Nov 23, 2017

RhoDeo 1747 Re-Ups 122

Hello, who do you think you are Klea Waht posting 5 requests in succesion, I've said before "I'm not here to fill hard disk space", 1 request at the time please, I will ignore the rest. I'm still amazed how many of you request but don't take the effort of checking whether it has been re-upped in the 12 months before..


In came 10 correct requests this week, here we are a small batch of 36 re-ups (11 gig)


These days i'm making an effort to re-up, it will satisfy a small number of people which means its likely the update will  expire relatively quickly again as its interest that keeps it live. Nevertheless here's your chance ... asks for re-up in the comments section at the page where the expired link resides, or it will be discarded by me. ....requests are satisfied on a first come first go basis. ...updates will be posted here remember to request from the page where the link died! To keep re-ups interesting to my regular visitors i will only re-up files that are at least 12 months old (the older the better as far as i am concerned), and please check the previous update request if it's less then a year old i won't re-up either.

Looka here , requests fulfilled up to November 21th.... N'Joy

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4x Sundaze Back In Flac (Steven Brown - Music For Solo Piano, Winston Tong - Theoretically Chinese, Peter Principle - Tone Poems, B.L. Reininger - Colorado Suite / still in ogg Paris En Autumne)


3x Aetix Back in Flac (Thin White Rope - Moonhead, Thin White Rope ‎- In The Spanish Cave, Thin White Rope - Sack Full of Silver )


3x Sundaze Back In Flac (David Sylvian - Brilliant Trees, David Sylvian - Secrets of the Beehive,  David Sylvian - Dead Bees on a Cake)


3x Alphabet Soup Back In Flac (Wolfgang Press - Queer, Patrick Wolf - Lycanthropy,  still in ogg The Story Of The Who)


3x Sundaze NOW In Flac (Daedelus - Invention, Twine - Recorder , Jello - Voile)


3x J-Roots NOW In Flac (still in ogg Ensemble Nipponia - Kabuki & Other Tradional Music, Riuichi Sakamoto and Danceries – The End Of Asia, Dry & Heavy – One Punch)


3x Grooves Back In Flac (Arthur Conley - Sweet Soul Music / Shake, Rattle & Roll , Arthur Conley - Soul Directions, The Mar-Keys - Last Night & Do The Pop Eye)


4x Grooves Back In Flac (VA - Stax Funk: Get Up & Get Down, VA - Stax Funx , VA - Stax Of Funk. The Funky Truth, VA - Stax Of Funk Vol. 2 (More Funky Truth) )


7x Berlin NOW In Flac (To Rococo Rot - Hotel morgen, Allien, Ellen - Stadtkind , Tanzwut - Labyrinth der Sinne, T.Raumschmiere - Radio blackout, Malaria ! - Delirium (Remixed*Remade*Remodelled) , Thomas Fehlmann - Good Fridge 90-98, Rammstein - Live aus Berlin)


3x Aetix Back In Flac (Love And Rockets - Seventh Dream, Love And Rockets - Express, Love And Rockets - Earth·Sun·Moon)


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Nov 22, 2017

RhoDeo 1747 Aetix

Hello,

Today's artists are British vocalists/multi-instrumentalists Kevin Godley and Lol Crème they have one of the most eclectic resumés in rock & roll. They were session musicians when they joined 10cc in 1970. Originally called Hotlegs, 10cc were an art pop group that frequently appeared on the U.K. charts in the early '70s, eventually hitting number two in the U.S. with "I'm Not in Love." The two departed from 10cc a year later so they could experiment with the Gizmo, a gadget that enabled the guitar to create sounds with symphonic textures. .....N'Joy

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Kevin Godley and Lol Creme met in the late 1950s and for a brief time were in a band together. Through the 1960s they played in different bands, with Godley briefly in The Mockingbirds with Graham Gouldman, who would later work with Godley and Creme in 10cc. After recording a one-off single under the name of 'Yellow Bellow Room Boom' for UK CBS in 1967 ("Seeing Things Green" b/w "Still Life"), the pair began their professional music career together in 1969, performing pop music in Strawberry Studios at Stockport near Manchester with Eric Stewart and Graham Gouldman (often mistakenly referred to as being "Bubblegum Music", perhaps because they were contracted by Kasenetz & Katz, who produced bubblegum sub-teen pop in the US on the Buddah label). Their first chart success (Neanderthal Man) was as members of the short-lived Hotlegs, which evolved into 10cc in 1972. 10cc enjoyed chart success, most notably with their 1975 single "I'm Not in Love", a hit on both sides of the Atlantic.

After the recording of 10cc's fourth LP, How Dare You! (1976), Godley and Creme left the band to perfect a device they dubbed "The Gizmo" (Gizmotron), a module which attached to the bridge of an electric guitar. The Gizmo used small motor-driven rotating wheels which were pressed into contact with the strings, thus creating a continuous, violin-like "bowing" effect on all or any combination of strings, generating infinite sustain in voicings ranging from a single note to a full chord. The device was originally conceived as a cost-saving measure for 10cc. The group already owned and operated their own studio, and all four were talented singers and multi-instrumentalists who could also produce and engineer their own records, so their plan was that by using Gizmo-fitted electric guitars, with additional studio processing and overdubbing, they could create an almost infinite variety of sonic effects and orchestral textures "in-house", saving them the considerable expense of hiring session players to add these textures using traditional instruments.

After recording a demonstration single using the Gizmo, their label (Mercury Records) allowed them to continue the project, and over the next year it expanded into a sprawling 3-LP concept album Consequences (1977) with an environmental theme. It contained vocals by Sarah Vaughan and an extended comedy performance by Peter Cook, and was issued in a lavish boxed set package with an accompanying booklet. According to the album's liner notes, the duo's original plan was to hire an all-star cast of comedians (including Peter Ustinov) to perform the album's spoken-word components, but this was soon abandoned, partly due to the cost and logistical difficulty, but also because they quickly realised after meeting Peter Cook that he was able to perform all of the major roles himself. Unfortunately, by the time Consequences was finally released in late 1977, punk was in full swing, and the album was savaged by critics.

Unfortunately, the band wasn't democratic or smart enough at that time to allow us the freedom to go ahead and do this project and we were placed in the unfortunate position of having to leave to do it. Looking back, it was a very northern work ethic being applied to the group, all for one and one for all. If we'd been a little more free in our thinking with regard to our work practices, the band as a corporate and creative entity could have realised that it could have been useful rather than detrimental for two members to spend some time developing and then bring whatever they'd learned back to the corporate party. Unfortunately, that wasn't to be. The duo gradually regained critical favour with a trio of innovative albums in the late 1970s and early 1980s – L (1978), Freeze Frame (1979) and Ismism (1981, released as Snack Attack in the United States).

Freeze Frame (1979) included several songs that gained airplay on alternative radio in many countries, notably "I Pity Inanimate Objects" and "An Englishman in New York", which was accompanied by an innovative music video. Several notable guest performers contributed to the album: Roxy Music guitarist Phil Manzanera played guitar on and co-produced the album tracks "Random Brainwave" and "Clues", Paul McCartney contributed backing vocals to the song "Get Well Soon" and Roxy Music saxophonist Andy Mackay played saxophone on the single-only track "Wide Boy" and also appeared in the song's innovative promotional video. Alongside the album tracks released as singles, the duo also released two singles (both of which failed to chart) that contained tracks not included on the LP - "Wide Boy" b/w "I Pity Inanimate Objects" (March 1980) and the instrumental single "Submarine" b/w "Marciano" (September 1980).

They made the UK Top Ten with the singles "Under Your Thumb" (a song about the ghost of a suicidal woman who returns to haunt a rail commuter) and "Wedding Bells" in 1981, both from Ismism (1981). The single "Snack Attack" was also a minor hit.

In 1983, they released Birds of Prey which took their music in a more electronic direction, using electronic drum machines for the entire album. Their 1984 single "Golden Boy" was included on 1985's The History Mix Volume 1 album which celebrated 25 years of recording together. The album, co-produced by J. J. Jeczalik of Art of Noise, remixed samples of their previous recordings to a disco beat. This album also contained the single "Cry" which, helped in part by the video, became their biggest US hit, reaching No. 16. The song reached No. 19 in Britain. A video cassette was also released with visual imagery to complement the music.

Godley & Creme released their final album, Goodbye Blue Sky, in 1988. This album abandoned electronic instruments and used harmonicas, organs, and guitars to tell the story of the earth on the brink of nuclear war. The pair ended their working relationship soon after the release of the album, and reformed 10cc three years later. In a 1997 interview, Creme explained: In '89, certainly in '88, maybe before, Kevin changed, I think his priorities in life changed. He'd had enough, he'd simply had enough of me and the way we worked, the things we did, the priorities we had. It was time for a shift in all that and he was obviously right.

Godley and Creme achieved their greatest success as the innovative directors of more than fifty music videos in the early 1980s. They created memorable videos for The Police ("Every Breath You Take", "Synchronicity II", "Wrapped Around Your Finger"), Culture Club ("Victims"), Duran Duran ("Girls on Film", "A View to a Kill"), Herbie Hancock ("Rockit"), Go West ("We Close Our Eyes"), Frankie Goes to Hollywood ("Two Tribes", "The Power of Love"), Sting ("If You Love Somebody Set Them Free", "Fields of Gold"), Toyah ("Thunder in the Mountains"), Visage ("Fade to Grey"), George Harrison ("When We Was Fab"), Wang Chung ("Everybody Have Fun Tonight"), and Yes ("Leave It"), among many others, up to Godley's video for The Beatles' 1996 single, "Real Love", from the Beatles Anthology.

The pair's innovation extended to their videos for their own songs, notably "Wide Boy" and "Cry". The latter's 1985 video consisted of faces blending into one other using analog cross-fading, anticipating the digital effect of morphing, later used in a similar way in Michael Jackson's 1991 video, "Black or White". This has often been seen as "groundbreaking", though the promotional video accompanying King Crimson's single "Heartbeat" had used a similar effect two years earlier.

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Unlike their previous 2 albums which depended on music quirks, here the emphasis is on lyrical quirks.  Each track tells some kind of story or conveys a scene in which something weird is happening.  Consequently (if I dare use that word in reference to these guys) the music is mostly oddly constructed grooves that do their best to stay in the background while the words twist your brain with that peculiar brand of insanity that is Godley & Crème.This apparently made them more accessible, as they had 3 singles off this album The mix puts their voices higher than usual, highlighting some truly bent tales of munchy madness, desert skullduggery, and JFK assassins. For contrast, there's the gorgeous "Wedding Bells," a rare AM hit for the former 10cc mates. Throughout all of this, you get the nagging feeling this pair was capable of so much more.



 Godley & Creme - Ismism   (flac  422mb)

01 Snack Attack 7:15
02 Under Your Thumb 4:47
03 Joey's Camel 5:29
04 The Problem 4:06
05 Ready For Ralph 2:24
06 Wedding Bells 3:26
07 Lonnie 4:51
08 Sale Of The Century 4:28
09 The Party 8:11
Bonus
10 Power Behind The Thrown 3:41
11 Babies 4:43
12 Snack Attack (Extended Version) 6:48

Godley & Creme - Ismism   (ogg   160mb)

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The least successful inclusion in the Godley & Creme catalog, Birds of Prey finds the duo stripping back the crazier idiosyncrasies that made its earlier albums so intriguing, and working more in the realm of melody and, dare one say it, easy listening. Lyrically they remain as offbeat as ever, and an evening with the Birds of Prey lyric sheet will send you scrabbling to hear the music. Bad move. "Save Me a Mountain," the album's almost-hit single, is a saccharin lament that might be directly descended from 10cc's "Brand New Day" and "Don't Hang Up," but lacks both the melodic and the emotional punch that made those earlier ballads work so well, while "Samson," "My Body the Car," and "Madame Guillotine" simply sound as though they were recorded the moment the ideas first stumbled into view, as opposed to waiting around to make sure the songs were even worth pursuing. So a major disappointment from a duo that was traditionally so reliable and, if you do buy the album today, it'll be for the bonus tracks -- no, not the dance mix of "Samson," but for the sheer madness of "Welcome to Breakfast Television," a topical B-side at the time of its release, and a self-fulfilling prophecy that could not have been proved more accurate.



Godley & Creme - Birds Of Prey (flac 402mb)

01 My Body The Car 2:24
02 Worm And The Rattlesnake 3:24
03 Cats Eyes 3:43
04 Samson 5:29
05 Save A Mountain For Me 3:34
06 Madame Guillotine 5:02
07 Woodwork 4:38
08 Twisted Nerve 4:03
09 Out In The Cold 4:51
Bonus
10 Welcome To Breakfast Television 2:31
11 Samson (Dance Mix) 5:52
12 Golden Boy 3:49
13 Samson (UK 7" Promo Single Edit) 3:56
14 Golden Boy (Long Version) 5:48

Godley & Creme - Birds Of Prey   (ogg  148mb)

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A decade after Kevin Godley and Lol Creme walked out on 10cc and took half of that band's magic with them, the pair convened a reunion of sorts with The History Mix, Vol. 1, the ultimate ideal of all that the then-infant industry of remixing had to offer. The utterly gorgeous (and surprisingly successful) "Cry" notwithstanding, the basic premise of the album was to assemble a batch of the duo's past triumphs -- 11 in all, with only four pre- or postdating the 10cc era -- and then recycle them into five separate cuts that fall somewhere between Frank Zappa and a deranged interpretation of an early Residents album. All of which makes for a collection that is alternately infuriating (ten minutes of the hook line from "Business Is Business" spliced with the "humdrum" intro from "The Dean and I"), intriguing (the combination of key elements from "How Dare You" and "Neanderthal Man"), and plain compulsive (the gentle drift from "I'm Not in Love"'s whispered "big boys don't cry" into "Cry" itself is a masterpiece in its own right). With producer Trevor Horn at the helm, the overall sound of the album is very much a child of its age -- however, the only moment that has truly dated is the insertion of a reference to Hill Street Blues into a fragmented "Rubber Bullets." Nevertheless, it's an album that is best recommended only to fans who actually know the original songs, and who'll appreciate the fresh landscapes into which they've been spliced -- one reason, presumably, for the CD reissue of the album adding in a handful of other, more conventional Godley & Creme concoctions. They, at least, give the impression of a commercially valid experience. In its natural state, it's simply the sound of invigorating sonic madness.



 Godley & Creme - History Mix (Vol. 1)   (flac 545mb)

01 Wet Rubber Soup medley 18:56
   ~Rubber Bullets~Minestrone~I'm Not In Love
02 Expanding The Business 17:05
03 Light Me Up 4:32
04 An Englishman In New York 5:54
05 Save A Mountain For Me 3:37
06 Golden Boy 5:49
07 Cry (Extended Remix) 7:27
08 Snack Attack (Extended Remix) 9:48

Godley & Creme - History Mix (Vol. 1)     (ogg  192mb)

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In their final major-label release before heading for a video-making career, these two veteran English music-makers tackle environmental degradation and nuclear annihilation. After earlier releases full of detached sarcasm and sardonic wit, it's refreshing to hear the pair actually care about something, although they sometimes hector. Musically, the songs are linked by the use of harmonicas on every track. This is one of their stronger albums because of thematic consistency and typically terrific production, including the usual gorgeous, multi-tracked harmonies. In spite of the gloomy subject matter, the album-closing "Desperate Times" ends on an optimistic note.



Godley & Creme - Goodbye Blue Sky (flac  483mb)
 
01 H.E.A.V.E.N./A Little Piece Of Heaven 5:03
02 Don't Set Fire (To The One I Love) 3:25
03 Golden Rings 4:17
04 Crime & Punishment 7:23
05 The Big Bang 2:30
06 10.000 Angels 5:15
07 Sweet Memory 4:48
08 Air Force One 3:38
09 The Last Page Of History 4:00
10 Desperate Times 3:40
Bonus
11 A Little Piece Of Heaven (Extended Mix) 6:06
12 Bits Of Blue Sky 5:45
13 Hidden Heartbeat 4:31
14 Rhino Rhino 3:19
15 Can't Sleep 2:08

Godley & Creme - Goodbye Blue Sky   (ogg   172mb)

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Nov 21, 2017

RhoDeo 1747 Roots

Hello, as our time in Argentina's music scene finishes, we end on a high with one of the country's most interesting artists, Juana Molina would have been a household name if not for the fact the musicindustry and press rarely look beyond their immediate sphere, an artist like Bjork managed to break through that ceiling but than Iceland lies between the US and Europe, Argentina however is far away.....



Today's artist is a singer/songwriter from Argentina whose atmospheric blend of folk, electronica, and experimental pop have brought her, despite coming from 'out there' international acclaim. She's a deeply original and visionary artist who, pulls off the most out-there material with melodies nearly as accessible as conventional pop. She has variously been described as pure genius, beguiling, and is said to be one of the most extraordinary singers around, who is creating a slippery soundtrack for the subconscious ......N'Joy

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Juana Molina was born to a family of artists in Buenos Aires, Argentina, on October 1, 1961. She is the eldest daughter of Horacio Molina, a popular tango singer, and Chunchuna Villafañe, a celebrated actress and model. She has a younger sister who has also worked as an actress and musician. The family lived in the central Buenos Aires barrio of Caballito. Her mother was a record collector, exposing her to various types of music. She began to learn to play the guitar at age 5. In 1967, Juana recorded her first song with his father, "Te regalo esta canción" ("I gift you this song"), as a gift to her mother for Mother's Day. Horacio Molina released the song as a single —without her young daughter knowing—which sold 45 thousand copies. She also performed the song live with her father on national television.

In 1976, the family left for Paris, France, due to the military dictatorship that overthrew president Isabel Martínez de Perón. While in Paris, she listened to what is now known as "world music" on French radio stations. In various interviews, Molina has recalled a visit to a Spanish hippie family friend who introduced her to Indian classical music, whose drones have had an enduring influence on her music. In 1981, Molina returned to Buenos Aires. To finance her architecture studies, she had various small jobs, including an unsuccessful experience as a backing vocalist in small bands.

As she could not make a living through music, Molina decided to find a job that paid well and did not consume much time. She decided on a career in television as the means to this end, and spent some months looking for a show that could use her services. She recorded a homemade audition tape for the studio and was offered a contract the same day. Molina began her television career in 1988 with the ATC show La noticia rebelde ("Rebel News", a word playon La novicia rebelde), where she would record one day a week and but get paid for five. Her popular sketches parodied Buenos Aires' women of various social classes. In October of the same year, Molina joined the cast of El mundo de Antonio Gasalla ("Antonio Gasalla's World"), led by comedy actor Antonio Gasalla. The show, which ran until 1990, further cemented her popularity as a sketch comedy actress and writer. The show was also performed live at the Teatro Gran Rex and in Mar del Plata.

The pinnacle of her success came with her own show, Juana y sus hermanas ("Juana and Her Sisters", a wordplay on Hannah and Her Sisters), which premiered in 1991. Molina arguably became Argentina's most popular comedian, having her show syndicated to other Latin American countries. Molina was dubbed "the new Niní Marshall" by the press, and won two Martín Fierro Awards. A compilation album of songs by Molina featured in the show was released. In 1993 Molina became pregnant with her only child, Francisca, and had to suspend her show. She found herself reflecting on her rapid rise to stardom and decided that her success on TV was holding her back from pursuing her music. She decided to cancel the show, even though it was at the height of its popularity; something that many critics would hold against her for years. She recalls: "There was a moment when I imagined myself watching MTV as a decrepit old woman (like MTV would last a lifetime), thinking 'I could have done that.' I pictured myself feeling an infinite grudge, hatred, envy."

Produced by Gustavo Santaolalla and recorded in 1995, Molina's debut album, Rara, was released in 1996. The album was poorly marketed; Micaela Ortelli of Página 12 wrote: "Never did an Argentine radio play a song from that album, – too pop to be folk and too folk, perhaps, to be radio material." Live shows were also problematic, as audiences expected her to act like on television. The album was better received in Los Angeles, United States, where Molina settled in 1998. Having learned how to record her music, she began to self-produce new material at the request of DreamWorks Records. Although the company ultimately did not sign her, these recordings would become Segundo, her second studio album. By 2000, she had finished recording the album and, back in Buenos Aires, she met Daniel Melero, who mixed the record. The music of Segundo was the result of Molina's new insights in timbre and her meeting with Alejandro Franov, who taught her "the endless sound possibilities that keyboards allow."

Electronic effects permeated Segundo (2003) to the point that they (the effects) became the protagonists of the stories, and the ethereal ambience became the ultimate meaning of those stories. Molina's whispered vocals are just one of the instruments, a sort of flute that meanders in a labirynth of audio tricks. African polyrhythms bestow a swampy, "forth world", disoriented feeling on Martin Fierro, with Molina's voice working almost like Jon Hassell's trumpet. The spacey vocals and the raga-jazzy arrangement of El Desconfiado evoke the hippy chants of the 1960s. The folkish lullaby El Pastor Mentiroso is like a deformed mirror image of Enya's music. Molina does not seem to hold on to a center of mass as she drifts from the mellow lounge muzak of Quien? to the bouncy pop of Que Llueva!, from the sinister voodoo dance of Misterio Uruguayo to the odd instrumental fanfare of Medlong. The longer pieces have time to unravel more than just a cute arrangement: the trippy downtempo shuffle of El Perro, the electronic bubbling and tribal dancing of Mantra Del Bicho Feo (virtually an instrumental), and the fast blues rigmarole and electronic jazz-blue jam of Sonamos. Molina's music found some success in Japan, and, to a lesser extent, in Europe. American musician David Byrne bought Segundo — intrigued by its artwork — and quickly became and admirer of the record. He contacted Molina, and she became the opening act of his American tour.

Molina sounded something like a colder Bjork on the more elegant Tres Cosas (2004). The anemic instruments did not do much to strengthen the fragile vocals in the tenderly waltzing No Es Tan Cierto and the ethereal nursery rhymes El Cristal and Salvese Quien Pueda, sunnier and more accomplished melodies than in the past. The renewed melodic emphasis is confirmed by Tres Cosas, despite the out of tune keyboards, and by the folkish lullaby El Progreso, while the wordless shuffle iUh! injects some rhythm into a fundamentally apathic act. Yo Se Que is instead typical of Molina's humbler and shier mode, in which both the vocal and the instrumental parts are hinted and not fully fleshed out, and even hijacked by alien effects. Her voice is protagonist of the hymn Isabel and of the lament Curame, songs that are as rarified as possible. The voice often manages to straddle the border between neoclassical and childish, notably in the piano-based aria Insensible that closes the album. On the other hand, Filter Taps is pure surreal ambience.

Son was a more organic and "adult" album, almost a return to the format of the pop song. She had rarely sounded as conventional as she sounds in Rio Seco and La Verdad, the songs that emphasize the melodic skills of the previous album. Molina attains a bizarre kind of enlightenment in the more atmospheric pieces, like the wordless Yo No that towards the end coalesces into an upbeat melodic ditty, or the feathery Son, drenched in dilated sounds, or the ecstatic wordless jam Un Beso Llega, that ends in sidereal vacuum.

Un Dia was at the same time more intimate, more abstract and more hypnotic, with the voice increasingly turning into an instrument and the rhythms increasingly turning into a voice. It starts with the minimalist repetition and the traditional chanting of Un Dia. It continues with the evanescent vibrations of Lo Dejamos (7:31) that segue into the hypnotic fibrillation of Los Hongos De Marosa and the gentle pulsating harmonies of Quien. These three lengthy pieces constitute the emotional core of the work.

Wed 21 (13) boasts a trio of lively effervescent songs: the boogie Eras, the samba Ferocisimo, and the android ballet Wed 21. But most of the rest, such as the Enya-esque Lo Decidi Yo, sounds inconclusive and messy. The longer El Oso De La Guarda has vocal and percussive elements that may be intriguing, but the song fails to merge them.

By several accounts, Molina is a a musical tinkerer whose sound is more the result of random results in the studio than of ordered composition. According to the Washington Post, the artist's goal was not to create more of the ubiquitous "hypnotic electronica," but rather something "distinctly sultry, insinuating and dreamlike," in which studio experimentation played a big part. "When I have a little idea, even before playing it once, I put on the tape recorder. I know there's going to be mistakes, because I don't really where to go and I'm not really sure how to get back, and I'm sure there's going to be something in all this that I'm going to like," Molina explained in record company promotional material. "And then I try to make it so all that has lyrics that go with that melody and meshes harmonically with this, that and the other. But I prefer to stick to that first footprint, which in the end is what sticks out in the piece."

Despite the initial negative reaction to her music in her home country, music critics have consistently championed Molina's body of work, praising her music and experimentation. In 2013, El País wrote, "she established herself as the star of the avant-garde sound of her country in the world." Writing for The Guardian, Robin Denselow called her the "one-time Queen of Latin chill" and wrote: "[she] has built up a global cult following as one of the most experimental musicians in Argentina.

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Juana Molina is an unlikely indie music star, having risen to prominence in South America as an actress on TV sitcoms, but between 2000 and 2006 she released three albums of increasingly ambitious, distinctive, and beautifully constructed electronic folk-pop. The third of these releases is arguably the best: SON is as reverence-inducing as a country church (albeit a postmodern country church from the future!).

Molina's music is hushed and introspective, taking its dynamic cues from the likes of Nick Drake, yet it is boldly experimental. Electronic textures pulse around acoustic guitars, vocal lines are layered in lush and startling ways, and pitches bend gently like tired brain waves. Molina sings in Spanish, but a language barrier makes little difference in music as sensual, evocative, and thoroughly creative as this.



Juana Molina - Son   (flac  290mb)

01 Río Seco 3:32
02 Yo No 4:57
03 La Verdad 6:40
04 Un Beso Llega 7:18
05 No Seas Antipatica 4:22
06 Micael 3:04
07 Son 3:24
08 Las Culpas 2:42
09 Malherido 4:23
10 Desordenado 2:21
11 Elena 4:32
12 Hay Que Ver Si Voy 8:30

Juana Molina - Son (ogg  119mb)

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Juana Molina's sound is so precious and rare that tampering with the formula is akin to tearing down a singular example of great architecture, or witnessing the extinction of a rare and beautiful animal. Fortunately, Un Dia is immediately recognizable as a Juana Molina album. Yes, there are slight differences between this and her previous work, but fortunately, she's still retained most of what made her special in the past. In place are the gentle but propulsive vocal-based rhythms, the airy feel to the proceedings, and the occasional chirping polyharmonies. Also present (and appreciated) is the fine balance between organic instruments (wood, metal) and post-production processing (delays, distortion) that makes her records sound as experimental as Björk's but much more inviting. Differences appear, however, in the hypnotic rhythm that powers several songs with a driving energy. If her breakout albums, 2000's Segundo and 2002's Tres Cosas, were so diaphanous that they threatened to dematerialize altogether, Un Dia makes rhythm a central proposition, sometimes so machine-like that she approaches techno (albeit, techno from the standpoint of an Argentinean obsessed with native instruments).



Juana Molina - Un Dia (flac  248mb)

01 Un Día 5:35
02 Vive Solo 5:58
03 Lo Dejamos 7:31
04 Los Hongos De Marosa 7:27
05 ¿Quién? (Suite) 7:22
06 El Vestido 4:31
07 No Llama 5:20
08 Dar (Qué Difícil) 6:41

Juana Molina - Un Dia (ogg  102mb)

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In the five years since Argentine singer/songwriter Juana Molina released Un Dia, her sound has undergone a subtle but distinct shift. On Wed 21 (named for the date she finished the title track, Wednesday, November 21), the intricate layering of electronics, from rhythms to delays and adornments, remains intact, as does her organic reliance on lyric melody. What is immediately apparent is the wider instrumental palette at work. In addition to acoustic guitars and drum machines, Molina employs myriad electric guitars, basses, a drum kit, organ samples, a horn, and more detailed electronics. Her voice still dominates, though. This is true in primary and chorus vocals. Check the lilting, breezy, multivalent harmonies in "Lo Decidi Yo," where they engage a faux Brazilian melody as a mutant forro meets the stretched bossa of tropicalia. Despite rumbling tom-toms, a wandering analog synth, and interspersed electric guitars engaged in a separate dialogue, her voice dictates the song's direction and flow. On the opening track/single, a rhythmic vamp similar to "Pump Up the Volume" is framed by controlled feedback and an insistent polyrhythmic pulse. As the electric guitars kick in, her vocal establishes a breezy, labyrinthine melody that dances across rhythms that embrace samba and cumbia. "El Oso de la Guarda" is quirky in the extreme, with bubbling polyrhythmic twists and turns, wobbly guitars, and voices; only the bassline holds its structure together -- though Molina's guitar, charango, and harpsichord bridge is so intoxicatingly ethereal, one almost wishes it took over entirely. Set-closer "Final Feliz" commences as merely a series of guitar chords that begin to build in tempo and intensity, until they dictate a dominant series of layered rhythms on the six-string, bass drum, hand percussion, and even a saxophone. All that's left is for her to sing above it all in waves and layers, stretching her harmonics; she pays attention to the galloping pace, yet refuses its density; she cruises seemingly effortlessly above it all. As usual, humor is part and parcel of Molina's musical architecture on Wed 21. You can hear it in the whimsy of her delivery and in her numerous, almost incalculable juxtapositions of rhythms and melodies. Wed 21 progresses from her previous recordings, but it's an extension of them, not a departure.



Juana Molina - Wed 21   (flac  310mb)

01 Eras 4:25
02 Wed 21 3:17
03 Feroc 3:23
04 Lo Decidí Yo 4:06
05 Sin Guía, No 4:52
06 Ay, No Se Ofendan 5:30
07 Bicho Auto 4:34
08 El Oso De La Guarda 6:39
09 Las Edades 4:17
10 La Rata 4:18
11 Final Feliz 3:47

 Juana Molina - Wed 21 (ogg  124mb )

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From the album cover of Juana Molina's seventh album, Halo, a bone bearing two human eyes stares shrewdly out at the viewer. It's an image as comical as it is unnerving, though not entirely unexpected from the inventive Argentinian singer/songwriter, who for two decades has danced nimbly around the boundaries of experimental pop, art, and design. Since abandoning her successful career as a comedic television actress in the mid-'90s, Molina has served up a constantly evolving pastiche of maverick sound that usually includes erratic beats, glowing electronics, fractured guitar loops, and all manner of treated vocals. What has kept her outsider music consistently appealing is the whimsy and melodic warmth that imbue her catalog with an underlying sense of humanity. Halo, Molina's first release since 2013's Wed 21, feels like a logical snapshot of her ongoing journey, presenting 12 new tracks that are as eccentric as they are inviting. From the woozy strings poured gently atop the dark digital grooves of "Paraguaya" to the fractured Latin guitar riff that carries lead single "Cosoco," the instrumentation is subtly layered and the production pleasantly disorienting in what has become her signature style. On the wonderful "Sin Dones," a neat bass groove develops slowly under Molina's effected vocals for three minutes before finally breaking into a seductive drum pattern that utterly transforms the song. Many of the tracks are built this way, taking their time to unfold, sometimes reaching their destination and sometimes just out for a stroll. On "Cálculos y Oráculos," one of Halo's most understated tracks, hazy muted synths warble around a sweet two-chord refrain that seems to be constructed out of the windy tone made from blowing on a bottle top. It's an enchanting mix that falls at the center of the album's sequence like an interlude. Training an audience to expect the unexpected is a tough trick, but after two decades, Molina's reputation as a bold sonic explorer is well established.



Juana Molina - Halo (flac  293mb)

01 Paraguaya 3:44
02 Sin Dones 5:41
03 Lentísimo Halo 5:24
04 In The Lassa 4:39
05 Cosoco 4:58
06 Cálculos Y Oráculos 4:47
07 Los Pies Helados 5:23
08 A00 B01 4:30
09 Cara De Espejo 5:03
10 Andó 3:50
11 Estalacticas 4:53
12 Al Oeste 3:38

Juana Molina - Halo (ogg  122mb)

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