Jun 18, 2018

RhoDeo 1824 Space F 10

Hello, the Worldcup has seen unconvincing matches by the favourites thusfar, France managed a win but Spain, Brazil and Argentina could only draw against minor opposition, Germany had a serious opponent and the Mexicans went totally 'Arriba !' on them and it worked they deservedly beat the lackluster Cup defenders 1-0. Remains to be seen what Belgium and England bring tomorrow clear wins could set them on a path to victory.

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Space Force is a BBC Radio science fiction serial, broadcast from 4 April 1984 to 17 June 1985. Written by Charles Chilton, it was originally intended to be a sequel to his Journey into Space series (broadcast in the 1950s), using the cast who'd just made a one-off revival of that series ("The Return From Mars"); while this idea was dropped late in the development of the serial, the four characters are nevertheless essentially the same as those from the earlier series, albeit with different names.

The first series begins during the northern summer of 2010. Both series seem to initially mirror the first two Journey Into Space stories before branching off into quite different plots. A second series, known as Space Force 2, featured the same main characters, once again played by Barry Foster, Nigel Stock, Nicky Henson, and Tony Osoba. Within both series, Space Force is the name of the team's spaceship, rather than the name of an organisation.. ......'N Joy

Barry Foster - Captain Saxon Berry, captain of the Space Force and leader of the team. Also captained the Lunar 9 freighter for the first episode of the first series before being transferred to the Space Force.

Tony Osoba - Lodderick Sincere, The flight engineer for Space Force, a keen astronomer who sometimes is hot-headed enough to get himself and the team into trouble.

Nicky Henson - Lemuel "Chipper" Barnet , the radio operator for Space Force. The joker of the group who also struggles with the terrifying situations the team face. In a direct link to Journey into Space, Chipper refers once to his grandfather, Lemmy Barnett.

Nigel Stock - Professor Magnus Carter, added to the Lunar 9 crew under somewhat mysterious circumstances, Magnus is part of a secret organisation searching for extraterrestrial intelligence.

Space Force 10 (mp3  25mb)

10 A Test of Endurance 28:13

King Ra tells the crew that they are to serve him until death and beyond.

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Space Force 1 (mp3  23mb)
Space Force 2 (mp3  23mb)
Space Force 3 (mp3  23mb)
Space Force 4 (mp3  22mb)
Space Force 5 (mp3  22mb)
Space Force 6 (mp3  23mb)
Space Force 7 (mp3  25mb)
Space Force 8 (mp3  23mb)
Space Force 9 (mp3  25mb)

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Jun 17, 2018

Sundaze 1824


Today's artist is an American ambient music duo consisting of Brian McBride and Adam Wiltzie. The duo formed in Austin, Texas in 1993, and they list among their influences minimalist and electronic composers such as Arvo Pärt, Zbigniew Preisner, Gavin Bryars, and Henryk Górecki, as well as Talk Talk, post-rock artists Labradford, and ambient innovator Brian Eno. Their compositions are largely beatless soundscapes, composed of droning, effects-treated guitars along with piano, strings, and horns; volume swells and feedback fill the gap of rhythmic instruments, providing dynamic movement. Their sound has been described as "divine, classical drone without the tedious intrusion of drums or vocals."

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Stars of the Lid is an American ambient music duo consisting of Brian McBride and Adam Wiltzie. The duo formed in Austin, Texas in 1993, and they list among their influences minimalist and electronic composers such as Arvo Pärt, Zbigniew Preisner, Gavin Bryars, and Henryk Górecki, as well as Talk Talk, post-rock artists Labradford, and ambient innovator Brian Eno. Their compositions are largely beatless soundscapes, composed of droning, effects-treated guitars along with piano, strings, and horns; volume swells and feedback fill the gap of rhythmic instruments, providing dynamic movement. Their sound has been described as "divine, classical drone without the tedious intrusion of drums or vocals."

Formed in Austin, Texas in 1993, SOTL is composed of two members: Brian McBride and Adam Wiltzie. McBride said in an interview that the band's name refers to "your own personal cinema, located between your eye and eyelid", suggesting the colors and patterns one can see with closed eyes (either phosphenes or closed-eye hallucinations). They recorded their debut album Music for Nitrous Oxide throughout 1993 and 1994 with third musician Kirk Laktas, and released the album in 1995 on the Sedimental label. Laktas did not continue with the group, and the duo of McBride and Wiltzie steadily continued with Gravitational Pull vs. the Desire for an Aquatic Life in 1996, The Ballasted Orchestra in 1997, Per Aspera Ad Astra in 1998, and Avec Laudenum in 1999, as well as the limited edition EP Maneuvering the Nocturnal Hum and a split single with Windsor for the Derby, both in 1998.

Stars of the Lid then released their first double album, The Tired Sounds of Stars of the Lid, in late October 2001. Nearly six years later, the duo released their second double album, And Their Refinement of the Decline, in April 2007 to widespread critical acclaim. Stars of the Lid toured worldwide throughout 2007 and 2008 in support of the album; throughout their European tour, they were joined live by a string trio featuring Lucinda Chua of Felix on cello, Noura Sanatian on violin, and Ela Baruch on viola. Their North American line-up included Julia Kent on cello.

The duo have been active pursuing side-projects and solo releases since And Their Refinement of the Decline. A teaser trailer for a possible Stars of the Lid feature film surfaced on the internet in 2008, but as of August 2017, the group has yet to release any new material.
Solo and side-projects

Brian McBride and Adam Wiltzie have both released material outside of Stars of the Lid. McBride released his first solo album When the Detail Lost Its Freedom in November 2005, then released The Effective Disconnect in October 2010, which serves as a soundtrack to the documentary Vanishing of the Bees, a film about colony collapse disorder. McBride teamed up with musician Kenneth James Gibson and began recording and releasing new music under the name Bell Gardens; their debut EP Hangups Need Company was released in May 2010, their first full-length album Full Sundown Assembly followed in November 2012, and their second album Slow Dawns for Lost Conclusions was released in October 2014 via Rocket Girl.

Wiltzie has been involved in several collaborative projects: The Dead Texan (with visual artist Christina Vantzou), Aix Em Klemm (with Robert Donne from Labradford), and A Winged Victory for the Sullen (with composer Dustin O'Halloran). Wiltzie currently lives in Brussels, Belgium, and McBride in Los Angeles, California.

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The self-titled debut from Aix Em Klemm delivers some sonic peace and thick, slow movement to a noisy world. The result of a collaboration between Adam Wiltzie (Stars of the Lid) and Bobby Donne (Labradford), fans of both groups should find little surprise -- yet definite enjoyment -- in this rather peaceful and melodic release on the Kranky label. Heavily atmospheric, warm, and soothing, Aix Em Klemm features drawn-out chords that fade as they're overlapped by the next, occasional lovely guitar work, hypnotic electronic samples, pulses, and breathy vocals that intermittently drift in and away. Overall, the effect is calming and brings to mind everything from the musicians' own bands to Windy & Carl and Spiritualized.

Aix Em Klemm - Aix Em Klemm  (flac 174mb)

01 The Girl With The Flesh Colored Crayon 6:32
02 3X2 (Exit) 6:06
03 Sophteonal 8:05
04 Prue Lewarne 7:19
05 The Luxury Of Dirt 6:26
06 Sparkwood And Twentyone 7:01

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Having always made records that exist at the margins of descriptive language, this project by Austin, Texas' most spaced-out duo, Stars of the Lid, is their most ambitious to date, featuring 11 tracks parceled over two CDs (or three LPs), four of which are multi-part suites. Taking a step further down the road they embarked upon with Avec Laudanum, the duo have expanded the pure space and black hole vistas they offered on Music for Nitrous Oxide and The Ballasted Orchestra to embrace small melodic fragments that seemingly endlessly repeat through minimally varying textures. The effect can either be soothing ("Requiem for Dying Mothers"), hypnotic ("Broken Harbors"), or unsettling ("Austin Texas Mental Hospital"). The trademark analogue guitar/tape cut ups are ever present; what would normally be considered the sound of a guitar is nowhere in aural earshot. Traces of piano, strings, and even horns are layered into the mix, primarily on the second disc on "Mulholland," "Fac 21" (not a reference to an obscure record on the legendary Factory label, but a classroom on the University of Texas campus where Radio, Television and Film classes were taught), and "Piano Aquieu." The final two suits, "Ballad of Distances" and "A Lovesong (For Cubs)," are based on single and double-note piano intros that are heavily treated and meet minimal accompaniment by strings shimmering in the background in haunting melodies and droning ambient backdrops. There is a progression in all the music here, but it is so subtle, so quiet and un-intrusive, the listener would have to pay very careful attention to everything that is happening. More realistic, however, is for those who take pleasure in SOTL's music and inner space explorations -- for this truly is a music of the inner terrain -- to offer themselves little distraction other than a comfortable chair or resting place in order to let this music enter at will, naturally and expand until it takes you over the edge into something resembling sleep, but far more delicious. Despite its more songlike structures, More Tired Songs is actually for those who are tired of songs, period, and are looking for something less, something unspeakably beautiful and determinedly unmentionable in its vast and luxuriant erasure from any musical category.

Stars Of The Lid - The Tired Sounds Of Stars Of The Lid  (flac 427mb)

Requiem For Dying Mothers
01 Part 1 6:37
02 Part 2 7:37
03 Down 3 5:46
Austin Texas Mental Hospital
04 Part 1 2:48
05 Part 2 12:18
06 Part 3 5:47
Broken Harbors
07 Part 1 3:31
08 Part 2 6:47
09 Part 3 9:16

10 Mullholland 6:49
11 The Lonely People (Are Getting Lonelier) 10:05
12 Gasfarming 3:18
13 Piano Aquieu 10:56
14 Fac 21 3:08
Ballad Of Distances
15 Part 1 3:36
16 Part 2 3:00
A Lovesong (For Cubs)+
17 Part 1 6:45
18 Part 2 8:05
19 Part 3 7:45

Stars Of The Lid - The Tired Sounds Of Stars Of The Lid  (ogg  229mb)

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The solo entry from Adam Wiltzie -- best known as one-half of Stars of the Lid -- comes under the nom de rock the Dead Texan and exists as less of a song cycle than an imaginary movie score. Accompanied with a DVD of seven videos made by filmmaker Christina Vantzos only asserts this notion, but Wiltzie's guitar-based art is equally if not better suited to stand on its own. Beautiful, slumbering compositions get peculiar titles like "The 6 Million Dollar Sandwich" and "A Chronicle of Early Failures." If the lush, piano-flushed "La Ballade d'Alain Georges" is the finest of the instrumental tracks, Wiltzie's two intimate vocal pieces (the organ-bolstered "Glenn's Goo" and the ambient shoegazer-ish "The Struggle") are easily the disc's highlights.

The Dead Texan - The Dead Texan  (flac 190mb)

01 The 6 Million Dollar Sandwich 3:02
02 Glen's Goo 4:07
03 A Chronicle Of Early Failures Pt. One 5:43
04 A Chronicle Of Early Failures Pt. Two 5:47
05 Taco Me Manque 2:37
06 Aegina Airlines 2:48
07 When I See Scissors, I Cannot Help But Think Of You 3:59
08 Girth Rides A (Horse 2:33
09 La Ballade D'Alain Georges 6:23
10 Beatrice Pt. Two 4:04
11 The Struggle 5:28

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After the near symphonic exercise of engaging the void that was Tired Sounds of Stars of the Lid in 2001, it was hard to believe there was anything left to do. Wrong. Brian McBride and Adam Wiltzie emerged from the studio in early 2007 with the equally huge And Their Refinement of the Decline. The notion of symphonic here is, without doubt, still present, but not in any normal way. Over two very differently themed discs, and three LPs, Stars of the Lid engage long conceptual ideas from a place one can only call micro-minimalism. An obsession with drones fading in and out on all kinds of instruments is what takes precedent here, whether that be a string section, a solo cello, harp, trumpet or a children's choir. (Yes, all of them are here, and more.) Don't worry, all this deep fixation with drones and classical music doesn't mess up Stars of the Lid's sense of humor. The titles are still hilarious in places (the set opens with a piece titled "Dungtitled (In A Major)"). The sound of drones is prevalent on disc one, though the drones change and are actually held notes. Whether they are played live or simply articulated and then manipulated by electronics doesn't matter. The feeling of being washed over, being gently pulled under water to someplace where language no longer makes sense, feelings get all folded together and an overwhelming calm takes over -- especially at loud volumes -- as single notes are held by the strings for as long as five minutes. The aforementioned piece is like this, as are "The Evil That Never Arrived," and "Apreludes (In C Major)," which moves through one note for minutes at a time with an ever increasing dynamic and textural array of sounds and instruments and begins to feel like the opening theme of 2001: A Space Odyssey.

Yet the real bottom line in these pieces, and to a lesser but no less relevant extent, is that these cuts feel like a part of an opening whole that is also at the end of something, like quiet exits from a long-form work, with the feelings of being finished, exhausted, lulled by the lack of energy and motion. It's impossible to say, but when engaging disc two, it feels almost as if it is a mirror image to Gavin Bryars' magnificent "The Sinking of the Titantic" (the second version). Here, where melody dissipates and disappears or never even arrives, as in "The Daughters of Quiet Minds," or the in-and-out of the ether feel in "That Finger on Your Temple Is the Barrel of My Raygun," where actual oceanic and perhaps ship sounds can be heard washing through the mix; and the piece is merely three notes in scale. The sense of drama and restless experimentation are portrayed in back to back pieces ("Humectez la Mouture" and "Tippy's Demise") where on the former a voice in French speaks out of an indescribable series of spaces and noises, and on the latter a cello harmonically plays with the all but absent "orchestra" who have disappeared into the actual feel of the piece rather than remained in its mechanical parts. The set's final cut, "Hunting for Vegetarian Fuckface" begins with voices, muted yet telling, washed into the emerging sound, where chords express themselves, shift and change shape, color and dimension, becoming both something more and something less in the process. At over 17 minutes, more instruments are added, they emerge louder and are more "present" but remain under the guise of absence, as that thing that has already been wiped away. The single- and two-note lines that emerge from the slow, turtle-like pace of the track never move toward anything else even though they assert the theme in various dynamic ways on occasions before re-entering the shadow world of sound.

Everything here is rounded. There are no edges on either disc, it's all fuzzy and yet brilliant to hear at the same time. It's music of such quiet and devastating power it can silence a room in five minutes without the volume knob on the stereo being manipulated. There are detractors -- or better yet, cynics -- who wonder why, and how, music like this, music that simply is, that evolves and returns to silence over and over again, is even necessary. The answer is simple: because the sound on And Their Refinement of the Decline is the sound of everything already after it has fallen apart. It is not a sound that dares to rebuild anything, speak anything, or declare anything. It simply wants to document what happens when it all goes to hell, and in that space, that quiet space, Stars of the Lid emerges with a sound that is as hopeful as it is funereal. It is simply the sound of "is-ness," something that becomes nothing, only to become something again. And Their Refinement of the Decline is deeply moving. Stars of the Lid doesn't give a damn about any experimental "indie" scene nonsense either. This will appeal to fans of Eno's ambient work (though it speaks volumes louder and yet is gentler), Philip Glass, Morton Feldman, Bryars, Steve Reich and Charlemagne Palestine, but is completely its own bag of sonic tricks. It's an awesome thing, this album, and anyone, virtually anyone who encounters it will be in some way moved by the impure music it contains. Achingly beautiful....

Stars Of The Lid - And Their Refinement Of The Decline (flac 497mb)

01 Dungtitled (In A Major) 5:54
Articulate Silences
02 Part 1 5:24
03 Part 2 5:37
04 The Evil That Never Arrived 5:04
05 Apreludes (In C Sharp Major) 3:44
06 Don't Bother They're Here 10:10
07 Dopamine Clouds Over Craven Cottage 5:54
08 Even If You're Never Awake (Deuxième) 9:20
09 Even (Out) + 4:51
10 A Meaningful Moment Through A Meaning(less) Process 4:32
11 Another Ballad For Heavy Lids 4:32
12 The Daughters Of Quiet Minds 13:21
13 Hiberner Toujours 1:49
14 That Finger On Your Temple Is The Barrel Of My Raygun 5:04
15 Humectez La Mouture 5:31
16 Tippy's Demise 8:18
17 The Mouthchew 3:40
18 December Hunting For Vegetarian Fuckface 17:45

Stars Of The Lid - And Their Refinement Of The Decline (ogg 237mb)

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This was sold at Stars of the Lid shows. It is an excellent compilation of previously unreleased out-takes, mixes, and a few songs that have never been released in any form. A very, very limited edition that is a musr for fans of the band. It fits in well with all the other SOTL albums but has an overall sad ambience to it. References to the death of someone are evident in the song titles: R.I.P., Requiem, Funeral, and, of course, the music fits. The long "Virginia (20.03)" is unique in that it contains what sounds like percussion and other found objects. The song, like most of SOTL's long ones, slowly washes through several different tones. If you like SOTL, this album is comparable to their others of which I can say none are my favorites (because they all are). My actual review is 4.5 stars because of the added radio vocals on the second song because it detracts from the meditative calm of most of their music, but the music that follows that British radio introduction is quite lovely.

Stars of the Lid - Carte-De-Visite (flac 194mb)

01 The Mouthchew (Part 2) 3:45
02 JPRIP 4:37
03 Requiem String Melody 2:46
04 Porch (Version#28) 5:00
05 The Kraut 9:42
06 Slight On The Childproof 5:01
07 Virginia 20:05
08 Hunting For Pops 5:24
09 The Funereal 2:27

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Jun 15, 2018

RhoDeo 1823 Grooves

Hello, in the battle between the orthodoxies the oldest one showed it's heels to the upstarts, clearly rolling heads isn't the answer. Putin must have been delighted, sitting beside the enemy of his Arabian friends (Syria, Iran) and see his boys humiliate 5-0 the Ramadamned Saudis, next wednesday Egypt's Salah will become the prime target in an all or nothing game between the muslim brethren, expect plenty of cards....

Today's artists are arguably the most multi-cultural band in Britain (current and past members hailing from a remarkable list of 32 different countries!), they was initially formed back in 1979 by Mauritius-born Jean-Paul Maunick, known to all since childhood as a Bluey . The son of Edouard Maunick - a distinguished African poet and writer - Bluey first moved to London in 1969 at the age of nine. By the mid-Seventies, his fascination with watching US bands like Earth, Wind & Fire, Weather Report and Kool & The Gang soon led to him hanging around with key players in the UKâ  s then-emerging jazz/funk scene - including groups like Gonzales, Hi-Tension and Average White Band - before going on to form his own aforementioned combo. With their debut album Jazz Funk (released through British independent Ensign Records in 1981) immediately establishing them at the forefront of London's then-thriving black music underground, the band however did not reach their commercial peak until signing with Phonogram's hip Talkin Loud label in 1990. ..... 'N Joy

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An acid jazz project with surprisingly deep roots in the 1970s jazz/funk/fusion world, Incognito were originally formed by Jean-Paul Maunick (aka Bluey) and Paul "Tubbs" Williams. Both were leaders of the late-'70s disco-funk group Light of the World, who scored several moderate British hits, including a cover of "I Shot the Sheriff." Just after the release of Light of the World's third LP (Check Us Out), Maunick and Williams shifted the lineup slightly and renamed the conglomeration Incognito. A decade separated their first and second albums, but from the early '90s through the early 2010s, the group recorded at a steady rate and stuck to their colorful hybrid sound.

Incognito debuted with the single "Parisienne Girl" and released the 1981 LP Jazz Funk, but were inactive during the rest of the 1980s. Maunick continued to write material for his group, even while working with Maxi Priest and others. (Williams later moved to Finland.) By the beginning of the 1990s, DJ legend and early Incognito fan Gilles Peterson had founded the Talkin' Loud label and he made Incognito one of his first signings. Their 1991 update of Ronnie Laws' "Always There," featuring lead vocals by Jocelyn Brown, became a Top Ten hit as part of Britain's booming acid jazz scene, prompting the release of Incognito's second album overall, Inside Life. It was largely a studio affair, with Maunick and engineer Simon Cotsworth directing a large cast with many of the best musicians in Britain's fertile groove community.

With 1992's Tribes Vibes + Scribes, Maunick added vocalist Maysa Leak to the lineup. A cover of Stevie Wonder's "Don't You Worry 'Bout a Thing" became another Incognito hit, and the album ascended Britain's pop charts even as it rose on America's contemporary jazz charts. The third album, Positivity, became the group's biggest album success, with much attention across Europe as well as Britain.

In 1994, Incognito appeared on the Red Hot Organization's compilation album, Stolen Moments: Red Hot + Cool. The album, meant to raise awareness and funds in support of the AIDS epidemic in relation to the African American community, was heralded as "Album of the Year" by Time magazine. In 1996, the band contributed "Water to Drink" to the AIDS-benefit album Red Hot + Rio, also produced by the Red Hot Organization. Their song "Need to Know" is the theme song for progressive radio and television news program Democracy Now!.

Late 1994 Leak unsuccessfully attempted a solo career with Blue Note, leading to temporary vocal replacement Pamela Anderson (not the Baywatch pinup) on 1995's 100° and Rising. Leak returned, though, appearing on the following year's Beneath the Surface. During the latter half of the decade, Incognito expanded their discography with 1996's Remixed, 1998's Tokyo Live, and 1999's No Time Like the Future.

The group's first two albums of the 2000s, Life Stranger Than Fiction (2001) and Who Needs Love (2002), were made without Leak. The latter, the first of several releases for the Dome label, featured Brazilian vocalist Ed Motta. Leak returned for Adventures in Black Sunshine (2004), a set that also boasted a guest appearance from longtime Incognito inspiration George Duke. Bees + Flowers + Things (2006) was a mix of cover versions along with re-recordings of four Incognito classics. More Tales Remixed (2008) involved remixes from Dimitri from Paris and Mark de Clive-Lowe, among others.

Incognito began the 2010s by acknowledging a major group milestone, most notably with the two-CD Live in London: The 30th Anniversary Concert, as well as their 14th studio set, Transatlantic R.P.M., featuring performances from Chaka Khan, Mario Biondi, Leon Ware, Ursula Rucker, and Leak. Surreal (2012) was followed by Bluey's first proper solo album, Leap of Faith (2013), while Amplified Soul (2014) -- one of the group's several releases to exceed an hour in length -- showed that their productivity was hardly on the wane. 2016 saw the band release its 17th studio long-player, In Search of Better Days, which featured guest artists pianist Avery Sunshine, drummer Richard Spaven, percussionist Jody Linscott, and Japanese guitar legend Tomoyasu Hotei.

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However fans choose to label Incognito's sound in the post-acid jazz world of 2008, it was clear that wherever the group performs, its feisty mix of retro soul, brass, funk, and jazz truly lived up to the title of 2004's Narada Jazz disc Adventures in Black Sunshine. Founder Jean-Paul "Bluey" Maunick and his often rotating "collective" group averaged an incredible six months a year on the road, wowing crowds throughout Europe and Asia, where they're biggest in Japan and Indonesia. Incognito's uniquely funky, retro soul sound is so urban that it may have at first seemed odd to call their equally infectious, constantly grooving Heads Up debut Tales from the Beach -- 'til we realize that the beaches Maunick is referring to are those on his native island of Mauritius (off the coast of Madagascar). That's where he got wind of hotel bands and others playing around bonfires and cookouts; the loose, happy flow of Incognito's bouncy, horn inflected tunes here completely reflects that wistful reference. While Maunick's crisp, jangling guitar work, Francis Hylton's bubbling bass, and those old-school soul atmospheres and horns inhabit every melody and groove, these tales are told by a shimmering array of sensual R&B singers. The most well-known of these to longtime Incognito and smooth jazz fans is Maysa, who took time from her building solo career to grace four tracks with her rich and sexy, dark toned vocals: the soaring, percussive dance gem "I've Been Waiting," the dreamy melancholy meets joy-infused "I Remember a Time," the fast rolling jazz tune "Never Look Back," and the sensuous chill rocker "When Words Are Just Words." At a generous 15 tracks, Tales from the Beach gives ample tracking to a handful of lead vocalists who are lesser known than Maysa but equally as heart tugging and soul-spiced: Joy Rose, Tony Momrelle, and Imaani. The three of them team up on the brass and vibes-tinged anthem "Feel the Pressure," perfectly showcasing the true ensemble energy that's made Incognito such a powerful force in post-acid jazz groove music for so many years.

Incognito - Tales From The Beach     (flac 518mb)

01 Step Aside 5:58
02 I've Been Waiting 4:28
03 When The Sun Comes Down 4:46
04 Love, Joy, Understanding 6:44
05 I Come Alive (Rimshots And Basses) 3:54
06 Happy People 4:16
07 N.O.T. 6:10
08 Freedom To Love 6:45
09 I Remember A Time 5:29
10 It May Rain Sometime 2:06
11 Never Look Back 6:44
12 When Words Are Just Words 6:12
13 Feel The Pressure 4:46
14 Silence Of My Mind 3:54
15 Tales From The Beach 1:42

Incognito - Tales From The Beach   (ogg  177mb)

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Jean-Paul “Bluey” Maunick and Incognito have become an insitution on the British groove scene, for their jazz-funk and nu-soul hybrid. Transatlantic R.P.M. marks Maunick's 30 years in the music biz and celebrates with 14 new songs, 13 of them originals. Bluey enlisted a slew of friends to join the party. The set opens with the album's lone cover: a convincing reading of Boz Scaggs' "Lowdown," featuring Italian clubjazz singer Mario Biondi and Chaka Khan. The arrangement doesn't differ all that much from Scaggs' version (thankfully) but the meld of Biondi's and Khan's rough-edged lead vocals juxtaposed with a smooth backing chorus, a slightly faster tempo, and a popping bassline after the bridge, distinguishes it. Another notable cut is Bluey's funky name checking homage to the 70s and his youth entitled "75"; it's sung by Joy Rose with a gorgeous horn arrangement by Kevin Robinson. Leon Ware puts in a fine performance on the babymaker, makeup number "Line In The Sand." Bluey's guitar work is, as usual, tasteful and understated, but adds immeasurably. Ursula Rucker sings and speaks on the stepper "Gotta," while Khan gets her own showcaseon the jazzy, string and Rhodes laden, "The Song." Longtime vocalist Maysa shines on the summery "Your Love My Sky," with beautiful guitar work from Bluey and a fine brass arrangement by Trevor Mires. The lone instrumental on the set "Expresso Madureira," mixes Brazilian and Afro Latin rhythms in a heady, funk brew with popping percussion and horns. A Stevie Wonder meets Roy Ayers vibe distinguishes the '70s groove at work in "Life Ain't Nothin' But A Good Thing" sung by Vanessa Haynes. Biondi returns on the breakbeat clubjazz of "Can't Get Enough," backed by Incognito's stellar chorus. Bluey even takes a vocal on the closer, "Tell Me What To Do." While he's no match for the other singers here, the track's breaking, cut time rhythm, breezy atmosphere, and lithe, sensual melody makes it a nu-soul winner. Incognito may not be innovating on Transatlantic R.P.M., but in showcasing the many places they've been, and the wide vein they've mined, they don't need to. This is a summeritme party record with fine songs and good vibes in abundance.

Incognito - Transatlantic R.P.M    (flac 489mb)

01 Lowdown 4:31
02 Everything That We Are 3:59
03 1975 4:41
04 Your Sun My Sky 4:07
05 Line In The Sand 4:25
06 Gotta 4:15
07 Let's Fall In Love Again 4:26
08 The Song 5:11
09 Put A Little Lovin' In Your Heart 5:27
10 All Of My Life 4:51
11 Expresso Madureira 5:29
12 Life Ain't Nothing But A Good Thing 6:02
13 Make Room For Love 6:05
14 Can't Get Enough 4:02
15 The Winter Of My Springs 0:44
16 Tell Me What To Do 5:20

Incognito - Transatlantic R.P.M  (ogg  173mb )

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After collaborating with the likes of Chaka Khan, spoken word artist Ursula Rucker, and Italian soul singer Mario Biondi on 2010's Transatlantic RPM, British acid jazz pioneers Incognito hand over the vocal reins to a younger crowd for their 15th studio album, Surreal. It's an inspired move showing that, 30 years on from their debut album, bandleader Jean-Paul "Bluey" Maunick still has his finger on the pulse. While longtime singers Maysa and Vanessa Haynes remain a vital part of the setup, the former kicking off proceedings in style with the bass-driven funk of "The Less You Know," the latter channeling the divas of the Studio 54 era on a cover of Queen Yahna's '70s cult disco classic "Ain't It Time," it's the new recruits who steal the show. German-born vocalist Mo Brandis displays a maturity and soulfulness far beyond his 26 years on the John Legend-esque lead single "Goodbye to Yesterday" and the summery jazz of "Don't Wanna Know," while Ronnie Scott's regular Natalie Williams justifies the Erykah Badu/Jill Scott comparisons on the gorgeously slinky chillout of "Restless as We Are" and the dreamy bossa nova of "The Stars from Here." If they can hang on to this highly talented lineup, then Incognito's future appears to be in very safe hands indeed.

 Incognito - Surreal      (flac  452mb)

01 The Less You Know 5:01
02 Goodbye To Yesterday 4:19
03 Above The Night 4:04
04 Ain't It Time 5:19
05 Capricorn Sun 3:50
06 Don't Wanna Know 4:16
07 Restless As We Are 4:42
08 Rivers On The Sun 5:20
09 Don't Break Me Down 4:21
10 The Stars From Here 2:12
11 To Be With You 6:17
12 This Must Be Love 3:32
13 The Way You Love 6:09
14 Thoughtful Fantasies 6:11

Incognito - Surreal  (ogg  153mb)

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In 2013, Jean-Paul "Bluey" Maunick stepped out with his first solo album, Leap of Faith -- a stylistically varied set on which he performed the lead vocals -- but he quickly went to work on fresh material with the group he has led for over four decades. Leap of Faith evidently didn't drain his creativity, as Amplified Soul is another double-length Incognito album, 70 minutes in duration. Though it doesn't feature Maysa Leak or any collaborator on the level of Transatlantic R.P.M. contributors Chaka Khan, Leon Ware, and Al McKay, it certainly isn't short on powerful and uplifting lead vocal turns. Maunick works with some names familiar to Incognito fans and continues to keep it fresh with new voices. Most notably, there's the underexposed Deborah Bond on "I See the Sun," a gorgeously rolling number near the end that could just as easily follow the album's introduction. Melonie Crosdale leads "Rapture," another beaming, kicked-back groove that stands with the group's best work. They take it back a little farther than their typical mid-'70s to early-'80s well of inspiration for the strutting "Hats (Makes Me Wanna Holler)," one of their funkier straight-R&B songs. At this point, even the most casual listener knowledgeable about the group's inspirations won't be surprised that a piece titled "Wind Sorceress" resembles Mizells-era Donald Byrd. And yet, despite the obvious likeness, it's fully enjoyable, filled with little details that make it more than a mere tribute. As usual, Maunick either wrote or co-wrote all the original material, and there's a cover -- a festive version of Atlantic Starr's 1985 single "Silver Shadow," fronted by Vanessa Haynes.

 Incognito - Amplified Soul    (flac  494mb)

01 Amplify My Soul (Part 1) 2:17
02 I Couldn't Love You More 4:28
03 Rapture 5:00
04 Hands Up If You Wanna Be Loved 3:57
05 Hats (Makes Me Wanna Holler) 4:07
06 Silver Shadow 5:00
07 Deeper Still 3:38
08 Amplify My Soul (Part 2) 3:04
09 Something 'Bout July 6:06
10 Day Or Night 3:05
11 Wind Sorceress 2:45
12 Another Way 4:37
13 I See The Sun 5:47
14 Never Known A Love Like This 5:28
15 The Hands Of Time 4:20
16 Stop Running Away 6:11

Incognito - Amplified Soul  (ogg  164mb)

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