Fop With No Name - Neil Gaiman
Tooley - Andrew Sachs
Fuliginous/Ruislip/Blackfriar - Don Gilet
Sable/Sump/Clarence/Homeless man - Abdul Salis
Gary/Second Guard - Paul Chequer
Anaesthesia/Female Tenant/Match Girl - Yasmin Paige
Lord Ratspeaker - Johnny Vegas
Varney/Homeless man/Letting Agent/First Guard - Stephen Marcus
Sylvia/Old woman/Dream Hawker/Mother - Karen Archer
Lord Portico/Stockton - Jon Glover
Iliaster - Paul Stonehouse



Neil Gaiman - Neverwhere part 4 (mp3  26mb)


04 The Black Friars 28:24



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previously

Neil Gaiman - Neverwhere part 1 (mp3  53mb)
Neil Gaiman - Neverwhere part 2 (mp3  26mb)
Neil Gaiman - Neverwhere part 3 (mp3  26mb)

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  (flac mb)




Jan 21, 2018

Sundaze 1803

Hello, Laetitia Sadier proved to be the driving force behind Stereolab, these days she's solo before she's tried out other musical companions, time to meet them...

Today's Artist is a French musician who was formerly a founding member of the London-based avant-pop band Stereolab. While a member, she formed her side project in 1996 to play her own solo songs; but retired the project in 2009 to perform new solo work under her name, then again in 2014 she hooked up again ........N'Joy

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Monade (pronounced mon-ard) originally featured Laetitia Sadier and Pram's Rosie Cuckston. The duo began collaborating in the mid-'90s, and Sadier recorded the first Monade tracks in 1996 at Pram's studio, with Cuckston playing and also helping to engineer the session. Some of these tracks were released by Duophonic as the Sunrise Telling and Witch Hazel/Ode to a Keyring singles. Sadier continued to record at Stereolab's own studio without Cuckston, and one of these tracks, "Cache Cache," ended up as a B-side on Stereolab's Calimero single. In between her Stereolab duties, Sadier completed enough material for Monade's debut album, Socialisme Ou Barbarie: The Bedroom Recordings, which was released by Duophonic in Europe and by Drag City in the U.S. in spring 2003 after being produced part-time over a period of six years. They have released two albums to date on the Duophonic label which is partially owned by Sadier herself.

Their second album, A Few Steps More (2005), marks a more cohesive stage in the band's development. There is now a regular lineup, and it was recorded using studio equipment. The album has been roundly praised and criticised for its superficial resemblance to the sound of Stereolab, but several reviews have commented more on the harmonic structure of the album, which almost seems to blend symphonically at times. Asked about on the album's themes in an interview for Eye Weekly, Sadier commented: "I was trying to write to the individual and the capacity to listen to one's desires. Also, I tackled the idea of becoming. I think that's quite an important notion: that things should be allowed to become. I became a singer and it took me years and I want Monade to have a chance to become a band."

The name "Monade" was taken from Cornelius Castoriadis' concept of the "monade psychique" (psychical monad), which was the term Castoriadis used to describe the undifferentiated infantile psyche, before its shattering into the ego, super-ego, and id through the process of socialization. Lætitia Sadier has stated that the name has a double meaning – the word "monade" is from the root word "mono-" (meaning "one") and etymologically related to the sound recording term "mono", which stands in contrast to stereo, and therefore is a reference to Monade as a solo side project to Stereolab. The title of Monade's first album pays tribute to a libertarian Marxist political group founded by Castoriadis, Socialisme ou Barbarie. In March 2008, a new Monade album was released, without any promotion, called Monstre Cosmic.

On September 19, 2009 at The BirdCage in London, it was announced that it was Laetitia's last performance under the name Monade. Laetitia played a selection of new solo songs.

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Monade's full-length debut, Socialisme ou Barbarie: The Bedroom Recordings, collects Laetitia Sadier's recordings both with and without Pram's Rosie Cuckston. Despite the fact that these songs were created over a period of six years and in between Sadier's Stereolab duties, they hang together remarkably well; as "The Bedroom Recordings" suggests, this album offers warmth and intimacy; much more, in fact, than Stereolab's later efforts, which often felt detached and overly polished. Though Socialisme ou Barbarie is by no means a lo-fi effort, its more modest sonics offer many small pleasures, such as "Cache Cache" (which also appeared as a Stereolab B-side), with its loping bassline, serpentine melody, and aloof vocals; the moody, guitar- and cello-driven "Witch Hazel"; "Vent Du Sud," which manages to be funky and bittersweet at the same time; and "Graine De Beaute," a pretty ballad that sounds like an even mellower version of the quieter songs on Stereolab's earlier albums. Indeed, most of Socialisme ou Barbarie is pretty and mellow; while this gives the album cohesion, it also means that some of the weaker, more repetitive tracks like "Enfin Seule" and "Sunrise Telling" tend to fade into the background. By its second half, the album's side-project roots reveal themselves in pleasant but uninspired musical wallpaper such as "Ode to a Keyring"; but before it stalls, Socialisme ou Barbarie does offer some unique moments, such as "Un Express," which ties together blues and Krautrock with Sadier's undeniable je ne sais quois. It's not as much of a revelation, but Socialisme ou Barbarie's understated charm makes it worth a listen for Sadier's dedicated fans.



Monade - Socialisme Ou Barbarie (The Bedroom Recordings)   (flac 178mb)

01 Enfin Seule 3:15
02 Cache Cache 4:33
03 Vent Du Sud 1:47
04 Un Secret Sans Importance 2:08
05 Witch Hazel 1:51
06 Un Express 4:44
07 Sunrise Telling 2:35
08 Vol De Jour 4:05
09 La Carotte De L'Humanité 1:15
10 Graine De Beauté 3:12
11 Ode To A Keyring 3:54
12 The Swimm 1:30

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On Monade's second album, A Few Steps More, Laetitia Sadier turns her formerly intimate, bedroom-based Stereolab side project into a more full-fledged band, adding a drummer, guitarist, and bassist/second vocalist. Though the small, often homespun feel of Socialisme ou Barbarie was a big part of its charm, Monade makes the transition from solo act to band more or less seamlessly, gaining a bigger sound without losing Sadier's distinctive stamp. Though this band's arrangements are simpler and slightly more rock-based than Stereolab's, Sadier's vocals and melodies are unmistakable, no matter what their surroundings, and like almost all of Sadier's projects, this new version of Monade and A Few Steps More are nothing less than lovely. This set of songs is also more consistent than Socialisme ou Barbarie, with "Paradoxale," the stylish title track, the summery "Das Kind," and the hypnotic, mercurial duet "Sensible et Extensible" holding the album together, and shorter songs like "Ditty Sweep" and "Dittyam" offering small but colorful musical sketches. A pretty, refreshing working holiday, A Few Steps More balances the intimate charm of Monade's previous work with a slightly more ambitious, but still off-the-cuff, feel that should please Sadier fans.



Monade - A Few Steps Move (flac  256mb)

01 Wash And Dance 5:18
02 A Few Steps More 4:30
03 La Salle Des Pas Perdus 2:57
04 Das Kind 4:48
05 2 Portes, 7 Fenetres 5:53
06 Dittysweep 0:33
07 Becoming 4:47
08 Pas Toujours; Encore 5:08
09 Sensible Et Extensible 4:27
10 Dittyah 0:42
11 Paradoxale 3:28
12 There Are Things That No One's Told You About 1:32

Monade - A Few Steps Move  (ogg  91mb)

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It's a little unusual for a band to release its most captivating work more than a decade into its career, but this is the case with Monade's Monstre Cosmic. The band's slow, subtle development has often been overshadowed by Laetitia Sadier's work with Stereolab, but while Socialisme ou Barbarie captured Monade's bedroom studio beginnings and A Few Steps More took a giant leap towards making Monade a full-fledged band, this album puts the finishing touches on Monade's transformation, revealing them as an elegant equal -- or at the very least, companion -- to Sadier's Stereolab output. More than Monade's other albums, Monstre Cosmic's songs boast clean melodic arcs that layer over each other, building with an almost architectural precision and beauty. "Etoile" is a study in contrasts, balancing bittersweet vocal melodies with warm, comforting basslines and shimmering keyboards, while "Lost Language"'s sleek yet elaborate strings and vibes wouldn't sound out of place on a Stereolab album. That goes double for "Tout en Tout Est Un"'s bossa nova-tinged interludes and "Messe Joyeusse"'s chiming, retro-futuristic chamber pop -- but they aren't exactly carbon copies of Sadier's other band, either. Monstre Cosmic's lavish arrangements echo Emperor Tomato Ketchup and Dots and Loops, but they're more streamlined and straightforward, even when "Regarde" switches from a lush melody to an astringent, single-note guitar solo, or when "Elle Topo" throws tympani and ticking watches into its spaghetti western theme mix. As with Monade's other albums (and truth be told, with Stereolab's work at times), the album becomes slightly samey as it unfolds, although "Change of Destination" closes Monstre Cosmic with effortlessly charming call-and-response pop. Even at its least inspired, the album floats by like a dream. With Monstre Cosmic, the gap between Monade and Stereolab may be narrower than ever, but Sadier's voice, melodies, and arrangements always make for an elegant experience, however she chooses to present them.



Monade - Monstre Cosmic (flac  280mb)

01 Quantum Soup 6:57
02 Then I Will Love You Again 2:52
03 The Milk Of Human Tenderness 3:11
04 The Scene Of The Lie 5:26
05 Release From The Centre Of Your Heart 2:56
06 Butter Side Up 6:36
07 Transhumance 4:07
08 Echo Port 3:52
09 Oscuridad 3:19
10 Life Is Winning 5:53

Monade - Monstre Cosmic  (ogg  114mb)

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Little Tornados are a collective of instrumentalists formed around the core of filmmaker (and longtime Stereolab photographer) David Thayer, as well as Sadier; she’s on vocals and bass, while he handles vocals and guitar. In other words, it’s a similar group dynamic to the one Stereolab uses—only with Thayer assuming the role of Tim Gane. We Are Divine tracks like “In the Garden”, “How Many,” and “Space Liner”, laden with jazzy chords and playful ambience, could pass for decent, latter-day Stereolab outtakes, only looser and less densely layered. But it’s the lyrics of “Manifest” that hew closest to Stereolab’s alchemy of politics and pop, only it gets the balance wrong; over bouquets of vintage synths, Sadier’s pamphleteer-level pleas for freedom, equality, and brotherhood come off as canned, regardless of how exquisitely phrased they are in French.

We Are Divine, however, is not simply a cloned version of Stereolab; Thayer weighs in often with his distinct, low-key, mystic-bohemian ramble, and it brings a winning prog vibe to “Unicorn”; “Ben’s Boat” is a twangy, twinkling instrumental that borders on kosmische-country. The album’s definitive moment, “Have a Balloon”, is dashed and dotted with Sadier’s signature ba-ba-bas and da-da-das, with the occasional jazz-fusion fanfare on horns. The song is gorgeous, but it also gently mocks: like day-glo highlighting in a used Guy Debord textbook, the title and melody work together to magnify the Society-of-the-Spectacle message Sadier has been whispering into our ears all along.



Little Tornados - We Are Divine (flac  209mb)

01 Space Liner 3:08
02 How Many 4:02
03 Manifest 3:44
04 Ocean 3:07
05 Ben's Boat 1:30
06 We Are Divine 3:36
07 Unicorn 3:07
08 In the Garden 3:49
09 Summertime 2:27
10 Free Your Mind 3:39
11 Have A Balloon 4:04

Little Tornados - We Are Divine  (ogg  78mb)

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