Jan 24, 2017

RhoDeo 1704 Roots

Hello,

The music of Brazil encompasses various regional music styles influenced by African, European and Amerindian forms. After 500 years of history, Brazilian music developed some unique and original styles such as samba, bossa nova, MPB, sertanejo, pagode, tropicalia, choro, maracatu, embolada (coco de repente), mangue bit, funk carioca (in Brazil simply known as Funk), frevo, forró, axé, brega, lambada, and Brazilian versions of foreign musical genres, such as Brazilian rock and rap.


Today's artist became popular with the songs Se Acaso Você Chegasse, her first single, Mas Que Nada, A Carne, and other well-known samba songs. She was nominated to the Grammy Awards and was elected by the BBC London as "the singer of the millennium." In 2007, Soares was invited to sing a cappella the Brazilian National Anthem at the opening ceremony of the 2007 Panamerican Games. In 2016, she performed at the opening ceremony of the Olympic Games in Rio de Janeiro, where she sang O Canto de Ossanha, a classic by Baden Powell and Vinícius de Moraes......N'Joy

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Owner of a distinctive, harsh voice (even if considering the conspicuous Armstrong mannerisms), Elza Soares is one of the most swinging samba singers. Having appeared in 1959 with the samba "Se Acaso Você Chegasse," Soares always had her artistic career complicated by her personal life, which certainly impeded her enjoyment of a more widespread popularity. Having gotten married at 12 and lost three children who died of hunger, she later became the wife of Garrincha, one of the most genial soccer players ever, and also a chronic alcoholic. The peak of her career was in the '60s, with albums like O Máximo em Samba (1967), Elza Soares & Wilson das Neves (1968), and Elza, Miltinho e Samba (a three-album series shared with Miltinho). In that decade she had several hits, among them "Boato," "Edmundo" (a version of "In the Mood"), "Beija-me," "Devagar Com a Louça," "Mulata Assanhada," "O Mundo Encantado de Monteiro Lobato," "Bahia de Todos os Deuses," "Palmas no Portão," and "Palhaçada." In the '70s, she had further success with "Salve a Mocidade" (1974) and "Malandro" (1977; this song launched Jorge Aragão as a composer). But it wasn't enough to prevent her from facing huge economical adversity, and at the same time she was being systematically turned away by recording companies. With Garrincha, Soares had a very troubled marriage and the untimely demise of their son Garrinchinha in 1986 in a car accident didn't help.

Living in extreme poverty throughout her childhood and teens, Soares had her first audition in radio at Ary Barroso's novice show when she was 16, winning first place. She was then hired as a crooner by the Orquestra Garam de Bailes (led by conductor Joaquim Naegli). She worked in the orchestra until 1954, when she became pregnant. In 1955, she was invited to star with Grande Otelo in the play Jour-Jou-Fru-Fru, which was a smash. Three years later, she toured Argentina, returning in the next year when she was hired by Rádio Vera Cruz. Also in 1959, she recorded a 78 rpm with "Se Acaso Você Chegasse" (Lupício Rodrigues/Felisberto Martins), one of her biggest hits. In 1960, she went to São Paulo where she performed regularly in the show I Festival Nacional de Bossa Nova and recorded her first LP, Se Acaso Você Chegasse. In 1962, she represented Brazil in Chile during the World Soccer Cup, where she met Garrincha.

Having recorded several albums with the hits "Só Danço Samba" (Tom Jobim/Vinícius de Moraes), "A Banca do Distinto" (Billy Blanco), "Pressentimento" (Elton Medeiros/Hermínio Bello de Carvalho), and "Princesa Isabel" (Sérgio Ricardo), she moved to Italy in 1969, where she performed at the Sistina Theater (Rome), returning to Brazil in 1972. In the same year, she opened the show Elza em Dia de Graça at the Opinião Theater (Rio) and participated in the Brasil Export Show (Canecão). Rediscovered in the '80s as a cult heroine by Os Titãs, she performed with the band in a regular show at the Madame Satã nightclub.

Trying unsuccessfully to develop a career abroad, she returned to Brazil in 1994, poor and depressed. Finally, she was rediscovered in the '80s by the younger generations of Brazilian rockers (Os Titãs, Lobão) and MPB artists like Caetano Veloso, having been awarded with a Sharp Prize award as the Best Samba Singer of 1997. Soares also recorded in duet with Caetano Veloso on his album, Velô, and with Lobão on Casa de Samba. With her Trajetória (1997), in which she was paid tribute by Zeca Pagodinho, she won the Prêmio Sharp Award as Best Samba Singer.Her life was depicted in the musical Crioula, which had several songs written specially for her by Chico Buarque, Chico César, Nei Lopes, and others.  In November 1999, Soares participated in the show Desde Que o Samba é Samba (at Royal Albert Hall, London, England), together with Chico Buarque, Caetano Veloso, Gilberto Gil, Gal Costa, and Virginia Rodrigues. In 2000, her life was depicted in the musical Crioula (by Stella Miranda). In 2000, she was appointed Singer of the Millennium by London's BBC. Soares continues to challenge her destiny, performing shows in every venue available.

Do Cóccix Até O Pescoço In 2002, she released the acclaimed Do Cóccix Até O Pescoço on Maianga Discos, which successfully wedded samba, bossa, and MPB with electronic sounds. Produced and recorded by Alê Siqueira, it featured an enormous cast of guest musicians under the direction of pianist Jose Miguel Wisnik, including Caetano Veloso, Chico Buarque, and Carlinhos Brown. It sold well internationally and received a Grammy nomination. Vivo Feliz followed on Tratore in 2004 and contained the singles "Rio de Janiero" and a reading of "Concordia" by Nando Reis, featuring the songwriter in a duet. Working again with Wisnik, she released the live Beba-Me Ao Vivo and a concert DVD with the same title in 2007.

Though Soares continued to perform, she took an extended break from recording. A year later she was the featured vocalist on the soundtrack of the film Chega de Saudade. She fell from the stage during a performance and required numerous spinal column surgeries. It slowed her down and forced her to perform in a chair, but she never stopped. In 2015, she re-entered the studio with with producer Guilherme Kastrup of São Paulo’s groundbreaking samba sujo scene. She didn't like his idea of recording a set of classic sambas in modern settings and instead insisted on creating entirely original new material -- a first in her long career. He hired the city's vanguard post-punk band Passo Torto (with Metá Metá's Kiko Dinucci) and several players from Bixiga 70. A Mulher Do Fim Do Mundo, a collection of 11 songs (culled from over 50), focuses on the achievement of justice for women, people of color, and members of the LGBT community -- causes she had celebrated throughout her life. Issued in Brazil in October by Circus Produções Culturais, it was celebrated in the national press as the year's best album by a national artist, regardless of genre. Due to global acclaim, it was re-released internationally by Mais Um Discos in June of 2016.


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Great stuff! A big band-and-salsa-tinged take on the Brazilian samba cancao sound, music that had definitely grown stale by the time this disc came out. Working once again with bandleader Astor Silva, Soares re-works oldies from the 1930s, '40s and '50s, giving them a rhythmic punch that lands it all somewhere between Lucio Alves and Ella Fitzgerald, with a strong hint of Carmen Miranda thrown in as well. I'm not sure how "bossa" one could actually consider this disc -- Soares was pals with the key members of the early bossa nova scene, but this disc is very much rooted in the pre-Jobim era, and the rowdy, jazz-tinged gafieira style. Anyway, it's a very good record.  Highly recommended.



Elza Soares - Se Acaso Você Chegasse, A Bossa Negra (flac  480mb)

01 Se Acaso Você Chegasse
02 Casa De Turfista...
03 Mulata Assanhada
04 Era Bom
05 Samba Em Copa
06 Dedo Duro
07 Teleco-Teco Nº 2
08 Contas
09 Sal E Pimenta
10 Cartão De Visita
11 Nêgo Tu...Nêgo Vós...Nêgo Você...
12 Não Quero Mais
A Bossa Negra
13 Tenha Pena De Mim (Ai, Ai, Meu Deus) 2:45
14 Boato 3:22
15 Fala Baixinho 2:17
16 Marambaia 2:05
17 O Samba Está Com Tudo 2:31
18 Cadeira Vazia 3:22
19 Perdão 2:18
20 Beija-me 2:24
21 O Bilhete 2:13
22 O Samba Brasileiro 2:26
23 As Polegadas Da Mulata 2:06
24 Eu Quero É Sorongar 2:51
bonus
25 Mack the knife
26 Edmundo
27 Avec no leblon
28 Aconteceu no leblon
29 A barata Serafina

Elza Soares - Se Acaso Você Chegasse, A Bossa Negra  (ogg  170mb)

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A fun, lively album, with perky pop-samba tunes arranged by bandleader Astor Silva, who's kind of old-school, but still a little hip. Many of the songs were samba-cancao golden oldies, but there's a also a whiff of newer material, such as Tom Jobim and Blilly Blanco's "Acho Que Sim." Monsueto Menezes duets on a couple of tracks, including his novelty scat, "Ziriguidum," which sufferes here under the weight of Astor's blatting brass arrangements, but is still a groovy little tune. All in all, this is a fun album, although it's a bit staid and static. Elza's such a cheerful presence, though -- hard not to love her!

Sambossa (1963), without surprise, is a continuation of the previous albums made for Odéon by Elza Soares: Se Acaso Voce Chegasse (1960), O Samba and Elza Soares (1961) and A Bossa Negra (1961). The interest of this type of album lies mainly in the vocal qualities of Elza Soares and its ability to generate an enthusiasm and a good mood thanks to its radiance. The compositions are not exceptional, but they are fairly well presented by the singing and pretty arrangements of Milton Miranda. In addition, the album is extremely rhythmic, only one song, "Maria, Mária, Mariá" (Billy Blanco) exceeds three minutes. This song is proposed twice, the second, which dates from 1962, being superior to the first. But the very good surprise of Sambossa, which is worth listening to, is the totally successful and sublimated version of the very good title of Tom Jobim and Vinicius de Moraes, "Só Danço Samba" (in link). A very good record without pretension to immerse yourself in the futile universe of the Samba-Cançao Pop version Elsa Soares.



Elza Soares - O Samba É Elza Soares, Sambossa   (flac  522mb)

01 Eu E O Rio
02 Vedete Certinha
03 Teleco-Teco
04 Bom Mesmo E' Estar De Bem
05 Fez Bobagem
06 Amor De Mentira
07 Na Base Do Bilhetinho
08 Cantiga Do Morro
09 Acho Que Sim
10 Ziriguidum
11 Vou Sonhar Prá Você Ver
12 Reconciliação
Sambossa
13 Rosa Morena
14 Gamação
15 A Banca Do Distinto
16 Primeira Comunhão
17 Sim E Não
18 Leilão
19 Só Danço Samba
20 A Corda E A Caçamba
21 Vaca De Presépio
22 Maria, Mária, Mariá
23 Quando O Amor Não É Mais Amor
24 Mulata De Verdade
Bonus
25 Maria, Maria, Maria
26 Praga
27 Galã enganadora
28 Escurinho

Elza Soares - O Samba É Elza Soares , Sambossa      (ogg   173mb)

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A lively, high-powered album matching Soares's irrepressible vocals with groovy, jazzy gafieria backing from Severino Araujo and his band... The whole album features A-list studio talent: producer Milton Miranda is joined by Lyrio Panicalli and the Odeon studio crew... The results are first-rate: Elza's in fine form, and the music matches her mood, and her talent. Most of the songs are by (now) obscure composers -- of note are contributions from Orlandivo (the title track, "Na Roda De Samba") and Rildo Hora... Some inventive arrangements amid the standard-issue, big band-y samba-pop, but mostly it's about the feeling of the music: Elza's caught fire, and the guys at EMI are zeroing in on her wavelength.

In Brazilian music, the term "show" usually means a live performance, so you'd imagine that this would be a live album... Strangely, it isn't, although with the high proportion of material from classic, canonical composers -- including Atualfo Alves, Ary Barroso, Dorival Caymmi, Lupicino Rodrigues and Tom Jobim -- I think this was meant to be representative of what her live shows were like. Unfortunately, although the repertoire is all first-class, the backing by Maestro Nelsinho is a drab, at least in comparison to her earlier albums. Okay, but not great.



Elza Soares - Na Roda do Samba , Um Show de Elza (flac 470mb)

01 Na Roda Do Samba
02 Dja Ba Dja
03 Convite Ao Samba
04 Na Base Do Pingüim
05 Pressentimento
06 Samba Primeiro
07 Nêga
08 Gostoso É Sambar
09 Vou Rir De Você
10 Princesa Izabel
11 Domingo Em Copacabana
12 Banca De Pobre
Um Show de Elza
13 Ocultei
14 Verão No Meu Rio
15 Dindi
16 Samba Da Minha Terra
17 Ombro A Ombro
18 Pé Redondo
19 Vingança
20 Sambou Sambou
21 Porque E Para Que
22 Neném
23 Cais Do Porto
24 Se Acaso Você Chegasse
Bonus
25 Eu sou a outra
26 Amor impossível
27 De amor ou paz
28 Toque balanço, moço!

Elza Soares - Na Roda do Samba , Um Show de Elza    (ogg  165mb)

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Jan 23, 2017

RhoDeo 1704 Vibrations 5

Hello,

Brainwave Mind Voyages arose from a thirst for experiential wisdom and a hunger for sharing mind-expanding tools with other like-minded people such as yourself. Shower the seeds of self-empowerment with some modern audio technology, and voila! ....N'Joy

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Your brain operates much like a resonance chamber or a tuning fork. When you hold two similarly tuned tuning forks together and strike one of the them, the other will also vibrate at the same frequency. The vibrational rate or vibratory frequency determines the tone. Our brain produces waves of currents that flow throughout its neural pathways. The type of brainwave is defined by the frequency at which it is pulsing, and this particular rate of pulsation determines our respective state of mind at any given moment in time.

There are four common types of brainwave patterns, but due to the complexity of our brains there are often several patterns interacting at one time. It is the predominance of one particular brainwave frequency that determines our state of mind. For example, if you are in a beta state, there may be trace levels of alpha and theta but they would minimal compared to the dominating amount of beta present. All of these brainwave states have been scientifically studied and categorized by the subjective states that each range will produce. Below is a simple chart containing the four common types of brainwave frequencies along with their characteristic features and associated mental states. The frequencies are measures in hertz (Hz) which is roughly translated as beats per second or cycles per second.

BETA waves 13 to 30 Hz the fastest waves, most commonly found during our waking state, associated with outward awareness, engaged mind, arousal, actively perceiving and evaluating forms of data through the senses; also present with fear, anger, worry, hunger, and surprise.

ALPHA waves 7 to 13 Hz associated with non-drowsy but relaxed, tranquil state of consciousness, less engagement and arousal, pleasant inward awareness, body/mind integration, present during meditation and states of relaxation

THETA waves 3 to 7 Hz associated with increased recall, creativity, imagery and visualization , free-flowing thought, future planning, inspiration, drowsiness, present during dreaming and REM states

DELTA waves .1 to 3 Hz associated with deep dreamless sleep, deep trance state pituitary release of growth hormone, self-healing, present during deep levels of non-REM sleep.

Your brain is always producing electromagnetic brainwaves that have a measurable frequency and magnitude. The characteristics of your brainwaves at any given moment determines your mood and state of mind. The frequency range and magnitude identify whether you are aroused, alert, asleep or anywhere in between these states.

We are always expanding our knowledge of how our brainwaves can be harnessed to create peak states of consciousness. For example, the best moments of creativity, those Eureka! flashes, occur mostly when theta waves are predominant. The hypnogogic state verging between waking and sleeping is characterized by theta brainwave activity. This explains why we have such great ideas before falling asleep. It is noted in history books that this "border-zone" time period has been utilized by many scientists and other great thinkers who have had flashes of insight while experiencing this holistic state of mind.

Einstein came up with the theory of relativity in this state, and likewise, one of the Watson and Crick pair conceptualized the double helix of DNA in this highly visualistic mind state successfully cracking the illusive architecture of DNA. Time spent in this "border-zone" can be time very well spent. All this information about brainwaves is a preamble to the matter of entraining your brainwaves to specific frequencies.

You can now use the process of brainwave entrainment to tune your brainwaves to any brainwave range. You can experience theta, alpha, delta or even combinations of ranges using multi-layered frequencies that blend several brainwave ranges into one synergistic brainwave pattern like the Awakened Mind Brainwave Pattern. The breakthrough occurs when we use this principle of entrainment to synchronize our brainwaves to specific chosen frequencies. We can do this easily by using binaural beat audio technology and monophonic entrainment tones, as you will soon learn, but first some more background information.

THE TWO HEMISPHERES OF THE BRAIN

Our brains have a left and a right hemisphere. The left hemisphere is linear, logical, practical, and time orientated. The right hemisphere seems to be much more non-linear, abstract, creative, holistic, and non-logical. We tend to use one hemisphere at a time, or better said, we will favor particular hemispheres depending on what we are doing. An accountant probably uses less of his right hemisphere than an artist would during the course of his workday. If you are doing math you would be using more of your left side. If you are painting a picture, you would have more right hemispheric activity.

Obviously, it is not that simplistic because both hemispheres are constantly interacting and both can be in use at the same time. These hemispheres are connected by the corpus callosum. It serves as a conduit or a bridge between both sides. This bridge can literally be exercised and strengthened until it is physically larger and more capable of transmitting data, thoughts and feedback between hemispheres. The famous clairvoyant healer Edgar Cayce was found to have an unusually large corpus callosum, but could it be that everyone else simply has not developed this hemispheric bridge?

By merging both hemispheres and allowing them to work together we can increase our mental fitness and enhance our cognitive functioning in general. It is basically like having a faster computer processor capable of working at faster speeds. Increased integration creates better performance. By using brainwave entrainment technologies, you can increase your hemispheric synchronization. By simply listening to any BMV CD, your brain naturally synchronizes to balance hemispheric activity and adjusts brainwave activity to match the embedded brainwave carrier frequencies. This audio-induced hemispheric coherence produces an optimal state of holistic whole-brain synergy.

For a more in-depth explanation of the powerful audio neuro-technologies, you can click HERE to read the BMV Technology Page.

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If you have insomnia or have trouble getting deep restful sleep, these flacs will have you fast asleep in no time! If you have an insomniac friend who needs some deep sleep, this is the answer to their prayers ! I have been using to put my new infant to sleep when she is fussy and it works like magic, literally!

Becoming entrained to Delta brainwaves can be one of the easiest ways to fall asleep, so if you or anyone you know has trouble getting deep restful sleep then this Series is a must have. Almost everyone knows of someone who is an insomniac or someone who has trouble sleeping, and this will put you to sleep whether you have insomnia or not!

Delta brainwaves have also been linked with an increase in the body's production of growth hormones which plays a vital part in the body's natural ability to heal and rejuvenate. The whole program progressively slows your waking Beta brainwaves into a soothingly relaxed Delta brainwave state. There are 13 tracks on this Series (61:45 minutes total playing time) including the Bonus Delta Holovibe Track.

The tracks vary from simple Delta level entrainment to more complex tracks with multi-layered embedded brainwave frequencies. Each track is designed to be played in loop/repeat mode so in effect you have 4 different programs or 4 different settings to test, evaluate and determine which works best specifically for you.


When you experience the BMV Series 5: The Delta Brainwaves CD, your mind will naturally float inwards and your consciousness will expand as you listen to the mesmerizing sounds of the ocean shoreline. Your awareness will become free to explore new states of clarity and new modes of perception as you experience the effects of the embedded brainwave entrainment technology. Your conscious awareness will become free to take flight into your mind's eye.

You will explore new depths as the embedded brainwave entrainment ensures that you will enter the ideal brainwave range for maximizing your inner explorations. This BMV flac is an excellent audio tool for biofeedback training and consciousness development.

There are no guided vocals (*no spoken words) so it can be used for any meditational purposes or simply as a tool for experiencing profound states of relaxation. You can repeat your favorite track or loop the entire psychoacoustic playlist for amazing results!

Every time you use these flacs, you will become more and more relaxed. With time and practice, you can learn to access these profound states of awareness at will. In the meanwhile, you can be assured that your brainwaves will be tuned to the correct frequency ranges to maximize your results.

By simply listening to this CD for 10 minutes or less, your physical body will be so relaxed that you will ready for any type of inner work: meditation, creativity, reverie, problem solving, brainstorming, trancework and more. Over time, you can learn to achieve this state of ultra-deep physical relaxation, naturally and instantaneously. Like the magical beat of a shaman's drum, the embedded brainwave entrainment frequencies slow down your brainwaves to induce deeply expanded states of consciousness.

The brainwave stimulation techniques are based upon EEG readings of brainwave activity experienced by experienced meditators, Buddhist monks, healers and other adepts. You now have the physical relaxation and the required brainwave activity to complete the process. Now, you can experience these powerful brainwave patterns, simply by listening to this BMV flac!



Brainwave Mind Voyages (Series V) - The Delta Brainwaves (flac  265mb)

01 Upper Level Deltawaves
02 Upper Delta with Mid-Level Mix
03 Upper Delta with Low-Level Mix
04 UpperMiddle Level Deltawaves
05 UpperMid Delta with Upper Mix
06 UpperMid Delta with Lower Mix
07 LowetMiddle Level Deltawaves
08 LowerMid Delta with Upper Mix
09 LowerMid Delta with Lower Mix
10 Lower Level Deltawaves
11 Lower Delta with Upper Mix
12 Lower Delta with upper Delta Mix
13 The Holovibe The Schumann Resonance (7.8 Hz)

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Previously

Brainwave Mind Voyages (Series I) (flac  248mb)
Brainwave Mind Voyages (Series II) (flac  342mb)
Brainwave Mind Voyages (Series III) (flac  258mb)
Brainwave Mind Voyages (Series IV) (flac  263mb)

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Jan 22, 2017

Sundaze 1704

Hello,


Today's artist is an English composer and musician whose work exists in the unknown territories between delay-heavy, tape saturated, dub influenced studio sessions, and excursions into modern classical music and more traditional composition. On his first albums he delved into long-form, slowly unravelling crescendos for strings, piano and other orchestral instrumentation, all accentuated with subtle electronics and processing to form a wall of sound where each element became indistinguishable.......N'Joy

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Greg Haines is an English musician and composer who has been living in Berlin since 2008. He was born in a small town in the south of England in the 1980s, where he began from a young age to develop an interest in sound and the devices used to create it. Around this time, an enthusiastic music teacher began to introduce Haines to the works of 'Minimalist' composers such as Steve Reich, Gavin Bryars and Philip Glass, who had a profound influence over his musical trajectory. At this point, Greg began to develop his piano (and eventually cello) playing, feeling the desire to pursue his interest in textural, subtle music. Shortly after, Haines discovered the work of Arvo Pärt, and in it found his biggest inspiration to date. Pärt's intricate use of both space and density informed Gregs first solo release, 'Slumber Tides', released on the Norwegian Miasmah label in 2006. The album was critically acclaimed worldwide, leading Musique Machine to state:

“This is music to fall into and let it embrace your heart and soul. Be warmed and sadden by its slow unfolding beauty and grace. Clearly one of the most luxurious and emotional rich debut albums you are likely to come across this year, or any other year for that matter.”

Later, the opening track from the album, 'Snow Airport', would be used on the Universal/Point Music compilation 'Reflections on Classical Music', alongside compositions from some of the very composers who inspired it, such as Gavin Bryars and Philip Glass.

In the wake of his debut, Greg toured extensively and began to develop as a live performer, and in particular as an improviser with a wide range of various musicians. To date, Greg has toured throughout Europe, Japan, Australia and the USA.

In March 2010, Berlin's Sonic Pieces label released 'Until the Point of Hushed Support', a forty- eight minute composition written for string quintet, church organ, piano, percussion, electronics and a whole array of other sounds and textures that were carefully constructed over the past two years. Later, in March 2012, "Digressions" was released on Australia's Preservation label. The album includes performances by Peter Broderick and violinist Iden Reinhart, as well as an 18 piece ensemble. The album was largely seen as a great success, with one reviewer for Fluid Radio writing:

“What drives a connection? It’s usually only dimly understood by the people experiencing it, and so it is with Greg Haines’ third album ‘Digressions’ and me. Well over a month I’ve been listening to it, and I still cannot for the life of me work out why I think it is one of the best records I have ever heard, one that has clicked with me like few else recently. Music is subjective, and what is a masterpiece to me may sound like nothing of the sort to you; an assessment based solely on my opinion and little else. Still, if I was to put money on it, I’d say that ‘Digressions’ is going to be talked about for some years, and will in hindsight be the point where the Haines’ trajectory will be seen to trend sharply upwards.”

Since 2008, he has also been working regularly as a composer for dance, creating music for choreographers such as Meg Stuart (Berlin), Ina Christel Johannessen (Oslo), and the MD Collective (Cologne). In 2009 and 2010, Greg was invited to be composer in residence at the Theale School of Performing Arts for two years running, creating pieces and working with students from all kinds of musical backgrounds.

In February 2012, Greg premiered day4 with contemporary ballet choreographer David Dawson, the Holland Symfonia and the Dutch National Ballet as part of their 50th anniversary celebrations. The collaboration with David Dawson continued in the following year and resulted in two world premieres, Opus.11 and The Human Seasons for Royal Ballet, aqs well as “Empire Noir” (2015, Dutch National Ballet, Amsterdam).

Haines has toured extensively around Europe, as well as in the USA, Japan and Australia. His brand of live improvisation on his constantly evolving set-up of synthesizers, signal processors and piano led to his involvement in two live ensembles for pure improvisation: the languid, micro-seismic “Alvaret Ensemble” and the adventurous upbeat endeavors of “The Group”. The Group does not record, only playing live, and usually consists of permanent members Casper Clausen (Efterklang) and the producer/musician Francesco Donadello, as well as a constantly mutating cast of other musicians from around the world.
 
After many years living in Berlin, Greg now lives in the italian countryside. He continues to travel, record and perform around the world. Recent experiments in the studio led to the “Greg Gives Peter Space” EP with Peter Broderick, released on Erased Tapes in 2014. Further releases are expected in the near future.

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Slumber Tides is Greg's debut album recorded and released when he was merely a teenager seemingly tapping into a timeless wisdom where age makes no difference. It might have made more sense if Slumber Tides was the work of a composer at the end of his life creating that final display of all the things he wanted to say but for some reason never did . . . but since we love things that don't make sense many music lovers around the world embraced the reserved yet bold music of this fresh young talent. The five sprawling tracks here introduce not only Greg's knack for experimentation with different instruments and atmospheric textures but also his gift for heartbreaking compositions perhaps only comparable to the groundshaking works of Arvo Part.



Greg Haines - Slumber Tides  (flac  198mb)

01 Snow Airport 4:59
02 Submergence 9:51
03 Tired Diary (Revised) 12:59
04 Arups Gate 10:41
05 Caesura 7:39

     (ogg  mb)

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Though it has been over three years since the release of his debut, Slumber Tides, these years have seen Haines traveling around the world and refining his craft, performing as a solo artist, improvising with other musicians, creating music for contemporary dance, and finally arriving at this new album, a beautifully contemplative forty-eight minute piece for string quintet, church organ, piano, percussion, and electronics.

For the most part, this album was recorded in the Grunewald Church in Berlin with the assistance of friend and fellow musician, Nils Frahm. Together, Haines and Frahm assembled a team of musicians to bring the score alive. More processed sounds (mostly assembled at Haines’ Berlin studio, The Electricity Works) were even played back into the church and re-recorded, to truly add to the acoustic nature of the album.

Whereas Slumber Tides played out as a gorgeous exploration of sound and composition by a curious musician with fresh ears, Until the Point of Hushed Support comes across as a bold statement from a unique modern composer. Throughout the four sections of the piece, we are taken seamlessly through an incredibly powerful dynamic range. With an assortment of sounds collected and processed over the last two years combined with the live instrumentation, Haines creates his own orchestra; a unique sonic world where the sound of a dying radio is just as important as a mournful violin. Whereas the first album comes across as a curious exploration of sound Until The Point Of Hushed Support is a bold statement from a music lover who spent four years refining his craft. The beauty in this music is an ancient one one which is only reached with dedication and patience.



Greg Haines - Until The Point Of Hushed Support + Moments Eluding  (flac  315mb)

01 Industry Vs. Inferiority 4:13
02 Marc's Descent 10:45
03 In The Event Of A Sudden Loss 14:06
04 Until The Point Of Least Resistance 18:53
Moments Eluding (107mb) recorded Dec 15th 2010 at Tabalet Estudis, whereas greg's albums are often centered around a densely layered sonic atmosphere, his live shows can be stripped to the bone with greg losing himself at the piano, almost punk rock in execution. Moments Eluding is an attempt to capture that raw and curious action at the keys.
01 Snow Airport (For Piano) 3:26
02 Peter's Advice 3:02
03 Sehnsucht 2:55
04 The Highest Point In Elbert County 3:38
05 With Everything That Breathes 5:22
06 The Spin 6:59
07 Last Time I Tried 3:57
08 Better 2:23

Greg Haines - Until The Point Of Hushed Support + Moments Eluding    (ogg 162mb)

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Greg Haines' 2012 album for Preservation grows out of a collaboration, in this case with a school orchestra. That may sound a bit counterintuitive, but the result makes you wonder if he would ever need a top-flight one given the enjoyable, tactile results. The understated combination of ambience and orchestration calls to mind an expected range of performers but also perhaps a wild card or two -- "Caden Cotard," with its slow electronic/string wash and rise, could almost be something from a late-'90s Black Tape for a Blue Girl album as much as it could be Harold Budd when it comes to the piano that follows it. Beginning with "Emetti"'s soft tones, feeling like a new age church organ warmup increasingly mixed with slow string resonance and beauty, Digressions partially lives up to its name thematically in that nearly everything feels like distinct but still clearly related parts of a whole. The emphasis on piano as a key element throughout, whether as an increasingly core rhythmic element on "Azure" or setting a stage of thorough calmness on "Nuestro Pueblo," adds a gentle calm to everything. In turn, notable violin parts, especially the lead on "183 Times," add a slightly unearthly feeling, caught between stateliness and a suffused swirl of sound. The sense of steady progression upward that recurs throughout Digressions -- particularly but not exclusively as in the swelling rise to the beyond at the end of "Caden Cotard" -- adds to the album's compelling feeling.



Greg Haines - Digressions  (flac  239mb)

01 Ernetti 3:47
02 Caden Cotard 12:56
03 183 Times 9:08
04 Azure 14:14
05 Nuestro Pueblo 15:25

Greg Haines - Digressions   (ogg  108mb)

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With Where We Where Haines made a step ahead. This album is a modern classical and ambient composition with dub beat elements as the previous albums but the combinations of these elements with acoustic instruments such as percussion and vibraphone makes it something new, a step forward in his music path. Approximately 45 minutes spread over 8 tracks is the journey that the British artist is offering to us.

‘The Intruder’ opens this album as only Greg Haines can do: the music come up and the melodies slowly rise in the air and become classic. It’s an intimate, welcoming and cozy track. Something happens in the following track where the minimal piano that characterize the intro to the album is now substituted by beat-driven dub-techno joined by electro-acoustic instruments. The sound changes completely towards the half of the tune where a mix of jungle, house and dub brings us in the new incredible Greg Haines music style. This is ‘Something Happened’ and no other title could fit better to this song. ‘So It Goes’ and ‘Trasimeno’ are aligned with ‘The Intruder’. Greg Haines put apart the beats of the second track and come back to his classical composition. Characteristics of these two tracks are the delicate strings and the soft piano that rise in a flourish of astral ambient waves and ethereal loveliness. With its 7:17 minutes, ‘So It Goes’ is the longest track of the album. ‘Trasimeno’, instead, is the shortest and seems to be the continuous of the previous song. Together they result in a meditative and cinematic, numinous atmosphere.

Let’s go back to the new dub-techno we discovered in ‘Something Happened’ with ‘The Whole’. The rhythm is sustained and pursuing: you cannot avoid to follow it! After so many beats and ethereal sounds, ‘Wake Mania Without End II’ leave us speechless in a suspended atmosphere for almost 6 minutes. The notes themselves are suspended in the space till when they achieve a peak of energy that slowly and gently decline just after it. I recommend to listen to this track again and again. Where We Were ends with ‘Habenero’ and ‘Habenero (Version)’ confirming the step ahead of Greg Haines music world. The high velocity of the rhythm of the these two tracks is opposite to the notes that characterize his previous works. ‘Habenero’ and its ‘Version’ will blow your mind and will drag you in their phenomenal rhythm. The percussion in ‘Habenero’ is brilliant and make it a rhythmically propulsive tracks. The counterpart ‘Habenero (Version)’ is the continuous of ‘Habenero’ without the percussion but with the same dense atmosphere and tense energy. The last minute of the album is engulfing. A meditative ending and a meditative starting for an album that has a lot in it.



Greg Haines - Where We Were  (flac  233mb)

01 The Intruder 6:27
02 Something Happened 5:40
03 So It Goes 7:17
04 Trasimeno 2:33
05 The Whole 4:04
06 Wake Mania Without End II 5:37
07 Habenero 6:30
08 Habenero (Version) 7:13

Greg Haines - Where We Were    (ogg  098mb)

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