Into The Groove (20)

Hello, Into the Groove goes P-funk today, Dr Funkenstein please ..

By the time his on-the-move family settled in New Jersey during the early '50s, George Clinton (b. July 22, 1941) became interested in doo wop, which was just beginning to explode in the New York-metro area. Basing his group on Frankie Lymon & the Teenagers, Clinton formed the Parliaments in 1955 with a lineup that gradually shifted to include Clarence "Fuzzy" Haskins, Grady Thomas, Raymond Davis, and Calvin Simon. Based out of a barbershop backroom where Clinton straightened hair, the Parliaments released only two singles during the next ten years, but frequent trips to Detroit during the mid-'60s -- where Clinton began working as a songwriter and producer -- eventually paid off their investment.

After finding a hit with the 1967 single "(I Wanna) Testify," the Parliaments ran into trouble with Revilot Records and refused to record any new material. Instead of waiting for a settlement, Clinton decided to record the same band under a new name: Funkadelic. Founded in 1968, the group began life as a smoke screen, claiming as its only members the Parliaments' backing band -- guitarist Eddie Hazel, bassist Billy Nelson, rhythm guitarist Lucius "Tawl" Ross, drummer Ramon "Tiki" Fulwood, and organist Mickey Atkins -- but in truth including Clinton and the rest of the former Parliaments lineup. Revilot folded not long after, with the label's existing contracts sold to Atlantic; By 1970, George Clinton had regained the rights to the Parliaments name: he then signed the entire Funkadelic lineup to Invictus Records as Parliament. The group released one album -- 1970's Osmium -- and scored a number 30 hit, "The Breakdown," on the R&B charts in 1971. With Funkadelic firing on all cylinders, however, Clinton decided to discontinue Parliament (the name, not the band) for the time being.

Though keyboard player Bernie Worrell had played on the original Funkadelic album, his first credit with the conglomeration appeared on Funkadelic's second album, 1970's Free Your Mind...And Your Ass Will Follow. Clinton and Worrell had known each other since the New Jersey barbershop days, and Worrell soon became the most crucial cog in the P-Funk machine, working on arrangements and production for virtually all later Parliament/Funkadelic releases. His strict upbringing and classical training, as well as the boom in synthesizer technology during the early '70s, gave him the tools to create the synth runs and horn arrangements that later trademarked the P-Funk sound. Two years after the addition of Worrell, P-Funk added its second most famed contributor, Bootsy Collins. The muscular, throbbing bass line of Collins had already been featured in James Brown's backing band (the J.B.'s) along with his brother, guitarist Catfish Collins. Bootsy and Catfish were playing in a Detroit band when George Clinton saw and hired them.

Funkadelic released five albums from 1970 through early 1974, and consistently hit the lower reaches of the R&B charts, but the collective pulled up stakes later in 1974 and began recording as Parliament. Signing with the Casablanca label, Parliament's "Up for the Down Stroke" appeared in mid-1974 and reflected a more mainstream approach than Funkadelic, with funky horn arrangements reminiscent of James Brown and a live feel that recalls contemporary work by Kool & the Gang. It became the biggest hit yet for the Parliament/Funkadelic congregation. "Testify," a revamped version of the Parliaments' 1967 hit, also charted in 1974. One year later, Chocolate City continued Parliament's success. Clinton & co. ushered in 1976 with the third Parliament LP in as many years: Mothership Connection. Arguably the peak of Parliament's power, the album made number 13 on the pop charts and went platinum, sparked by three hit singles: "P. Funk , "Tear the Roof Off the Sucker ", and "Star Child". In addition to Bootsy Collins, the album featured two other James Brown refugees: horn legends Maceo Parker and Fred Wesley. Just six months after the release of Mothership Connection, Clinton had another Parliament album in the can, The Clones of Doctor Funkenstein.

Several internal squabbles during 1977 apparently didn't phase Clinton at all; the following year proved to be the most successful in Parliament's history. In January, "Flash Light" -- from the Parliament album Funkentelechy Vs. the Placebo Syndrome -- became the collective's first number one hit. It topped the R&B charts for three weeks. The LP became Parliament's second platinum album. Early in 1979, Parliament hit number one yet again with "Aqua Boogie," from its eighth album, Motor-Booty Affair. The album became the group's fifth consecutive album to go gold or better. Parliament's ninth album, Gloryhallastoopid (Or Pin the Tale on the Funky), was released later in 1979 and showed a bit of a slip in the previously unstoppable Clinton machine. Clinton began to be weighed down that year by legal difficulties arising from Polygram's acquisition of Casablanca. Jettisoning both the Parliament and Funkadelic names (but not the musicians), Clinton began his solo career with 1982's Computer Games. He and many former Parliament/Funkadelic members continued to tour and record during the '80s as the P-Funk All Stars, but the decade's disdain of everything to do with the '70s resulted in the neglect of critical and commercial opinion for the world's biggest funk band, especially one which in part had spawned the sound of disco. During the early '90s, the rise of funk-inspired rap (courtesy of Digital Underground, Dr. Dre, and Warren G.) and funk rock (Primus and Red Hot Chili Peppers) re-established the status of Clinton & co., one of the most important forces in the recent history of black music.

While Funkadelic pursued band-format psychedelic rock, Parliament engaged in a funk free-for-all, blending influences from the godfathers (James Brown and Sly Stone) with freaky costumes and themes inspired by '60s acid culture and science fiction. From its 1970 inception until Clinton's dissolving of Parliament in 1980, the band hit the R&B Top Ten several times but truly excelled in two other areas: large-selling, effective album statements and the most dazzling, extravagant live show in the business. In an era when Philly soul continued the slick sounds of establishment-approved R&B, Parliament scared off more white listeners than it courted.

Bernie Worrell, Reunald "Renny" Jones, Eddie Hazel, Maceo Parker, Walter "Junie" Morrison, Bootsy Collins, Jerome Brailey, George Clinton, Gary "Muddbone" Cooper, Ray Davis, Ron Ford, Ramon Tiki Fulwood, Rick Gardner, Glen Goins, Michael Hampton, Clarence "Fuzzy" Haskins, Tyrone Lampkin, Cordell Mosson, Lucius Tawl Ross, Garry Shider, Dawn Silva, Calvin Simon, Grady Thomas, Greg Thomas, Jeanette "Baby" Washington, Fred Wesley, Debbie Wright, Shirley Hayden, Billy "Bass" Nelson, Larry Heckstall, Robert "P-Nut" Johnson, Prakash John.


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Parliament - The Clones Of Dr. Funkenstein ( 76 ^ 99mb)

Come 1976, and Parliament got up to its usual tricks, the opening backwards-masked vocal weirdness plus sci-fi scenarios in the "Prelude," where "funk is its own reward." With Bernie Worrell and Fred Wesley splitting the horn arrangements and Clinton and Bootsy Collins taking care of the rest, the result is a concept album of sorts you can dance to. The clones get up and do their thing . Given Clinton and company's sheer work rate, something likely had to give and this is one of the stress points. There are a couple of stronger songs -- "I've Been Watching You (Move Your Sexy Body)" is classic slow jam territory. Not exactly Barry White, but hearing Parliament tone it down just enough pays off, especially with Worrell's drowsy, sensuous horn charts. "Funkin' for Fun," meanwhile, brings the album to a strong, lively end, with just enough in the call-and-response vocals and horns to spark some extra energy into the proceedings.



01 - Prelude (1:39)
02 - Gamin' On Ya (2:58)
03 - Dr.Funkenstein (5:39)
04 - Children Of Production (3:53)
05 - Getten' To Know You (5:11)

06 - Do That Stuff (4:44)
07 - Everything Is On The One (3:42)
08 - I've Been Watching You (Move Your Sexy Body) (5:50)
09 - Funkin' For Fun (5:49)

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George Clinton - Computer Games (82 ^ 98mb)

The mastermind of the Parliament/Funkadelic collective during the 1970s, George Clinton broke up both bands by 1981 and began recording solo albums, occasionally performing live with his former bandmates as the P.Funk All-Stars. By 1980, George Clinton had begon to be weighed down by legal difficulties arising from Polygram's acquisition of Parliament's label, Casablanca. Jettisoning both the Parliament and Funkadelic names (but not the musicians), Clinton signed to Capitol in 1982 both as a solo act and as the P.Funk All-Stars.

Computer Games, his solo debut, is actually only solo in its billing, however, as the album features several of the core P-Funk musicians with whom Clinton had collaborated in years past, most notably Bootsy Collins, Gary Shider, Fred Wesley, and Walter "Junie" Morrison. All the same, Clinton is clearly in the spotlight throughout Computer Games, and his vocal performances are as wacky and charming as ever, especially on the album's two hit singles, "Atomic Dog" and "Loopzilla." From a musical standpoint, there's a heavy emphasis here on synthesizers and drum machines, considerably more so than on any previous P-Funk effort. This was partly because of the times, for it was the early '80s, after all, but also partly because of the smaller stable of musicians on hand. Whatever the reason, Computer Games marks a sharp break from Clinton's past in many ways, and though it was a tremendously successful rebirth, with "Atomic Dog" topping the R&B chart and eventually becoming immortalized by hip-hop postmodernists, in an unfortunate twist of fate this debut effort also ended up marking the zenith of his solo career, as he would progressively stumble creatively in subsequent years.

Clinton stayed on Capitol for three more years, releasing three studio albums and frequently charting singles -- "Nubian Nut," "Last Dance," "Do Fries Go With That Shake" -- in the R&B Top 40. During much of the three-year period from 1986 to 1989, Clinton became embroiled in legal difficulties (resulting from the myriad royalty problems latent during the '70s with recordings of over 40 musicians for four labels under three names). Also problematic during the latter half of the '80s was Clinton's disintegrating reputation as a true forefather of rock; by the end of the decade, however, a generation of rappers reared on P-Funk were beginning to name check him.

In 1989, Clinton signed a contract with Prince's Paisley Park label and released his fifth solo studio album, The Cinderella Theory. After one more LP for Paisley Park (Hey Man, Smell My Finger), Clinton signed with Sony 550. His first release, 1996's T.A.P.O.A.F.O.M. ("the awesome power of a fully operational mothership"), reunited the funk pioneer with several of his Parliament/Funkadelic comrades from the '70s. Clinton's Greatest Funkin' Hits (1996) teamed old P-Funk hits with new-school rappers such as Digital Underground, Ice Cube, and Q-Tip.



01 - Get Dressed (3:37)
02 - Man's Best Friend (4:07)
03 - Loopzilla (8:28)
04 - Pot Sharing Tots (3:34)

05 - Computer Games (6:37)
06 - Atomic Dog (4:39)
07 - Free Alternations (4:09)
08 - One Fun At A Time (4:22)

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Parliament - Funked Up: The Very Best Of (02, 79min ^ 192mb)

Funked Up features a crisp, booming remastered sound, this is both the place to start for beginners and a welcome place to revisit for the coverted. Yet, always check out the original albums the songs came from, but this is a fantastic listen from beginning to end. Get funked!



Parliament - Funked Up ( ^ 94mb)

01 - Up For The Down Stroke (3:27)
02 - All Your Goodies Are Gone (5:06)
03 - Ride On (3:37)
04 - Chocolate City (5:39)
05 - Give Up The Funk (Tear The Roof Off The Sucker) (5:48)
06 - P. Funk (Wants To Get Funked Up) (7:43)
07 - Mothership Connection (Star Child) (3:16)
08 - Do That Stuff (4:50)

Parliament - Funked Up 2 ( ^ 98mb)

09 - Dr. Funkenstein (5:47)
10 - Let's Take It To The Stage (Live) (5:11)
11 - Fantasy Is Reality (5:58)
12 - Bop Gun (Endangered Species) (3:42)
13 - Flash Light (5:50)
14 - Aqua Boogie (A Psychoalphadiscobetabioaquadoloop) (4:29)
15 - Theme From The Black Hole (4:40)
16 - Agony Of Defeet (4:25)

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All downloads are in * ogg-7 (224k) or ^ ogg-9(320k), artwork is included , if in need get the nifty ogg encoder/decoder here !

Alphabet Soup (20)

Hello, it's Alphabet Soup day again and nearing Z, however today it's T Time. First slot is reserved for the Tubes their debut album has remained a favourite of mine over the many years that have gone by since it's release 32 years ago. The exuberant Malaguena Salerosa , the mad What Do You Want From Life ( a titanic unsinkable waterbed ?) and the desperate White Punks on Dope. A classic album the energy of which..so present in their big live shows was largely lost on the pre-video audience. These guys went almost broke on the cost of their shows.. ..That didn't happen to Thin White Rope , however they too were inspired by the dark side of american culture, failure, desperation, and hopelessness. Twin guitar attack, feedback and lyrics that unsettle...Finally a band that over the years has acquired a strong cult following, not withstanding the fact their four albums all went multiplatinum.The packaging of their albums, the strange videos and some of their members are deep into the metaphysical...more counter culture. All this from a band that called itself Tool (as a metaphor for a big dick)

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The Tubes - The Tubes ( 75 ^ 95mb)

The beginnings of the group originate in Phoenix, Arizona in the late '60s, where guitarist Bill Spooner, keyboardist Vince Welnick and bassist Rick Anderson formed as the Beans. After moving to San Francisco in 1972, the Beans recruited guitarist Roger Steen and drummer Prairie Prince, and later became the Tubes with the addition of Michael Cotten on keyboards and former roadie Fee Waybill on lead vocals. Over the course of the next few years, the Tubes earned a devoted cult following on the strength of Spooner's parodic songs and the group's surreal live shows, which featured Waybill adopting a variety of personas including the "crippled Nazi" Dr. Strangekiss, country singer Hugh Heifer and Quay Lewd, a drug-addled British pop star.

After signing to A&M in 1975, they released their self-titled debut, produced by Al Kooper, this album by the notorious San Francisco group is best known for the blazing anthem "White Punks on Dope." Although the Tubes' raison d'être was their shock-rock stage dynamic, Bill Spooner, Fee Waybill, and company could, on occasion, deliver some offbeat pop splendor. A good example is the song "Haloes," co-written with Kooper, a tough power pop jewel that sounds like Todd Rundgren colliding with Roxy Music. Also of note is "Boy Crazy," which shows off Spooner's guitar skills. Kooper's production is faultless, as are the horn and string arrangements by Dominic Frontiere. In the end transferring the manic energy and theatrical complexity of their live set onto record didn't come off, however, the single "White Punks on Dope" became a minor hit and a radio staple. The 76 follow up album , Young And Rich, suffered much the same fate. The Tubes were ahead of their time..the videoformat would undoubtely have done their presence much good.

After 1977's failed concept record The Tubes Now, the group toured England, where a series of banned performances made them a media sensation. However, during the recording of the concert LP What Do You Want From Live? Waybill broke his leg onstage while acting out his punk character Johnny Bugger; the remainder of the tour was cancelled, and with it died the band's chart momentum. After returning to the U.S., they recruited producer Todd Rundgren and recorded 1979's Remote Control, a concept album exploring the influence of television, good reviews but it met a similar commercial fate as its predecessors. The Tubes choreographed stage productions were expensive to produce, however, and while they earned the band a reputation for being one of the most entertaining live acts of all time, by the early 1980s they found themselves short of money. Their proposed fifth album, the self-produced Suffer for Sound, was rejected by A&M Records, who dumped the band instead, finishing out its contract with the oddities collection T.R.A.S.H. (Tubes Rarities and Smash Hits).

After signing to Capitol, they recorded 1981's Completion Backwards Principle, an album based on an actual sales training instruction manual; both "Talk to You Later" and "Don't Want to Wait Anymore" earned significant radio play, and the LP became the Tubes' first Top 40 hit. Thanks to its provocative video, the single "She's a Beauty" reached the Top Ten, and pushed the 1983 LP Outside/Inside into the Top 20 Albums chart. The band teamed up with Rundgren once again for 1985's Love Bomb, a flop that led Capitol to drop the band just as it was going on tour in support of the album, a tour that would leave the band a half million dollars in debt, forcing them to play low-budget gigs for a year to pay off their debts. After which the Tubes disbanded, and Welnick later joined the Grateful Dead. In 1993, the Tubes reunited; consisting of Waybill, Steen, Anderson, Prince and new keyboardist Gary Cambra, they toured the U.S. and Europe before releasing a new LP, Genius of America, in 1996. In 2000, the Tubes embarked on another extensive tour, issuing the greatest-hits-live album Tubes World Tour to commemorate the event.



01 - Up From The Deep (4:27)
02 - Haloes (4:49)
03 - Space Baby (4:22)
04 - Malaguena Salerosa (3:48)

05 - Mondo Bondage (4:28)
06 - What Do You Want From Life (3:59)
07 - Boy Crazy (4:07)
08 - White Punks On Dope (6:41)

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Thin White Rope - Sack Full Of Silver (90 ^ 99mb)

Taking their name from William S. Burroughs' euphemism for ejaculation, Thin White Rope was founded in Davis, California in 1984; although the time and place of their formation aligned them with both the Paisley Underground and roots-rock movements, the group quickly staked out its own musical territory, divining their own unique brand of dark, surreal desert-rock. Thin White Rope was largely based on singer/songwriter/guitarist Guy Kyser and guitarist Roger Kunkel, with a changing line-up of drummers and bass guitarists. It was noted for its twin guitar attack, innovative use of feedback structures and Guy Kyser's harsh, tightly-coiled vocals and unsettling lyrics .

While Thin White Rope's 1985 debut Exploring the Axis flirted with neo-psychedelia, the 1987 follow-up Moonhead upped the ante by allowing the desperation of Kyser's lyrics to take full command of the music: unrelentingly grim and harrowingly provocative, the album's best songs "Crawl Piss Freeze" and "If Those Tears" were postcards from the edge. Following the addition of new bassist John von Feldt, 1988's In the Spanish Cave continued along the same path, albeit with a renewed sense of humor and more oblique wordplay.

Though garnering little notice stateside, Thin White Rope earned a solid fanbase in Europe, and even became the first American independent-label act to tour the Soviet Union. 1990's Sack Full of Silver, a collection of songs written while on tour abroad. Sack Full of Silver is, in many ways, one of Thin White Rope's most fully realized sets, blending the group's early alt-psychedelic influences and a growing taste for dusty Americana flavors. Sack Full of Silver is defined by the voice of Guy Kyser: the aural equivalent of the flat, parched, endless landscape an environment where failure, desperation, and hopelessness are common currency, adding up one's losses and moving on feels like a great victory. "The Ghost" catches its subject in the moment before that turning point, looking ahead as a life of loss begins to flood in. Revealing that they are working within a wider frame of reference, the group adapt Can's "Yoo Doo Right," distilling the original's 20 minutes into a compact, bursting rock number.

1991's T W R released The Ruby Sea, a dense, atmospheric work highlighted by the riveting "Clown Song." It proved to be Thin White Rope's studio swan song: in 1992 the band split, and while most of the players continued performing in various musical projects, Kyser devoted himself to a career as a botanist. The posthumous The One That Got Away 6-28-92 Ghent, a two-disc live set recorded in Belgium peppered with odd covers of Lee and Nancy's "Some Velvet Morning," Bob Dylan's "Outlaw Blues" and Hawkwind's "Silver Machine," appeared in 1993; Spoor, a collection of demos, remixes and rare tracks, followed two years later.



01 - Hidden Lands (3:00)
02 - Sack Full Of Silver (2:09)
03 - Yoo Doo Right (6:01)
04 - The Napkin Song (1:28)
05 - Americana/The Ghost (8:15)
06 - The Ghost (3:42)
07 - Whirling Dervish (5:36)
08 - Diesel Man (3:40)
09 - On The Floe (4:51)

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Tool - Ænima (96 ^ 171mb)

During the 1980s, each of the future members of Tool moved to Los Angeles. Both Paul D'Amour and Adam Jones wanted to enter the film industry, while Maynard James Keenan found employment remodeling pet stores after having studied visual arts in Michigan.Danny Carey performed as a drummer for Green Jellÿ and played in the Los Angeles area with Pigmy Love Circus. The Keenan and Jones eventually met in 89 and started jamming, gradually extending via friends, playing sessions, the name came about Keenan explains "Tool is exactly what it sounds like: It's a big dick. It's a wrench.... we are... your tool; use us as a catalyst in your process of finding out whatever it is you need to find out, or whatever it is you're trying to achieve."

After only a few gigs, the band was approached by record companies,and only three months into their career they signed a record deal with Zoo Entertainment. In March 1992, Zoo published the band's first effort, Opiate. Described by the band as "slam and bang" heavy metal and the "hardest sounding" six songs they had written to that point, the EP included the singles "Hush" and "Opiate". The band's first music video, "Hush", promoted their dissenting views about the then-prominent Parents Music Resource Center and its advocacy of the censorship of music. The video featured the band members naked with their genitalia covered by parental advisory stickers and their mouths covered by duct tape.
Tool's greatest breakthrough was to introduce dark, vaguely underground metal to the preening pretentiousness of art rock. Or maybe it was introducing the self-absorbed pretension of art rock to the wearing grind of post-thrash metal -- the order really doesn't matter. Even with their post-punk influences, they executed their music with the ponderous, anti-song aesthetic of prog rock, alternating between long, detailed instrumental interludes and tuneless, pseudo-meaningful lyrical rants conveying the strangled, oppressive angst of alternative rock in their songs.

It landed Tool a slot on the third Lollapalooza tour in 1993, which helped their first full-length debut album, Undertow, rocket into platinum status. The single "Sober" became a hit single by March 1994 and won the band Billboard's "Best Video By A New Artist" award for the accompanying stop motion music video. With the follow-up single "Prison Sex", the band again became the target of censorship. The song's lyrics and video dealt with child abuse, which sparked controversial reactions.

In September 1995, the band entered the studios to record their second album. At that time Tool experienced its only lineup change to date, with bassist D'Amour leaving the band amicably to pursue other projects. Justin Chancellor, a member of former tourmates Peach, came on board, and recording of the already-begun Ænima continued. The band enlisted the help of producer David Bottrill, who had produced some of King Crimson's albums while Jones collaborated with Cam de Leon to create Ænima's Grammy-nominated artwork. Tool are conceptually innovative with every minute detail of their art, sonically, the band has never sounded tighter. Long exploratory passages are unleashed with amazing precision, detail, and clarity, which only complements the aggressive, abrasive shorter pieces on the album. There is no compromise from any member of the band, with each of them discovering the dynamics of his respective instrument and pushing the physical capabilities to the limit. Topics such as the philosophies of Bill Hicks (eloquently eulogized in the packaging), evolution and genetics, and false martyrdom will fly over the heads of casual listeners. But those listening closely will discover a special treat: a catalyst encouraging them to discover a world around them to which they otherwise might have been blind.

By the time the band delivered their belated follow-up, Ænima, in 1996, alternative rock had lost its grip on the mainstream of America, and their audience had shaped up as essentially metal-oriented, which meant that the group and the record didn't capture as big an audience as their first album, despite debuting at number two on the charts. After a co-headlining slot with Korn on Lollapalooza '97 wrapped up, Tool remained on the road, supporting Ænima until well into the next year.

During their usual extended hiatus between albums, Maynard James Keenan decided to use his downtime productively by forming a side project, dubbed A Perfect Circle. The band's 2000 debut, Mer de Noms, was a surprise hit, while their ensuing tour was a sold-out success as well. With Tool breakup rumors swirling, the band put the speculation to rest by re-entering the recording studio and issuing the stopgap B-sides/DVD set Salival late the same year. Finally, May 2001 saw the release of Tool's third full-length release, Lateralus, which debuted at the number one position on the Billboard album chart and became the band's biggest hit. They received their second Grammy Award for the best metal performance of 2001 for the song "Schism". Extensive touring throughout 2001 and 2002 supported Lateralus and included a personal highlight for the band: a 10-show joint mini-tour with King Crimson in August 2001.

After the obligatory several-year sabbatical to pursue other projects, the group returned with another chart-topper, 10,000 Days, in 2006. It debuted at the top spots of various international charts. 10,000 Days sold 564,000 copies in its opening week in the US and was number one on the Billboard 200 charts. However, 10,000 Days was received less favorably by critics than its predecessor Lateralus had been. After the release of 10,000 Days, a tour kicked off at Coachella on April 30, 2006. The touring schedule was similar to the Lateralus tour of 2001.

Meanwhile, "Vicarious" was a nominee for Best Hard Rock Performance and 10,000 Days won Best Recording Package at the 49th Grammy Awards. In an interview conducted in May 2007, Justin Chancellor stated that the band would probably continue their tour until early 2008 and then "take some time off". He qualified this statement by adding that the band has already written new material and would surely release another album at some point down the road. A possible project until a next album is to make a "band movie".



01 - Stinkfist (5:11)
02 - Eulogy (8:29)
03 - H. (6:07)
04 - Useful Idiot (0:39)
05 - Forty Six & 2 (6:03)
06 - Message To Harry Manback (1:53)
07 - Hooker With A Penis (4:34)
08 - Intermission (0:56)
09 - Jimmy (5:24)
10 - Die Eier Von Satan (2:17)
11 - Pushit (9:56)
12 - Cesaro Summability (1:26)
13 - Ænema (6:40)
14 - (-) Ions (4:00)
15 - Third Eye (13:47)

a lite Ænima perhaps ?

Tool - Ænima (96, 77min 99mb)

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All downloads are in * ogg-7 (224k) or ^ ogg-9(320k), artwork is included , if in need get the nifty ogg encoder/decoder here !

Eight-X (20)

Hello, it's midweek, time to recall the Eight-X , a time that saw an explosion in musical creativity coupled with new media, the video clip. A time when things were still somewhat structured , surveyable and niches had little depth. How different these days, every week hundreds of albums are thrown in the now global mix, the production costs have dropped sharply, the money is in the marketing and thus there the decisions are made, a proces that started in the eighties btw.

For my first band of the day, things started as they did back then, a single, get picked up by an indie label, make an album, tour get recognised/credit and the bandwagons running at least as long as the mutual synergy is percieved to last, a decade is a long time Echo and The Bunnymen just about got there. Never mega but big enough , here's the first album thats set them on their path, its rather short (32min), later versions added 2 tracks but this is the first release, anyway as they say, short but sweet. ...Second up ..Landscape a band with more history than i thought, as they toured the circuit since 75 but got in the picture after placing synths in focus, after their first album did nada, with their second they even scored a hit the frivolous einstein a gogo, well it got balanced by the second single Norman Bates which showered them with some serious credibility, even if the title of the album makes me wonder, From The Tea-Rooms Of Mars ... To The Hell-Holes Of Uranus, now i can live with Tea Rooms on Mars but Hell Holes of Uranus ? Venus would have been much more applicable.... Finally China Crises ..seriously sweet...but after this album Working With Fire & Steel, commercially things glided south, still they managed a little tour last year to celebrate 25 years of China Crises even if they didnt release anything anymore during the second half of that period, i guess they rode the Eight-X wave...


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Echo and The Bunnymen - Crocodiles (80 ^ 81mb)

The Bunnymen grew out of the Crucial Three, a late-'70s trio featuring vocalist Ian McCulloch, Pete Wylie, and Julian Cope. Cope and Wylie left the group by the end of 1977, forming the Teardrop Explodes and Wah!, respectively. McCulloch met guitarist Will Sergeant in the summer of 1978 and the pair began recording demos with a drum machine that the duo called "Echo." Adding bassist Les Pattinson, the band made its live debut at the Liverpool club Eric's at the end of 1978, calling itself Echo & the Bunnymen. In March of 1979, the group released its first single, "Pictures on My Wall"/"Read It in Books," on the local Zoo record label. The single and their popular live performances led to a contract with Korova. After signing the contract, the group discarded the drum machine, adding drummer Pete de Freitas.

Their debut album, Crocodile, was produced by The Chameleons and Ian Broudie. Echo's brilliant, often harrowing debut album beginning with the dramatic, building climb of "Going Up," at once showcases four individual players sure of their own gifts and their ability to bring it all together to make things more than the sum of their parts. Will Sergeant in particular is a revelation -- plays the electric guitar as just that, electric not acoustic, dedicated to finding out what can be done with it while never using it as an excuse to bend frets. His highlights are legion, whether it's the hooky opening chime of "Rescue" or the exchanges of sound and silence in "Happy Death Men." Meanwhile, the Pattinson/De Freitas rhythm section stakes its own claim for greatness, the former's bass driving yet almost seductive, the latter's percussion constantly shifting rhythms and styles while never leaving the central beat the song to die. Then there's McCulloch himself, and while the imagery can be cryptic, the delivery soars, even while his semi-wail conjures up, as on the nervy, edgy picture of addiction "Villiers Terrace," Brisk, wasting not a note and burning with barely controlled energy, Crocodiles remains a classic.



01 - Going Up (3:52)
02 - Stars Are Stars (2:43)
03 - Pride (2:37)
04 - Monkeys (2:47)
05 - Crocodiles (2:33)

06 - Rescue (4:24)
07 - Villiers Terrace (2:42)
08 - Pictures On My Wall (2:50)
09 - All That Jazz (2:45)
10 - Happy Death Men (4:33)

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Landscape - From The Tea-Rooms Of Mars ... To The Hell-Holes Of Uranus 81

After leaving the soft rock band Easy Street, Richard Burgess formed a slick synth pop/jazz group called Landscape in 1975. In addition to Burgess, who sang and played drums, Landscape included Andy Pask (bass), Chris Heaton (keyboards), John Walters (keyboards, woodwinds), and Pete Thomas (trombone, keyboards). After building a following through touring, the band released its self-titled debut in 1980, which sold rather poorly. 1981's From the Tea-Rooms of Mars...to the Hell-Holes of Uranus firmly accented synthesizers as the focus of Landscape's sound, and they scored a Top Five U.K. hit with "Einstein A-Go-Go," as well as a Top 40 follow-up with "Norman Bates." It's an odd timepiece of a time in which synth pop was just about to begin a meteoric ascendancy, not as contrived as the most notorious synth pop recordings of the early '80s, nor was it emotionally engaging rock. Instead, it was rather dry, arch, and arty, emphasizing irony over emotion. It's too glossy and detached for its own good, but it does have a knowing, as well as a bit of jazzy lounge ambience. Actually, "Norman Bates," though far less known than "Einstein a Go-Go," is the most memorable song; its laconic, even-tempered computer-textured vocal pronouncements -- "my name is Norman Bates, I'm just a normal guy" -- come off as fairly chilling in their matter-of-fact disingenuousness.

1982's Manhattan Boogie-Woogie was the group's most danceable effort, but failed to deliver a hit. By the following year, the lineup had been pared down to a trio, released a couple of singles under the moniker of Landscape III, but didnt dent the charts and the band broke up for good in 1984. Burgess meanwhile had already begun a successful production career, working with artists like Spandau Ballet, Living in a Box, Visage, and King.

 

01 - European Man (4:17)
02 - Shake The West Awake (3:20)
03 - Computer Person (2:55)
04 - Alpine Tragedy (1:37)
----- Sisters (3:17)
05 - Face Of The 80's (3:23)
06 - New Religion (3:09)

07 - Einstein A Go-Go (3:05)
08 - Norman Bates (5:25)
09 - The Doll's House (5:22)
10 - From The Tea-Rooms Of Mars ... To The Hell Holes Of Uranus (7:20)
----- "Beguine"
----- "Mambo"
----- "Tango"

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China Crisis - Working With Fire And Steel (Possible Pop Songs Volume Two) (83 ^ 99mb )

China Crisis was inspired by similar sources but injected their pop songs with occasional political commentary and bluesy, reggae rhythms. Mostly a duo of vocalist/keyboard player Gary Daly and guitarist Eddie Lundon, the group formed in 1979 near Liverpool. The first China Crisis single, "African and White," didn't appear until 1982, but it was quickly picked up by Virgin and made the British charts. Realizing they needed a proper band, Daly and Lundon recruited bassist Gazza Johnson and drummer Kevin Wilkinson, and recorded their debut album Difficult Shapes & Passive Rhythms. Another single, Christian, made UK #12 in early 1983 and brought them to national prominence. By this time, Reilly had left but was still credited on the sleeve as a guest on the single along with new member Steve Levy (oboe/saxophone) The album peaked at #21. During this period the band toured supporting Simple Minds.

The second album, Working With Fire & Steel : Possible Pop Songs - Volume 2 was released in November 1983. This was regarded as a more consistent effort, with standout tracks being 'Tragedy and Mystery', 'Hanna Hanna' and the upbeat title track, Working With Fire & Steel, which became a hit single in Australia . The album was a Top 20 success in the UK, and China Crisis spent 1984-1985 making their biggest chart run, beginning with their one and only UK Top 10 hit single, Wishful Thinking.

Their third album, Flaunt The Imperfection, was produced by the sympathetic Walter Becker (of Steely Dan fame) and reached #9 in the UK charts in May 1985. According to the album credits, China Crisis was now officially a quintet consisting of Daly, Lundon, Johnson, Wilkinson, and Becker. However, Becker never appeared with the band and the subsequent tour featured new keyboardist Brian McNeil. Johnson was now credited as co-writer with Daly and Lundon. In 1986, the band returned with the lower-key What Price Paradise, the key tracks being the epic Arizona Sky, the bouncy pop of 'June Bride', and the unusual 'The Understudy'. All the band were now credited as songwriters. A second single from the album, Best Kept Secret, made UK #36 in early 1987. It was to be the band's final Top 40 hit single.

The five-piece band worked with Becker once more on 1989's Diary Of A Hollow Horse, which earned critical acclaim though little commercial success. Becker acted as the producer of most of the album's tracks, but this time was not credited as an official band member. The band's last studio album, Warped By Success, was released in 1994 following the band's parting of ways with the Virgin label and produced their final UK Top 100 single, Everyday The Same. The band was now listed as comprising Daly, Lundon, producer terry Adams and engineer Mark Phythian. In 1995 they released a live unplugged album and video entitled Acoustically Yours, which proved to be their recording swansong. Despite the stylistic deviations, China Crisis maintained their distinctive sound through their albums in the 1980s and '1990s.

Since 1992 there have been four compilations albums of their work for the UK/US markets and three live DVDs. China Crisis toured the UK during January and February 2007 as part of their 25th Anniversary.



01 - Working With Fire And Steel (3:35)
02 - When The Piper Calls (3:59)
03 - Hanna Hanna (3:25)
04 - Animals In Jungles (3:34)
05 - Here Comes A Raincloud (4:16)

06 - Wishful Thinking (4:36)
07 - Tragedy And Mystery (3:58)
08 - Papua (3:32)
09 - The Gates Of Door To Door (4:11)
10 - The Soul Awakening (4:26)


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All downloads are in * ogg-7 (224k) or ^ ogg-9(320k), artwork is included , if in need get the nifty ogg encoder/decoder here !

Around the World (20)

Hello, Around the World continues the Medieval theme, with the second Mittelalter ( Medieval ) Special from Sonic Seducer, and was last weeks theme Tristan Und Isolde, today it's the Cantus Buranus, madefamous by Orffs clasical interpretation 100 years ago, but obviously these songs were far older and Corvus Corax were well poised to bring these songs into the here and now but with the instruments of the time. It was a big project and its available on DVD aswell.

The 20 th of december 2006 Corvus Corax gave a concert at The Melkweg, Amsterdam, you can watch it here



in case the embedding fails here's a direct link Corvus Corax Concert
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Corvus Corax - Cantus Buranus (05 ^ 99mb)

Corvus Corax was formed in 1989 by Castus Rabensang, Win (Venustus) and Meister Selbfried ("Master Selfpeace"). The band often uses bagpipes as the solo instrument, their live performances attract attention with bizarre look of the musicians being reminiscent of ancient Greek myths: half-naked, dressed in unusual clothes, wearing different ancient-like decorations, often tattooed. Today the band consists of eight members: Ardor vom Venushügel ("Ardor from the Venusmount"), Castus Rabensang, Patrick der Kalauer ("Patrick the groaner"), Harmann der Drescher ("Harmann the thrasher"), Hatz ("hunt"), Jordon Finus, Teufel and Wim (Venustus). In May 2005 Meister Selbfried, one of the Corvus Corax founders and the researcher of medieval music, decided to cease his active musicianship and to dedicate himself mostly to managing the Corvus Corax' own label Pica Records.His place in the line-up was taken by Jordon Finus in 2006.

Because medieval music theory was dominated by ecclesiastics, it is often difficult to determine from the existent manuscripts exactly how the secular (popular) music of the day sounded. Corvus Corax draws on a number of sources to try to make their music as authentic as possible: they have used documents that "condemn profane music" as an indicator as to what the music might have sounded like. The profane music of the day was often accompanied by a droning bass tone similar to that generated by the bourdon stop on an organ, which is provided in Corvus Corax's case by the drones on their bagpipes. An inkling as to the harmonies used is found in a song by Walter von der Vogelweide, in which he calls for the song to be played "the old way", meaning harmonising with thirds. At the time, the third was considered an awkward, ugly interval by the sacred musician — like the tritone, or diabolus in musica — but it was a common interval in folk music.

Between 89 and 2005 they released 11 albums, toured Europe, 11 weeks in Japan livened up every Medieval Market and socalled Knight's Tournaments, wrote film music, researched music and build instruments. I guess most of us missed all that and their old albums aren't easy to come by and Medieval Markets seem beyond the imagination of the Councils around here.

In 2005 Corvus Corax started the ambitious project "Cantus Buranus": a full-length opera set to the original Carmina Burana manuscript lyrics. The music for the opera was fully composed by the band and had no connection with the famous work by Carl Orff. It was performed with symphonic orchestra, choir and medieval ensemble, combining traditional symphonism with medieval minstrel-like melodies. The project included a CD recording, a DVD, as well as live performances. A live CD and DVD recording of Cantus Buranus was released in March 2006.

After having played all over Europe, Jordan and Japan, finally, supporting the release there of a compilation of Corvus Corax , previous 11 albums, 2005 saw their debut concerts in the USA. The band performed four sets on each of four different days in mid-October, not far from Philadelphia at the Pennsylvania Renaissance Faire. By 2006 they released Venus Vina Musica on both sides of the atlantic simultanously. 2007 saw the release of a remastered greatests "Kaltenberg Anno MMVII".



01 - Fortuna (4:12)
02 - Florent Omnes (5:47)
03 - Dulcissima (5:01)
04 - Lingua Mendax (5:02)
05 - Rustica Puella (4:19)
06 - Nummus (3:34)
07 - Curritur (4:21)
08 - Sol Solo (4:25)
09 - Venus (4:52)
10 - O Langueo (4:11)
11 - Ergo Bibamus (6:00)

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VA - Middleages Special II (Sonic Seducer ) (03 ^ 99mb)

A few months later after the overwhelming positive respons they released a Medievil Special II .This came as a second freebie cd of a Goth / EBM /Iindustrial magazine, Sonic Seducer. As meantioned last week i bought it for several years, until my eyes refused all that small print (so much copy there ), well i have reading glasses now. An excellent magazine with a monthly bonusdisc and sometimes two, like this Mittelalter (medievil) special. A perfect showcase for bands you likely have never heard of.

For those that read German, i can point you to their excellent website, the subscription cost is remarkably low for what you get each month, check it out. Sonic Seducer



01 - Haggard - All'Inizio De La Morte (5:01)
02 - Schandmaul - Tyrann (3:47)
03 - Adaro - Wer Alten Weibern Traut (4:17)
04 - Estampie - Avolgente (4:52)
05 - Faun - Ne Alduj El (5:16)
06 - Saltatio Mortis - Dädalus (4:08)
07 - Varius Coloribus - Steinjung (4:26)
08 - Corvus Corax - Suam Elle Ires (3:09)
09 - Voluptatis Causa - Hexezirkel (2:38)
10 - Van Langen & Des Teufels Lockvögel - A.V.L.L. (3:34)
11 - Ohrenpeyn - Skudrinkanischer Remix (5:04)
12 - Nerthus - Battle Song (5:36)

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All downloads are in * ogg-7 (224k) or ^ ogg-9(320k), artwork is included , if in need get the nifty ogg encoder/decoder here !

Don't panic ! (20)

Hello, last week The Hitchhikers Guide To The Galaxy entered it's Quandary Phase here's a recap of fit 19:

Arthur discovers that the entry for "Earth" in the Hitchhiker's Guide to the Galaxy, which formerly had been edited down to "Mostly Harmless," has been replaced, with Ford's original full version. They head towards Earth independently, Arthur arriving first. After landing in a field in Somerset, Arthur tries to hike a lift to Cottington, to see if his house still exists. Along the way, he meets Rob McKenna, a man who complains about the rain, before realising he has hitched a lift the wrong way. He gets out, and gets a lift with Russell, whose sister, Fenchurch, is out cold on a back seat of the car. Arthur is instantly smitten, and asks about her. Russell claims that she is mad, and has been ever since "the hallucinations" — the Vogon Constructor Fleet.

On the Constructor Fleet, a junior crew member notices that Earth has re-appeared. He is overridden by the captain, Jeltz, who declares that he saw it destroyed himself.Meanwhile, Ford is stuck in a bar with a large bill, which he avoids paying by promising to write an entry for the bar in the Guide. On the streets, he is asked by a hooker whether he is "rich", and says that he might be — being owed several years back pay for writing two words. He shows the two words .. "Mostly Harmless" .. to the hooker, and is shocked to see the guide updating this to his full entry. He decides to go to Earth himself.

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THHGTTG - Fit 20

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All downloads are in * ogg-7 (224k) or ^ ogg-9(320k), artwork is included , if in need get the nifty ogg encoder/decoder here !

Sundaze (20)

Hello, Sundaze is not ready with Tuxedomoon yet, after last weeks (meta) physical Inside Out there's some more older work from the global villagers, i hope it will entice you to check out their later works and if you get the chance, make sure you get to see them live..

Futuristic and romantic, lyrical and visionary, electronic and acoustic, with its drum machines, saxophones, wailing violins and haunted vocals, American but very European...

After releasing a string of albums on CramBoy (the imprint they set up with Brussels-based label Crammed Discs), the band stopped recording together in 1988, and the various members pursued solo careers, becoming as disparate geographically as sonically, with Steven Brown (vocals, keyboard & saxophone) living in Mexico, Peter Principle (bass, electronics) in New York, Blaine L. Reininger (vocals, violin, guitar) in Greece, and Luc Van Lieshout (trumpet) & Bruce Geduldig (films/visuals) in Brussels.

Many years later, Tuxedomoon got back together to write and record the awesome "Cabin In The Sky" album (2004), which found them in absolute top form, as romantic, rebellious and boundlessly imaginative as they ever were. "Cabin" featured contributions by a carefully hand-picked selection of guests such as Tarwater, Tortoise's John McEntire, Nouvelle Vague's Marc Collin and DJ Hell.
Shortly after finishing "Cabin In The Sky", Tuxedomoon traveled back to San Francisco, the band's birthplace, in order to start writing material for their next album. But the local atmosphere had unexpected effects on them, and drove them to record a series of "spontaneous compositions" instead, which soon formed the basis of a side project entitled "Bardo Hotel Soundtrack" loosely connected to Brion Gysin’s novel ‘The Bardo Hotel’ set in the Paris hotel where he and William Burroughs invented the radical cut-up/fold-in technique. Both "Cabin…" and "Bardo Hotel…" were warmly welcomed, and a wildly eclectic array of references sprang from the pens of reviewers trying to describe Tuxedomoon's music.

If anything, these two recent albums revealed that Tuxedomoon were never connected to a particular period: they had become '80s cult figures simply because that's the period in which they happened to develop and rise to fame… but the band have always been evolving in their own space, and their music is as relevant and fresh today as it was then. An impression to be further strengthened by their latest album "Vapour Trails", which is bound to appeal equally to fans of, say, contemporary cutting-edge avant-rock, electronica and jazz. To celebrate the band's 30th anniversary, Crammed has released a limited-edition boxed set entitled 77o7 tm, which will include the new album along with a CD of previously-unreleased archives, a DVD containing 160 minutes of rare or previously-unreleased videos, and a live CD recorded in early 2007.

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Tuxedomoon - Holy wars ( 85 ^ 99mb)

"Holy Wars" was recorded in 1985 whileTuxedomoon are at the peak of their popularity in Europe. Blaine Reininger has left the band, and is replaced by Dutch trumpet and harmonica player Luc van Lieshout. Nevertheless TM produce a mature album which gets released all around the world , and becomes their best-seller. Right from the confident opener "The Waltz" the stage is set for some of the most poignant and moving songs "Some Guys", "In a Manner of Speaking", "Bonjour Tristesse", "Holy Wars"), aswell as the introduction of new instrumental colours (van Lieshout) Among other subjects, the lyrics are about wandering in the new European megapolis: Wim Wenders recognizes some of his own obsessions, and uses "Some Guys" in the opening scenes of "The Sky Above Berlin".



01 - The Waltz (5:12)
02 - St. John (4:33)
03 - Bonjour Tristesse (5:28)
04 - Hugging The Earth (4:02)
05 - In A Manner Of Speaking (3:30)
06 - Some Guys (4:58)
07 - Holy Wars (6:44)
08 - Watching The Blood Flow (5:10)
09 - Egypt (4:57)
10 - Soma (5:42)

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Tuxedomoon - You (87 ^ 99mb)

TM's last studio album, "You" was recorded in 87. Winston Tong has gone missing for two years, and has been replaced by young multi-instrumentist Ivan Georgiev. A strange, tortured album, cabaret, jazz-noir, off beat and desoriented yet humorous and intelligent.With hindsight it announced the end of the band. It contains great moments: the epic "Never-ending Story", "You", "Boxman" (a series of short dialogues based on the writings of Japanese writer Abe Kobo), etc.
It would be 17 years before Tuxedomoon got back together again to record "Cabin In The Sky".



01 - Roman P. (3:20)
02 - The Train (4:33)
03 - 2000 (5:13)
04 - Never Ending Story (7:40)
05 - Stockholm (3:23)
06 - Boxman (Mr. Niles) (2:23)
07 - Spirits & Ghosts (7:42)
08 - Boxman (The City) (2:24)
09 - You (5:38)
10 - Boxman (Home) (2:29)

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Tuxedomoon - Ten years in one night - live (88, 74 min ^ 172mb)

After the release of Pinheads on the move a compilation of early singles, rehearsals, live recordings and other rarities. It made sense to round of and celebrate the 10th anniversary of Tuxedomoon with an official live album. The vinyl and later 2cd version contains 3 more tracks. It Includes all of their classics, as performed by the line-up of Steven Brown, Blaine L.Reininger, Winston Tong, Peter Principle, Pul Zahl, BruceGedulding, Luc Van Lieshout and Ivan Georgiev.



01 - Michael's Theme (2:04)
02 - Burning Trumpet (6:40)
03 - The Waltz (5:13)
04 - In A Manner Of Speaking (3:10)
05 - The Cage (4:46)
06 - Everything You Want (5:49)
07 - Courante Marocaine (7:20)
08 - Litebulb Overkill (2:48)
09 - Desire (7:05)
10 - Nervous Guy (4:09)
11 - Pinheads On The Move (6:24)
12 - No Tears (8:12)
13 - In Heaven (3:34)
14 - Nazca (4:58)

Tuxedomoon - Ten years in one night - live (88, 74 min * 99mb)

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All downloads are in * ogg-7 (224k) or ^ ogg-9(320k), artwork is included , if in need get the nifty ogg encoder/decoder here !

Rhotation (20) Into BPM

Hello, Saturday and that means Into BPM, today's beats still ring...First off, Plump DJ's..i spent a lot of time searching for the Plump Night Out cd..even in my defunkts drawer..(i never throw a disk away). Nothing ! I suspect it will rematerialise again later, well Eargasm was where it should be, so it's the second Plump DJ's cd today, not as stunning a surprise as the first, but still a good dance album. Second up are Freeform Five, i could find the reason for Five apart from the obvious alliteration (FFF) which works with Four (number of bandmembers) aswell, but i guess it shows the perfectionism as FF4 doesnt roll aswell as FF5. Those who' ve heard of them were likely as impressed with their 'Beau Mot Plage' (99) remix as i was. Well the Misch Mash double album showcase their skills very well . Unfortunately they haven't been that productive since 99, that is beside lot's of remixes and DJ ing, latter is an obvious drain of energy for a creative man like band leader Pillai, who's talents go beyond the dancefloor. But then he's still a decade away from a midlife crises. Nuf said , for those with limited bandwidth and or disk space there's a lite version (192k) and full throttle for the others.

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Plump DJs - Eargasm (03 ^ 163mb)

Plump DJs Lee Rous and Andy Gardner are responsible for one of the fattest sounds of the new millennium, a throwback fusion of acid house and electro-shock heard all over Britain's dancefloors, as well as Levi's commercials and Sony PlayStation games. Working out of their Laboratoire Plump studio in deepest, darkest Soho, the duo perfected its style with early singles "The Push" and "No Way". Remixes followed for Orbital, BT, Freestylers, and Elektronauts. The next year, they released their first album A Plump Night Out its singles "The Push/Remember My Name". The album stayed in the top position of DJ magazine breakbeats chart for three weeks.Soon after they were approached by dance music culture magazine, Mixmag, to mix one of their cover CD's. The mix, titled Elastic Breaks, featured the Februari 2001 edition. May 2001 they released a two CD mix compilation called Urban Underground, late 2002 they were asked to make another mix for well-known super club Fabric, which resulted in the release of Fabriclive 08 in February 2003.

They released their second artist album, Eargasm, on July 7, 2003. It featured collaborations with Gary Numan, Eddie Bo and Louise Robinson (Formally Rhodes) of Lamb. Surpass their debut album it didn't obviously working with guests demanded more seriousness. Following the release of Eargasm, they established a quarterly night club night of the same name at Fabric in London after the popularity of their FabricLive mix CD. On 4 July 2005, they released Saturday Night Lotion. It is considered their third artist album, due to the sheer number of original productions included on it. Soon after the release of Saturday Night Lotion, they were called upon to precide over the mixing duties of Mixmag's 'Breakbeat Annual 2005' which was to be included in their upcoming November issue.They are one of the few breakbeat acts to have songs that have broken in to more mainstream radio programs. In addition to producing, they have toured outside the UK to DJ at breaks events around the world.2007 they released two singles "Mad Cow" and "System Addict / Doppler" both released on Finger Lickin .



01 - Creepshow (6:11)
02 - Weighed Down (5:04)
03 - The Funk Hits The Fan (Feat.Eddie Bo)(5:30)
04 - In Stereo (3:06)
05 - The Gate (8:06)
06 - Morning Sun (Feat.Lou Robinson) (4:52)
07 - Mantra (7:22)
08 - Pray For You (Feat.Gary Numan) (5:18)
09 - Something Going On (4:20)
10 - Contact Double Zero (5:48)
11 - How Much Is Enough (5:47)
12 - Cry Wolf (6:55)
13 - Tilt (4:50)

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Freeform Five - Misch Masch 

Freeform Five has four members: lynchpin producer, multi-instrumentalist and chief songwriter Anu Pillai and vocalists Cabba, Tamara Barnett-Herrin and Nick Decosemo.

Perhaps more than anything else, it was the much admired and oft-compiled re-fashioning of Isolee's 'Beau Mot Plage' from minimal techno gem into Brazilian-acid-funk-Key-Of-Life house belter that alerted many to the fact that Freeform Five was no ordinary production outfit. 'Beau Mot Plage' featured no less than 11 musicians, and the vocal stylings of moonlighting journalist Nick Decosemo, the second primary number in Freeform Five's fluid configuration.

Pals for years, they met in the sixth form at school in Newcastle. Anu and Nick found common ground in music, forging a friendship over the three Ps: Prince, P-Funk All Stars and, perversely, the Pixies. So Anu and Nick formed their first band. Playing a timely stew of Funkadelic and Stone Roses. But then Nick headed off to college in Scotland while Anu stayed in Newcastle to do an art foundation and put his record collection to good use with his first DJ residency - Friday nights at the (then) Riverside club. By chance, up in Dundee, Nick and two of his new friends, Gary and Roy, were about to attempt something similar with a night called The Spaceship. Gary is now a bonafide rock star with Snow Patrol and Roy is now better known to millions as bootleg mash-up pioneer Freelance Hellraiser.

Anu also left heading for Cambridge 'to DJ and do a degree on the side'. At the same time another Cambridge student, Tamara, was having similar extra-curricular experiences, discovering the joys of dancing around like a loon to house music. The two didn’t really get to know each other until after they left. 'After Cambridge I was searching. ..and then I bumped into Anu and the rest is history'. At this stage Anu was working in music full time – on commercial soundtrack work by day and his own house productions and remixes by night. Keeping a constant lookout for new vocal talent was his way of investing in his future. 'I had an idea for a song, 'Break Me', when Nick dropped into the studio. I got him to sing the chorus as a dummy vocal track to work with, but on playback it sounded great so I thought 'Fuck it! I’m keeping it'.'

The final piece of the jigsaw was another chance meeting, another post-acid house musical vagrant and another exotic background. 'I was born in London,' Cabba begins. 'But via Sierra Leone ended up in Australia when I was eight. Part of a hip hop crew in Melbourne, but then Howard country drove him back to his place of birth, London, seeking out the electronic scene here. He met Anu at a party. who helped him straighten out his life. As for Anu; it made sense with the range of music to have three different voices for it. It's been a kind of haphazard process, but at the end, with Cabba joining it all just fell into place.'

The 2004 debut album “Strangest Things” is an inspired mix of Prince, Blondie and Kraftwerk (thrown into the acid house blender). They also had a series of vinyl-only releases including "Perspex Sex", "Electromagnetic" and "Eeeeaaooww". Anu’s DJ mix albums Bisous Bisous II 2006 and Misch Masch ( 2005) .Where he follows Tiefschwarz's 'Misch Masch' with a glorious mix of disco, dancehall, new wave, electro, techno and Italo. And as a bonus a cd with Freeform remixes, many of them much sought after.

No More Conversations was re-released in 2007 along with new remixes by Mylo, Fedde Le Grand, Mason, Switch and Subliminal Kid. Anu has also written with other artists such as The Glimmers, Mylo, Sophie Ellis Bextor, Richard X and Shinichi Osawa.Freeform Five continue with dj gigs and live performances at clubs like Fabric(London), Manumission(Ibiza), Week End(Berlin), Razz(Barcelona), Paris Paris(Paris), Lux(Lisbon), plus dates in Scandinavia, America and Japan.



Freeform Five - Misch Masch (05, 77min ^ 203mb)

01 - Plant Life - The Last Song (3:04)
02 - Freeform Five - Electromagnetic (Freeform Reform Dub Featuring Lyric L) (3:04)
03 - Breakwater - Release The Beast (1:41)
04 - Freeform Five - Losing My Control (A Cappella Featuring Lateef) (1:49)
05 - Comateens - Get Off My Case (Dub) (1:03)
06 - Skatta - All The Ladies Looking Naughty (0:16)
07 - Kango's Stein Massiv - Eddik (2:07)
08 - Freeform Five - Perspex Sex (Maurice Fulton Remix A Cappella) (1:15)
09 - Impossible Dreamers - Spin (3:08)
10 - Funkadelic - In The Cabin Of My Uncle Jam (0:37)
11 - Mr. Vegas - Pull Up (A Cappella) (2:00)
12 - Punks Jump Up - Be You (Beep Beep) (3:52)
13 - Wax - The Crocodile (1:16)
14 - Freeform Five - Eeeeaaooww (A Cappella Featuring Bounty Killer) (3:36)
15 - Jean Winner - Alive And Kicking (DJ Naughty Remix) (3:43)
16 - Franz & Shape - Countach (1:29)
17 - Freeform Five - Break Me (Jackson Remix) (2:58)
18 - Freeform Five - What Do I Want From You? (Paul Woolford Remix) (5:50)
19 - Simian Mobile Disco - Piggy In The Middle (2:14)
20 - Pink Grease - The Pink G.R.EASE (3:11)
21 - Soulwax - NY Excuse (3:49)
22 - Daan - Housewife (2:13)
23 - Diplo - Newsflash (3:27)
24 - Freeform Five - No More Conversations (Richard X Remix) (3:41)
25 - Seymour Bits - You Must Be The Bass (2:42)
26 - Roman Flügel - Geht's Noch? (2:00)
27 - Aphex Twin - Windowlicker (4:36)
28 - Lindstrøm - I Feel Space (6:20)

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Freeform Five - Misch Masch 2 (05 ^ 172mb)


01 - Isolée - Beau Mot Plage (Freeform Reform Part I & II) (10:37)
02 - Annie - The Greatest Hit (Freeform Reform Vocal) (8:23)
03 - X-Press 2 ( Feat. David Byrne) - Lazy (Freeform Reform Vocal) (10:07)
04 - Elton John - Are You Ready For Love (Freeform Reform Vocal) (9:52)
05 - N*E*R*D - Lapdance (Freeform Reform Vocal) (8:47)
06 - Mylo - Musclecar (Freeform Reform Vocal) (7:20)
07 - Felix Da Housecat - Rocket Ride (Freeform Reform Vocal) (7:23)
08 - Alter Ego - Beat The Bush (Freeform Reform Vocal) (6:02)
09 - Isolée - Brazil.com (Freeform RIO-LHR-TXL-BOM Reform) (6:17)

diet versions
Freeform Five - Misch Masch (05, 77min 99mb)
Freeform Five - Misch Masch 2 (05, 74 min 99mb)

***** ***** ***** ***** *****
All downloads are in * ogg-7 (224k) or ^ ogg-9(320k), artwork is included , if in need get the nifty ogg encoder/decoder here !

Alphabet Soup (19)

Hello Alphabet Soup day again, and we've arrived at the letter which ever since i can remember has occupied the most room in the shop racks. Why those bands choose a name that starts with S ...beats me, call yourselves Quivver and you stand out and are easily found, but no they like to delve under S....i'm open to suggestions as to why this is, to me its like shooting yourself in the foot. So we are at S and as i said so much choice.
Now i wanted to have another seventies title and i kinda tossed between Slade and Spirit, latter won , i'm just more into metaphysical these days. Turns out with Twelve Dreams Of Dr. Sardonicus i had an absolute classic in my hand, one that imprinted many an artist over the years, it's that good. Researching i found out about Randy California's nick (given to him by Jimi Hendrix) and his tragic/heroic death saving his son but drowning himself, his body never found, but his Spirit sure lives on. Next up Stone Roses, admittedly later i had second thoughts, this band was so hyped and went about with a nasty attitude. So why did i pick them, well for one they no longer exist. The first album has some strong moments and for the brits led a revival of british bands from the indie into the mainstream and yes i danced to that 'pyrite' track too....Sneaker Pimps my third choice today have released several good albums, their first with a female singer (Kelli Ali) who voices the attractions and detachments that inner city life brings. Sometimes painful, sexdriven, dissapointments... maybe the neuroticisms are more easily taken coming from a woman , but when Sneaker Pimps sacked her, Chris Corner showed he could voice those agony's aswell, admittely with some more testosteron. Becoming X comes with some miXes added.

***** ***** ***** ***** *****

Spirit - Twelve Dreams Of Dr. Sardonicus (70 ^ 98 mb)

Spirit was a highly regarded rock band that achieved modest commercial success, charting 11 albums in the U.S. between 1968 and 1977. Founded in Los Angeles in 1967 by musicians who had a mixture of rock, pop, folk, blues, classical, and jazz backgrounds, and who ranged in age from 16 to 44, the group had an eclectic musical style in keeping with the early days of progressive rock; they were as likely to play a folk ballad featuring fingerpicked acoustic guitar, a jazz instrumental full of imaginative improvisation, or a driving rhythm tune dominated by acid rock electric guitar playing. The diverse tastes of the original quintet produced a hybrid style that delighted a core audience of fans but proved too wide-ranging to attract a mass following, and at the same time the musicians' acknowledged talents brought them other opportunities that led to the breakup of the original lineup after four years and four albums, then kept them from committing fully to regroupings as their music began to be recognized in later years. While two bandmembers, singer/guitarist Randy California (Randolph Craig Wolfe) and drummer Ed Cassidy, maintained the Spirit name, the others came and went as their schedules allowed, such that the group never fulfilled its early promise, although, as a vehicle for California's songwriting and guitar playing, it continued to produce worthwhile music until his death.

Spirit's self-titled debut album, which was released in January 1968. Spurred by the single "Mechanical World," which had some regional success, the LP entered the Billboard chart in April and spent more than six months there, peaking in the Top 40 in September. Spirit toured extensively while working on their second album and preparing a score for French director Jacques Demy's film Model Shop (January 1969), in which they also appeared. The second album, The Family That Plays Together, followed in December 1968. With the hit single spurring sales, it peaked at number 22 in March 1969. With the accelerated schedules typical of record releases in the 1960s, Spirit had to have another album ready quickly, and Clear appeared in July 1969. The album led off with the California/Ferguson composition "Dark Eyed Woman," the LP also contained material written for the Model Shop score that, not surprisingly, sounded like background music. Clear was a disappointment after the success of The Family That Plays Together, peaking at number 55 in October. In December, the band released a one-off single, California's "1984," and it gave early indications of becoming a hit, rising to number 69 by March 1970 before radio became resistant to its ominous lyrics, which referred to the dystopian novel of the same name by George Orwell. Sessions for the fourth album commenced in April 1970, but they were interrupted when California suffered a fractured skull due to a fall from a horse and spent a month in the hospital. Ultimately it took six months to complete the LP, released as Twelve Dreams of Dr. Sardonicus in November.

Although Twelve Dreams of Dr. Sardonicus has the reputation of being Spirit's most far-out album, it actually contains the most disciplined songwriting and playing of the original lineup, cutting back on some of the drifting and offering some of their more melodic tunes. This loosely-based, sci-fi concept album is a diverse yet cohesive effort, and long considered by fans, critics and musicians alike to be one of the finest albums ever recorded.[citation needed] The album's second song is the keynote track "Nature's Way", the most notable hit (along with "I've Got a Line on You") the band would ever produce. "Mr. Skin" also became a hit single in the U.S., three years after the album's release. The album also includes several other lesser-known tunes which are considered to have had an impact on the genre of experimental rock in the United States.

Spirit toured in support of the album during the winter and spring of 1971, but Epic failed to break a successful single from the LP.. Ferguson and Andes, frustrated at the band's lack of broad commercial success, quit Spirit to form a new band, Jo Jo Gunne, with Matt Andes and drummer Curly Smith. Initially, Spirit hired bassist John Arliss and played as a quartet. Then, California quit to launch a solo career. Remaining members Cassidy and Locke brought in two new musicians, brothers Al Staehely (bass) and Chris Staehely (guitar), and in November they began recording a new Spirit album. It appeared in February 1972 under the title Feedback. When Cassidy left the band, followed by Locke, the Staehely brothers brought in a drummer and briefly toured as Spirit. They didn't get away with that for long, but it was easy to see why promoters were interested in having a Spirit band on the road, no matter who was in it. Twelve Dreams of Dr. Sardonicus, though off the charts, had become an FM radio favorite and a perennial seller (it would be certified as a gold record in 1976), and Epic re-released The Family That Plays Together, which reentered the charts in July 1972.

Cassidy traveled to Hawaii and got back in touch with California. Joined by Mark Andes, who had left Jo Jo Gunne, they began playing dates by September 1974; Locke also performed with them at the start of 1975, but neither he nor Andes stayed permanently. They recorded an album that they shopped, signing to Mercury Records, which released the double LP Spirit of '76 in May 1975, they quickly followed in October with Son of Spirit, another modest seller. For Farther Along, released in June 1976, they were again joined by Andes and Locke, as well as Matt Andes. Future Games (A Magical Kahauna Dream), the fourth Spirit album on Mercury, released in January 1977, found California standing alone and bare-chested on the front and back covers, and he played all the instruments on the record. Sales again were modest, and the Mercury contract expired. The band toured as a quartet including Locke and Knight, then carried on as a trio when Locke dropped out again. In March 1978, the group toured Europe, and their show at the Rainbow Theatre in London on March 11 was recorded for a live album. The LP appeared that fall on different record labels and in different configurations in different countries.

By the end of 1982, the quintet did re-form. In the interim since 1976, Ferguson had enjoyed a successful solo career including the Top Ten hit "Thunder Island" and was moving into film soundtrack work; Andes had joined Heart; and Locke had joined Nazareth. Nevertheless, they reunited with California and Cassidy to make a live-in-the-studio recording at the A&M Soundstage in Hollywood that included re-recordings of old Spirit favorites and a few new songs. The album was shopped around and eventually sold to Mercury, which released it in March 1984 in the U.K. under the title The Thirteenth Dream. It appeared that summer in the U.S. renamed Spirit of '84, and the band played a few dates on the West Coast to promote it, but their various commitments made the reunion short-lived. California and Cassidy then recruited keyboard player Scott Monahan and bass player Dave Waterbury and continued to tour into 1985. That spring, California released his third solo album, Restless, again only in Europe, and toured the continent under his own name to promote it. But by late summer, Spirit was again on the road as part of a package tour of '60s acts raising money for the restoration of the Statue of Liberty.

California and Cassidy continued to lead configurations of Spirit over the next few years. After California participated in I.R.S. Records' Night of the Guitar tour, the label signed Spirit for a new album, and Rapture in the Chambers appeared in April 1989 with California, Cassidy, and Locke listed as the bandmembers and Mark Andes, who played bass on two cuts, credited as a guest artist. A year later, Spirit released another new album, Tent of Miracles, on its own Dolphin label with a lineup consisting of California, Cassidy, and Mike Nile. By now, the band had become an established U.S. club act that also undertook yearly tours of Europe. California and Cassidy continued to lead other configurations as Spirit for the next five years, releasing Live at La Paloma in 1995 and completing California Blues in 1996.

On January 2, 1997, California was swimming with his family off the coast of Molokai, HI, when he and his 12-year-old son Quinn were caught in a riptide. California succeeded in pushing his son to shore, but he was swept out to sea, and his body was never recovered. Randy California's death meant the end of Spirit, of course, although the indefatigable Cassidy, by now in his seventies, toured with a band called Spirit Revisited. More than 25 years after its original 1970 release, the 1996 re-issue of Twelve Dreams Of Dr. Sardonicus brought the creation back to life. Remastered and featuring previously unreleased material, it rekindled an interest in the unorthodox and innovative band. So how did this classic sound back then ? When working on it (descratching), i understood how come this album got such a status, sure there are some obvious seventies elements but the work is daring and inventive and if anything a musicians staple..well worth a listen.



01 - Prelude - Nothin' To Hide (3:41)
02 - Nature's Way (2:29)
03 - Animal Zoo (3:20)
04 - Love Has Found A Way (2:42)
05 - Why Can't I Be Free (1:03)
06 - Mr. Skin (3:49)

07 - Space Child (3:25)
08 - When I Touch You (5:35)
09 - Street Worm (3:40)
10 - Life Has Just Begun (3:29)
11 - Morning Will Come (2:49)
12 - Soldier (2:42)

***** ***** ***** ***** *****

Stone Roses - The Stone Roses (89 ^ 139mb)

The Stone Roses emerged from the remains of English Rose, a Manchester-based band formed by schoolmates John Squire (guitar) and Ian Brown (vocals). In 1985, the Stone Roses officially formed, as Squire and Brown added drummer Reni (born Alan John Wren), guitarist Andy Couzens, and bassist Pete Garner. The group began playing warehouses around Manchester, cultivating a dedicated following rather quickly. Around this time, the group was a cross between classic British '60s guitar pop and heavy metal, with touches of goth rock. Couzens left the group in 1987, followed shortly afterward by Garner, he was replaced by Mani (born Gary Mounfield) and the group recorded its first single, "So Young," which went unnoticed.. At the end of 1987, the Stone Roses released their second single, "Sally Cinnamon," a hook-laden, ringing guitar pop song. By the fall of 1988, the band secured a contract with Silvertone Records and released "Elephant Stone", shortly after the Stone Roses' bandwagon took off in earnest. In early 1989, the group was playing sold-out gigs across Manchester and London. In May, the Stone Roses released their eponymous debut album, which demonstrated not only a predilection for '60s guitar hooks, but also a contemporary acid house rhythmic sensibility. The Stone Roses received rave reviews and soon a crop of similar-sounding bands appeared in the U.K. By the end of the summer, the Stone Roses were perceived as leading a wave of bands that fused rock & roll and acid house culture. "She Bangs the Drums," the third single pulled from the debut, became the group's first hitsingle at the end of the summer. In November, the group had its first Top Ten hit with "Fool's Gold" By the end of the year, the hype around The Stone Roses had them selling out large theaters in the U.K.

For the first half of 1990, re-releases of the band's earlier singles clogged the charts. The Stone Roses organized their own festival at Spike Island in Widnes. The concert drew over 30,000 people and would prove to be their last concert in England for five years. After Spike Island, the Stone Roses became embroiled in a vicious legal battle with Silvertone Records.The group wanted to leave the label but Silvertone took out a court injunction against the group, preventing them from releasing any new material. For the next two years, the band fought Silvertone Records while they allegedly prepared the follow-up to their debut album. However, the Stone Roses did next to nothing as the court case rolled on. In the meantime, several major record labels began negotiating with the band in secret. In March of 1991, the lawsuit went to court. Two months later, the Stone Roses won their case against Silvertone and signed a multi-million deal with Geffen Records.

For the next three years, the Stone Roses worked sporadically on their second album, leaving behind scores of uncompleted tapes. During these years, the group kept a low-profile in the press but that wasn't to preserve the mystique -- they simply weren't doing much of anything besides watching football. Finally, in the spring of 1994, Geffen demanded that the group finish the album and the band complied, completing the record. Second Coming received mixed reviews and only spent a few weeks in the Top Ten. The Stone Roses planned an international tour in early 1995 to support the album, but the plans kept unraveling at the last minute. Before they could set out on tour, Reni left the band, leaving the group without a drummer. He was replaced by Robbie Maddix, who had previously played in Rebel MC. After Maddix joined the band, they embarked on a short American tour at the conclusion of which John Squire broke his collar bone in a bike accident. Squire's accident forced them to cancel a headlining spot at the 25th Glastonbury Festival, which would have been their first concert in the U.K. in five years. As Squire recuperated, the Stone Roses continued to sink in popularity and respect.

The Stone Roses added a keyboardist to the lineup prior to their U.K. tour at the end of 1995 -- it was the first British tour since 1990. In the spring of 1996, John Squire announced that he was leaving the band he founded in order to form a new, more active band. The Stone Roses announced their intention to carry on with a new guitarist, but by October of that year the group was finished. Squire's new band, Seahorses, released its debut album in June 1997, while Brown released his solo debut, Unfinished Monkey Business, early in 1998. With hindsight The Stone Roses brought dance music to an audience that was previously obsessed with droning guitars, while it revived the concept of classic pop songwriting, and the repercussions of its achievement could be heard throughout the '90s, even if the Stone Roses could never achieve this level of achievement again. Unsurprising perhaps as the british music press had hyped them into the stellar regions, and the band started to believe they were, and so it all went up in smoke. In jan 2006 and NME poll had it listed as the best album ever by a british band..duh . Well i guess that says more about the herd mentality of the average NME reader (and writer) who just loves to believe the hype..



01 - I Wanna Be Adored (4:52)
02 - She Bangs The Drums (3:42)
03 - Elephant Stone (3:01)
04 - Waterfall (4:37)
05 - Don't Stop (5:17)
06 - Bye Bye Bad Man (4:00)
07 - Elizabeth My Dear (0:59)
08 - (Song For My) Sugar Spun Sister (3:25)
09 - Made Of Stone (4:10)
10 - Shoot You Down (4:10)
11 - This Is The One (4:58)
12 - I Am The Resurection (8:12)
13 - Fools Gold (9:53)

***** ***** ***** ***** *****

Sneaker Pimps - Becoming X ( 96 ^ 98 mb)

Sneaker Pimps pursued a trancelike but edgy sound, highlighted by Kelli Dayton's soulful vocals. While Dayton was the focal point, Chris Corner (guitar) and Liam Howe (keyboards) are the band's leaders, writing all of the songs and producing the records. Howe and Corner had been playing in bands since the early '90s, to no success. After seeing Dayton sing with a pub band in 1995, they convinced her to join the fledgling Sneaker Pimps, who had taken their name from an article the Beastie Boys published in their Grand Royale magazine about a man they hired to track down classic sneakers.

Sneaker Pimps released their first single, "Tesko Suicide," in May of 1996, and it was greeted with positive reviews in the U.K. music press. Becoming X, the group's debut, was released in August and became a critical success, with Q magazine naming it one of the best albums of the year. Becoming X creates an airy, urban atmosphere, and while the record begins to unravel toward the end, it is an exciting, entrancing listen. After the first album, the band felt that demos for second album (on which Corner provided the guide vocals) better suited his voice, especially in regard to the more raw, personal quality of the lyrics. Combined with the fear of being identified with the fad for trip-hop acts, Dayton was asked to leave the group, and Corner became the singer. Without a doubt, Kelli Ali’s (Dayton) vocals were the highlight of the Sneaker Pimps’ debut album. in 2003 she released TIGERMOUTH. Her solo, eschews the languorous trip-hop of her former bandmates for a more electronic pop rock-based sound. It was followed a year later by the Psychic Cat album.

The sound of the follow up album, Splinter, was a great change from their first album. Most notably it was a darker sound which favored acoustic guitars and dark lyrics. Many fans consider the album to widely underrated with poor sales and very little media or critical attention. Their Third album Bloodsport again with strong lyrics failed to im-press, the intensity obviously didnt connect with the frivolous press, and for the serious music press they were in the wrong music niche.

Chris Corner started a solo musical project IAMX . Consisting of highly dark, erotic, 1980s-influenced electro, the debut album Kiss + Swallow was released in 2004. IAMX' second album, The Alternative was released in April 2006. Corner has repeatedly said that IAMX is very different to his actual, real-life personality and is a kind of quasi "act". Whether an act or not, IAMX's music is primarily concerned with subjects such as outlandish sex, death, narcotic intoxication, bisexuality, obsession, alienation and vague allusions to politics. Corner currently lives in Berlin where he has found "the spirit to care less about the music industry and take an independent route" Currently the Sneaker Pimps are recording material for an untitled fourth album, having shelved a number of songs previewed live during 2003, and having recruited a new, yet unknown, female singer.


01 - Low Place Like Home (4:37)
02 - Tesko Suicide (3:44)
03 - 6 Underground (3:48)
04 - Becoming X (4:14)
05 - Spin Spin Sugar (3:34)
06 - Post-Modern Sleaze (3:29)
07 - Waterbaby (4:10)
08 - Roll On (4:27)
09 - Wasted Early Sunday Morning (4:27)
10 - Walking Zero (4:31)
11 - How Do (5:01)

--Xs-- Sneaker Pimps - Becoming miXes ( ^ 63mb)

12 - Spin Spin Sugar (Armand's Dark Garage Mix) (5:30)
13 - 6 Underground (Perfecto Mix) (6:05)
14 - Tesko Suicide (Americruiser Mix) (3:52)
15 - Roll On (Fold Mix) (4:56)
16 - 6 Underground (The Umbrellas Of Ladywell Mix #2) (4:06)
17 - Post-Modern Sleaze (Flight From Nashville) (3:28)

***** ***** ***** ***** *****
All downloads are in * ogg-7 (224k) or ^ ogg-9(320k), artwork is included , if in need get the nifty ogg encoder/decoder here !

Eight-X (19)

Hello, Eight-X on air and i got some great vinyls here. Fischer-Z rode the first New Wave crest with fast edgy tracks and a manic sounding singer, ironically their first hit was a rather calm track. John Watts wrote it with his father in mind, who for decennia rode the train into London everyday, The Worker. Fischer-Z/Watts has soldiered on releasing several good albums along the way, still i picked their first for today....New Musik, currently on my speakers, is an awesome band that got shunned by the marketing bums that sell faces, great lyrics and great sound too..considering were talking 1980 here. The league of their own didnt become them, a pity, well those that wonder what im on about, just download the album, and i'm sure some of you will look out for the remastered version which has been released 3 years ago, great driving music too. ...Pig Bag said it all at once and in their beginning, with hindsight they stumbled over that brand new bag. All those joggers and sportschool jumpers messed up their image..wink. When their second album fell to the wayside they folded. This album , a compilation of sorts was released shortly after....Finally The System who sidetracked themselves by doing all the wrong things, unfortunately on the latter part of this album aswell, but as i had ripped it already i add it today as an add on ...

***** ***** ***** ***** *****

Fischer-Z - Word Salad (79 ^ 92mb)

Fronted by the enigmatic John Watts (vocals/guitar), Fischer-Z leaped onto the music scene in 1979 with their quirky debut album, Word Salad. This quartet (also featuring Steve Skolnick on keyboards, Steve Liddle on drums and David Graham on bass) played a rough-and-tumble form of new wave with art-pop and prog-rock leanings. Watts' vocals were extremely distinctive and touchingly manic vocal range irritated some but was entirely original. Their debut didn't set the charts on fire, they did score a few minor hits with "The Worker" and "First Impressions (Pretty Paracetamol)". Their second album, 1980's Going Deaf for a Living, was a far more cohesive effort, less prog-rock and more melodic than their debut. It even contained a bona-fide hit in "So Long" which even drifted over to the U.S. and garnered impressive radio play.

By the time Red Skies Over Paradise was released in 1981, Skolnick was gone and Watts' musical vision was more direct and less arty than before. Although European sales for this album were FZ's strongest yet, it was passed up for release in the U.S.Realising that his musical vision belonged to him and only him, Watts chose to end FZ on a high note and continue as a solo artist. Watts released One More Twist in 1982 then the slickly produced The Iceberg Model the following year, neither living up to the huge sales of the last FZ album.

Reforming Fischer-Z in 1987, FZ hit big in Europe and Australia with the single "The Perfect Day" and the album Reveal. Though the album sounded nothing like the Fischer-Z of old, Watts took his finely tuned talents and presented them to a much wider audience. Fish's Head (1989) was more of the same, albeit a bit heavier. With yet another line-up change, Watts and FZ released the absolutely stunning Destination Paradise in 1992. This touching and beautiful album featured more acoustic guitars than ever before and focused on Watts' songwriting skills and passionate, earthy vocals (which had dropped an octave or so since their debut). Trying to capitalise on the success of Destination Paradise, FZ quickly issued the rougher Kamikaze Shirt in 1993, mixing their softer side with an edge (and, in some cases, a dance beat). Two years later, FZ issued Stream, a close second to Destination Paradise as FZ's finest.

Realising he was at another crossroad, Watts laid FZ to rest again and began pursuing his solo career in earnest. His first solo album under his 'new' monicker, JM Watts, 1997's Thirteen Stories High, continued where Stream left off. With a new solo album due in late 1998 or early 1999,"Bigbeat Poetry". In 2003 he released Ether an ad hoc multimedia roadtrip. It was released later in different form under the Fischer-Z moniker aswell. No news since, whether FZ are gone for good or just on sabbatical, Watts undoubtedly keeps observing and writing songs. The worker soldiers on....



01 - Pretty Paracetamol (3:55)
02 - Acrobats (2:39)
03 - The Worker (3:32)
04 - Spiders (1:41)
05 - Remember Russia (3:25)
06 - The French Let Her (3:16)

07 - Lies (3:55)
08 - Wax Dolls (2:44)
09 - Headlines (3:22)
10 - Nice To Know (2:49)
11 - Billy And The Motorway Police (2:10)
12 - Lemmings (2:58)

***** ***** ***** ***** *****

New Musik - Anywhere (81 ^ 129mb)

New Musik were one of the first British groups to come out with a sound that successfully combined synths and "real" instruments.That said, their near-total lack of commercial acceptance is one of the great mysteries of early-'80s pop. Their music, rooted in classic pop songwriting but with a forward-looking interest in shiny electronics, is both instantly accessible and coolly forbidding. This dichotomy is most clearly expressed in the split between group leader Tony Mansfield's melodies, which are hummable, welcoming, and often quite bouncy, and his alienated lyrics.

New Musik formed in 1977, growing out of a casual band of south London school friends who jammed together under the name End of the World; singer and guitarist Mansfield, keyboardist Nick Straker, and bassist Tony Hibbert drafted drummer Phil Towner, who had played on the Buggles' "Video Killed the Radio Star." Rather than hotly pursue a record deal, the newly christened New Musik wisely chose to hone their craft first. Working during down times at a south London studio where Mansfield was informally employed as a session musician and apprentice engineer, the foursome recorded most of what would become their first two albums before approaching the British label GTO Records with the finished master tapes. However, before GTO released the first New Musik single, "Straight Lines," in August 1979, Straker had left for a fusion-oriented solocareer. He was replaced by Clive Gates.

This new lineup completed New Musik's debut album, From A to B, released in April of 1980. Several Singles were taken from it with "Living By Numbers" scoring the best. Early 81 saw the release of from A to B part two "Anywhere", though Mansfield 's production skills obviously had grown, the album unexpectedly didn't do that well. My take on that, looking at the gatefold sleeve..they look like a progband, which they certainly weren't. With hindsight it could be said they lacked a niche, and the broadsky countries, where their music should have done well, didn't pick them up.

After Anywhere's disappointing commercial performance in the U.K., New Musik went through a period of turmoil. Hibbert and Towner both left the band, leaving Mansfield and Gates to record the third and final New Musik album as a duo with a hired drummer. Unlike From A to B and Anywhere, which blended synthesizers with acoustic guitars, live percussion, and other classic pop elements, Warp is almost entirely electronic. One of the first albums to be recorded primarily with digital samplers and emulators, Warp sounds a bit more dated than the first two New Musik albums, but the songs, among the most lyrically pessimistic of the band's career, are quite strong. New Musik split after this album, as Mansfield's sideline career as a producer started taking more of his time. Through the first half of the '80s, Mansfield produced hit singles for Naked Eyes, Mari Wilson, the B-52s, After the Fire, and others.



01 - They All Run After The Carving Knife (5:51)
02 - Areas (4:09)
03 - Churches (4:52)
04 - This World Of Walter (2:54)
05 - Luxury (3:45)
06 - While You Wait (5:01)

07 - Changing Minds (4:51)
08 - Peace (5:11)
09 - Design (3:41)
10 - Traps (4:00)
11 - Division (4:18)
12 - Back To Room One (4:11)


***** ***** ***** ***** *****

Pigbag - Favourite Things ( 83 ^ 99mb)

Pigbag was started by Chris Hamlyn in Cheltenham in late 1980. He recruited multi-instrumentalist Roger Freeman, along with Chris Lee (trumpet) and James Johnstone (guitar / alto sax). Later Drew "Chip" Carpenter (drums) and Mark Smith (bass) both old school mates of James and former members of his previous band Hardware, were recruited for informal rehearsals.Simon Underwood, previously of The Pop Group was invited to join, along with his old friend and tenor sax player Ollie Moore. Simon's connections with manager Dick O'Dell landed their first gig, supporting The Slits at Bristol's Romeo and Juliets. Based on the crowd's enthusiastic response to a 20 minute performance of their first song, O'Dell invited them to record the track for his label Y Records the very next day.

Their first single, "Papa's Got a Brand New Pigbag", was released in 1981 on Dick O'Dell's Y Records, taking inspiration for the title (if not the music) from James Brown's "Papa's Got A Brand New Bag". The instrumental release quickly became an underground dance hit, selling many thousands of copies and appearing high in the independent charts. Feeling that he had created and lost control of a 'monster' with too many egos to contend with, Hamlyn abandoned the band. April 1982 saw the release of their first album "Dr. Heckle & Mr Jive", which was massively successful topping the indie charts for several weeks. A major college tour followed in the spring which put a lot of stress on the band, particularly Roger Freeman, he left(turning up later in Dr. Calculus).

A new lineup, including Brian Nevill and Oscar Verden went on a tour of the UK, Europe, New York and Japan. New York vocalist Angela Jaeger, previously of The Drowning Craze, joined for the next LP, "Lend An Ear," recorded in late summer 1982. In 1983, Angela and Simon Underwood were married at Hammersmith Registry Office with notables from the music scene in attendance.
A single, "Hit The 'O' Deck" and the album "Lend An Ear" were released in 1983, followed by a final tour of UK and Europe. Poorpoor critical reception to the new direction and internal differences, led to the Pigbag split in June 1983, with Angela, James and Simon forming Instinct.



01 - Getting Up (3:15)
02 - Six Of One (4:27)
03 - Hit The 'O' Deck (3:51)
04 - Sunny Day (12inch) (7:12)
05 - One Way Ticket To Cubesville (1:54)

06 - Brazil Nuts (4:28)
07 - The Big Bean (12inch) (4:59)
08 - Wriggling (4:45)
09 - Papa's Got A Brand New Pigbag (12inch) (5:51)

***** ***** ***** ***** *****

The System - Logic (83 ^ 78mb)

The System members Bob Wilson (Guitar, Keyboards, Vocals), Dave Caroll (Guitar, Keyboards, Vocals) and Bob Lamb ( Percussion, Keyboards, Vocals), latter responsible for the production here aswell. All three were part of the Steve Gibbons band and recorded 4 successful albums with him in the second part of the seventies. This album despite it's futuristic sleeve and inlay design and suggestive name Logic isn't a synthesizer pop album. It has some great tracks but towards the end(after track 5) i get the feeling some members pushed thru their own songs, all of a sudden a couple of blues pubrock songs bash thru..most odd. The choice of label Romantik Records forbodes cheesiness, well they choose the wrong name aswell as vocalist/guitarist Mic Murphy and keyboardist David Frank founded a The System in 1982 in New York. Google turned up no more on this The System and i suspect they split under a cloud. Apart from a discog member giving it 5 stars, a US ebay seller asking 98 dollar for it, in France 5 euros would have satisfied the ebay seller. Which goes to show how important research is before buying anything. Well as i ripped it already, i put it up as an extra today.



01 - Your Love (Will Stay In My Heart) (4:15)
02 - Jenny (4:03)
03 - Vampirella (3:40)
04 - Almost Grown (5:55)

05 - Pendy! You're In Some Awful Danger (4:36)
06 - Styletto (3:21)
07 - Sixty Watt Pearl (2:04)
08 - All Of Us Sinners (4:00)
09 - Feather In The Dust (3:50)

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All downloads are in * ogg-7 (224k) or ^ ogg-9(320k), artwork is included , if in need get the nifty ogg encoder/decoder here !

Around The World (19)

Hello , today on Around the World i decided to go medievil, after last weeks celtic showing. I've had a soft spot for those 'good old days', who knows i may have been a minstrel in a previous carnation. Seriously i find the energy and instruments brought into our day and age very stimulating, somehow it brings us all together -timewise.

a little lecture

During this first half of the 1st millennium secular songs and dances are being suppressed in official reports, historiography and music theory. The power of the Catholic church and the popes had just begun to spread, the ideal of “Universitas Christiania” – a Christian world order – was to be realized. Means to reach this goal contained e. g. the unification of the liturgy in church services (Gregorian). Folk songs were banished, polished or modified in a way that no worldly origin whatsoever – a little dance maybe – could be discovered immediately. At least they tried. One reason why it didn’t work out certainly was the fact that even kings and other faithful Catholics didn’t want to abstain from dancing in their leisure time.

With the Islam at the european gates around 800, new cultural influences were intruding into Europe in the following centuries. The Muslims brought along novel instruments; the bagpipes and the shawm for example originate from the orient, the lute descends from the Arabian “al Ud”, and also the trombone developed from the Arabian buisine. While the popes were striving to destroy the heathen-antique ideas (Celtic culture), the Arabs had preserved many old scripts from ancient Greece, which were once again spread around the turn of the millennium.

Early medieval music was unisonous. With profane instruments like the bagpipes or the hurdy-gurdy the so-called Bordun (drone) music became popular. I. e. every melody is accompanied by a deep bass tone – the Bordun. Later there were two constant tones – two Borduns – like it is e. g. the case with our bagpipes. This is the earliest form of concerted music, and, starting in the 12th century, this technique was adopted from the minstrels’ music into the liturgical music as well, but was refined there for e. g. the organum. The fact that concerted music was widely spread in worldly melodies is also proven by a song by Walter von der Vogelweide. In this song he asks to be accompanied “the old way”, with thirds. In these times the third was still regarded a disharmonious interval, a dissonance, which was to be avoided… in folk music it was common practice.

Because medieval music theory was dominated by ecclesiastics, it is often difficult to determine from the existent manuscripts exactly how the secular (popular) music of the day sounded. But a number of things are known for certain. For example, the profane music of the day was often accompanied by a droning bass tone similar to that generated by the bourdon stop on an organ, which is provided in Corvus Corax's case by the drones on their bagpipes. An inkling as to the harmonies used is found in a song by Walter von der Vogelweide, in which he calls for the song to be played "the old way", meaning harmonising with thirds. At the time, the third was considered an awkward, ugly interval by the sacred musician — like the tritone, or diabolus in musica — but it was a common interval in folk music.

Matters are further complicated by the fact that each minstrel would add his personal interpretation to a piece, and that recorded (i.e. written) versions may differ depending on who did the transcribing, and where. Medieval popular music was played more from the heart than the brain.The medieval minstrels picked up melodies on their journeys and altered them, in doing so they might have forgotten certain passages or changed them deliberately – for example to fit the melody of a French song to German lyrics – or the scribes simply made mistakes, which also happened quite often when copying literature, etc. Music transcription isn't done or hasnt survived, the oldest known is the Saltarello (5mb) a lively, merry dance first mentioned in Naples during the 13th century. The music survives, but no early instructions for the actual dance are known. It was played in a fast triple meter and is named for its peculiar leaping step, after the Italian verb saltare ("to jump"), it enjoyed great popularity in the courts of medieval Europe.


On medievil instruments, a teaser

The origins of the bagpipe can be traced back to the most ancient civilizations. The bagpipe probably originated as a rustic instrument in many cultures because a herdsman had the necessary materials at hand: a goat or sheep skin and a reed pipe. The instrument is mentioned in the Bible, and historians believe that it originated in Sumaria. Through Celtic migration it was introduced to Persia and India, and subsequently to Greece and Rome. Find out more on sights and sounds of medievil instruments here.

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Qntal -III, Tristan Und Isolde (03 , 70 min ^ 150mb)

In 1991, Michael Popp and Ernst Horn developed the concept of combining medieval melodies and songs with electronic music. As singer they chose Syrah, alias Sigrid Hausen, who is one of the leading interpreters of medieval music. She had the courage as well as the power for musical border crossing . Thus the trio was founded but without a name yet. Shortly after Syrah joined the band, she dreamt of letters written on the wall reading QNTAL, a word that does not exist in any language, and therefore being perfect for a kind of music that did not exist so far either.

Soon afterwards, the first song was published: "Por mau tens" a song from troubadour Thibaut of Navarra in a new arrangement, it didn't rock the boat , bBut in 1992 time was ripe: until then Syrah had searched for more texts and tunes, one song or the other was borrowed from the repertoire of Estampie, composed and arranged by Michael Popp and Ernst Horn and, finally, in autumn the album QNTAL was released without big advertisement or promotion. It was more of a secondary project to the musicians and thus it came as a great surprise that the album was a hit in the wave-scene. The band's lyrics are primarily drawn from historical sources. Throughout their first three albums, lyrics were primarily in Latin, medieval German, and a few other European tongues. On Qntal IV, the band added a few songs in English to their body of work

In 1995, when the second CD was finished and Deine Lakaien were about to go on tour (Ernst Horn and Michael Popp were members of this band), the idea of a double concert was born. QNTAL as first act with smooth transition to Deine Lakaien. There were two tours held in this constellation in 1996 with overwhelming success. The Palestine Song became QNTAL II s hit. Still, there was no direct follow-up to this success and as Ernst Horn wanted to primarily care for the progress of Deine Lakaien, he left the Qntal.

Replacement was found in the Berlin musician and producer Phillip Groth. On Pentecost 2002, QNTAL made its first appearance since 1996 during a Wave-Gothic Meeting. Although the concert took place on the outskirts of the festival area and Syrahs vocal chords suffered from a cold, the great number of the audience and its reaction showed how close this band was the their hearts. In 2003 Qntal release Tristan und Isolde with their new keyboardplayer Philipp Groth and create an exiting mix of Ambient, Pop and World Music. Less experimental as their first two albums, yet a varied and a convincing album. 2005 saw the release of QNTAL IV - Ozymandias, followed by QNTAL V - Silver Swan (2006) and their first US tour in 2007, meanwhile QNTAL VI - Translucida (2008) has hit the shelves.

The story of Tristan and Isolde is a quintessential romance of the Middle Ages and the Renaissance. Several versions of the story exist, the earliest dating to the middle of the 12th century. Gottfried's version, part of the "courtly" branch of the legend, had a huge influence on later German literature. Richard Wagner's wrote a famous opera (1859) on the story , which turned out to become profoundly influential amongst Western classical composers.



1 - Owi, Tristan (5:55)
2 - Name Der Rose (5:28)
3 - Maiden In The Mor (6:33)
4 - Lamento De Tristano (1:38)
5 - Am Morgen Fruo (4:52)
6 - Lasse (8:03)
7 - Ecce Gratum (5:11)
8 - Spiegelglas (7:39)
9 - Maravillosos (4:02)
10 - Entre Moi Et Mon Amin (7:20)
11 - Gottinne Minne (2:24)
12 - Vedes Amigo (6:40)
13 - Verirret (5:03)

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Sonic Seducer (31) Middleages Special (03 ^ 99mb)

This came as a second freebie cd of a goth EBM . industrial magazine, meanwhile they broadened horizon somewhat but still alternative, i bought it for several years, until my eyes refused all that small print, ok i have reading glasses now. Nevermind an excellent magazine with monthly bon usdisc and sometimes two, like this Mittelalter (medievil) special. And a stunning one it is, i think its the best i have, some singing in german, mostly strong instrumental work. In fact its a perfect showcase from the bands you find here and more then likely have never heard of, most excellent..dude . A few moths later after the overwhelming positive respons they released a Medievil Special II ..that's for next week.

For those that read German, i point you to their excellent website, the subscription cost is remarkably low for what you get each month, check it out. Sonic Seducer



01 - D'Arcadia - Théatre Du Satan (Evocut Version) (4:40)
02 - Faun - Punagra (6:16)
03 - Wolfenmond - O Virgo Splendens (4:41)
04 - Wildwuchs - Schlemmerorden (4:39)
05 - Cocolorus Diaboli - Danca Taverna (3:21)
06 - Furunkulus - Drachenreiter (4:38)
07 - Vivus Temporis - Wolfstanz (4:40)
08 - Stille Volk - La Meneuse D'Ours (5:51)
09 - Van Langen & Des Teufels Lockvögel - Ouwe (4:58)
10 - Letzte Instanz - Spurlos (4:35)

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All downloads are in * ogg-7 (224k) or ^ ogg-9(320k), artwork is included , if in need get the nifty ogg encoder/decoder here !

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You'll find the last bestsharing re- ups in comments..not, it dont work today so then i'll post them here

Super Furry Animals - Love Kraft
Shamen - Axis Mundi
Ure, Midge - If I Was
Blue Nile - A Walk Across the Rooftops
Butti 49 - Habit
Kurenniemi, Erkki - Äänityksiä
Rasmus- Hide from the Sun
DK7 - Disarmed
Bliss - Quiet letters
Diefenbach - Set & Drift
Tanzwut - Labyrinth der Sinne
The different Model
Kettel - Cenny Crush

Don't Panic ! (19)

Hello, as i mentioned yesterday Bestsharing has gone and with it my links to it, i was a bit optimistic yesterday about the number, as i had forgotten the eurosonic...wavetrain links, turned out there were 35 . Meanwhile i've already re-upped 22 of those and re-edited the pages concerned..i list them in todays comments, i expect to have the remaining 13 done tomorrow.

Over now to the first episode of the Quandary Phase it's based on Adams' book So Long, and Thanks For All the Fish The tradition of "Fits" continues

But first a recap of the final episode of the Tertiary Phase, Fit 18

Ford, Arthur and Slartibartfast are on the surface of Krikkit, prisoners of the Krikkit-men, and waiting for Trillian to get back, or for Zaphod to do something. Zaphod has discovered Marvin, who since he was stolen by the Krikkit robots, has been plugged into the Krikkit mainframe and is being used as its central computer, hence depressing the robots, and making them unable to kill Zaphod. Marvin shows Zaphod CCTV of Trillian talking to the Elders of Krikkit.

Trillian is explaining that Krikkit's history is a sequence of contrived coincedences that was set-up in order to provoke a race into wanting to destroy the universe. She points out their ultimate weapon, the supernova bomb, would destroy Krikkit as well, and that they ought to know that if they'd built it themselves instead of taking instructions from Hactar. A robot (independent from Marvin) detonates the bomb, only for it to turn out to be a dud.

Arthur, Ford, Marvin, Slartibartfast, Trillian and Zaphod all return to the Heart of Gold, just outside the dust cloud. A pocket of pseudo-gravity has opened with an oxygen atmosphere, and Arthur and Trillian exit the airlock into it. There, they meet Hactar, who explains that when the Silastic Armorfiends tried to destroy him, they failed, and because of his cellular nature, he was eventually able to coalesce sufficiently to influence things. In the long years he grew to regret his decision to make the bomb a dud. He created the dust cloud around Krikkit and also the fake wrecked spacecraft that provoked them to develop spaceflight. He knows they are going to destroy them, and they do. His final words are "I have fulfilled my function..."

They have in the mean-time picked up a man named Prak, who was a witness at a trial when the Krikkit robots broke in and stole the Perspex Pillar. The robots jogged the arm of the person administering him truth drugs, and he took a huge overdose. He was then told to tell "the truth, the whole truth, and nothing but the truth" - a horrifying fate. The court-house was abandoned, with him in place. He has apparently stopped telling it ("there not nearly as much of it as people imagine"), but is still finding much of it, particularly frogs and Arthur Dent, hilarious. They ask him if he knows the Question to the Ultimate Answer of 42. He explains that knowledge of the Question and the Answer are mutually exclusive and that if both were to be known the universe would be replaced by something more bizarre and inexplicable. However, he does have the address of God's Last Message to his Creation, which he gives to them, but before Arthur is able to take down the address, Prak dies.

After this, they return to Lord's Cricket Ground, on Earth, after the Krikkit robot attack, to return the Ashes. In the destruction, Arthur is unable to find anyone to return the Ashes to. He notes that he is at Lord's, and one of his ambitions was always to bowl at Lord's. He still has the ball he caught last time he was there, he decides to bowl the ball at the batsman standing at the wicket. Mid-run, Ford points out that "it's not an England batsman, it's a Krikkit robot", and that the ball is probably a supernova bomb, and not a dud. He is unable however to stop running and bowls anyway. It goes wide, and Ford catches the ball, the universe being saved by Arthur's poor bowling. Arthur decapitates the robot with its own bat, and then expresses his desire for a cup of tea.

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THHTTG - Fit 19 (21mb)


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All downloads are in * ogg-7 (224k) or ^ ogg-9(320k), artwork is included , if in need get the nifty ogg encoder/decoder here !

Sundaze (19) Inside Out

Note, i got several comments today on the dissapearance of bestsharing.com, they seem to have closed up shop. Therefore my links to them have become obsolete, luckily i hadn't used them much. Anyway ive reupped them all, you'll find them in todays comments and meanwhile i've re-edited all the concerned pages.

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Hello, as announced last week Inside Out is back. Under the Sundaze banner i will post brain wave audio modulated music/programs aswell as a PDF book on metaphysical topics. I note that the meta is primairly caused by the closed mindedness of sciences, sceptics on all but their own pet theories, often build on the ignorance of the previous establishment. Science today is a job and possibly a career and thus don't rock the boat. The venomous way anyone is attacked if they threaten the reality consenses of these sciences, borders on the insane..or..is proof of their uncertainty, as these days more and more of their pet dogma's get more and more untennable...Big Bang anyone ? a joke ! But it mouths nice and the catholic church gave it's blessing to it (really !). Astrophysics has been bending over backwards to keep the illusion they are in the loop...well they are, and obviously can't get out. Many of the old established sciences have these problems , paradigms that can't be broken, death to the creative mind. So much for my little rant on 'bought' sciences.

Here's an informative on the brain wave audio technology that is used on the Inside Out cdees i will post...free your mind and your ass will follow...

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THE ULTIMATE PEAK PERFORMANCE BRAIN STATE
Brain wave audio technology balances and amplifies the electrical activity in your brain into organized and coherent patterns. This effect, known as hemispheric synchronization, is the optimal state for peak performance. When the electrical activity in your brain is synchronized you are able to focus attention and concentrate for long periods of time. Your thoughts are organized and flow in orderly sequence. Above all, you actually have more brain power available to you. This translates into having greater clarity of thought, increased powers of concentration, creativity and perception. Hemispheric synchronization increases the overall electro-magnetic energy level in the brain exponentially. Consequently, the thoughts and images you hold within this amplified state have the greatest power to manifest in your life.

SCIENTIFICALLY RESEARCHED FREQUENCIES
As the leader in Brain Wave Audio Technology, Brain Sync is the one most often recommended by physicians and psychologists throughout the world. Their technology is clinically tested with a record breaking 95% success rate and is offered to patients at America's most prestigious cancer treatment hospitals, Memorial Sloan Kettering and Dana Farber. EEG studies conducted at Harvard Body Mind Medical School and UCLA have concluded that their exclusive Brain Wave Audio Technology prompts brain activity into extraordinary body-mind states. After almost 2 decades of clinical research, Brain Wave Audio Technology is revealing itself to be the one of the world's greatest breakthroughs in healing and mind expansion.

CLINICALLY PROVEN METHOD
First discovered by Biophysicist, Gerald Oster, at Mount Sinai Hospital in NYC, the technology sends pure and precisely tuned sound waves to the brain via stereo headphones (any Walkman-type headphones will do). The precision- engineered frequencies produce a phantom signal, called a binaural beat. Brain activity naturally slides into rhythm with the beat. Miraculously the brain's electrical activity becomes organized and coherent. Within minutes the sound frequencies create a training wheel effect, literally balancing the hemispheres and driving the electrical activity of the brain into extraordinary and powerful states that are normally unattainable.

SYNCHRONIZE YOUR WHOLE BRAIN FOR PEAK PERFORMANCE
A special feature of all Brain Sync programs is the use of Window Frequencies. Window Frequencies are extremely precise frequencies that resonate and impact directly on the body at a cellular level. As a result of this frequency selection, listeners report feeling their meditation on a physical level with rushes of positive energy coursing through the body and a flow of deep heartfelt emotions.

About Brain States
Studies have shown that the vibrations from rhythmic sounds have a profound effect on brain activity.
The gentle pulsating rhythms of Brain Sync tapes act in a similar fashion, yet because the frequencies are computer generated, they are precise, consistent and can be targeted to induce highly specific and desired brain states. Just as we can tune a radio to get a particular station, with Brain Sync technology we can tune our consciousness to dial-in a wide variety of brain states. Like sound waves, the brain has its own set of vibrations it uses to communicate with itself and the rest of the body. EEG equipment distinguishes these waves by measuring the speed with which neurons fire in cycles per second.

BETA - Alertness, Concentration, Focus & Cognition
ALPHA - Relaxation, Visualization, & Creativity
THETA - Intuition, Memory, Meditation & Vivid Visual Imagery
DELTA - Deep Sleep, Healing & Detached Awarness

Beta waves range between 13-40 HZ. The beta state is associated with peak concentration, heightened alertness and visual acuity. Nobel Prize Winner, Sir Francis Crick and other scientists believe that the 40HZ beta frequency used on many Brain Sync tapes may be key to the act of cognition.

Alpha waves range between 7-12 HZ. This is a place of deep relaxation, but not quite meditation. In Alpha, we begin to access the wealth of creativity that lies just below our conscious awareness - it is the gateway, the entry point that leads into deeper states of consciousness. Alpha is also the home of the window frequency known as the Schuman Resonance, which is the resonant frequency of the earth's electromagnetic field.

Theta waves range between 4-7 HZ. Theta is one of the more elusive and extraordinary realms we can explore. It is also known as the twilight state which we normally only experience fleetingly as we rise up out of the depths of delta upon waking, or drifting off to sleep. In theta we are in a waking dream, vivid imagery flashes before the mind's eye and we are receptive to information beyond our normal conscious awareness. Theta has also been identified as the gateway to learning and memory. Theta meditation increases creativity, enhances learning, reduces stress and awakens intuition and other extrasensory perception skills.

Delta waves range between 0-4 HZ. Delta is associated with deep sleep. In addition, certain frequencies in the delta range trigger the release of Growth Hormone beneficial for healing and regeneration. This is why sleep, deep restorative sleep is so essential to the healing process. (brain.com)

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Hemi-Sync - Breakthrough for peak-performance ( * 70mb)

'Lubricate' your brain and sail through challenging mental tasks with the upbeat electronic music of Michael Maricle and Hemi-Sync. The fast-paced tempo and driving rythms of Maricles's uplifting composition support faster beta Hemi-sync patterns designed for peak-performance, superlearning and creative flow. Enhance your mental productivity, memory and aptitude for learning while enjoying this artisitic creation. Breakthrough may be helpful for ADD/ADHD, dyslexia, and other learning challenges . Musicly it reminded me some of Ulrich Schnauss



Breakthrough part 1-8 (44:01)


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Brain Sync - Power Training Zone Vol2 (* 97mb)

This music prog is designed for activities like jogging or exercises, it's no meditation or sleep progam

You’ll be amazed at how much you’ll enjoy cardio with this workout music. It can be used for walking, jogging, weight training, rollerblading, dancing, or whatever cardio exercise you choose. It also doesn’t matter what fitness level you’re at right now, because you go at your own pace. Gamma waves are harmonically fused with world beat rhythms that gradually accelerate your pace. Before you know it, beta-endorphin levels are increased and you’re in the zone.

The brain wave frequencies balance both hemispheres of your brain, and you move into higher states of athletic ecstasy. Experience profound well-being marked by moments of freedom, euphoria, and power as you enter the magical world of The Zone.



Kelly Howell with Robert Schwimmer - 01 - Power Training-Guided Imagery & Gamma Waves (30:19)
Kelly Howell with Robert Schwimmer - 02 - Power Training-Music & Gamma Waves (32:49)

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Carla L. Rueckert was born in 1943 in Lake Forest, IL. She completed undergraduate studies in English Literature at the University of Louisville in 1966 and Master’s degree studies in Library Service in 1971. She served as librarian and bibliographer to college and school libraries for six years. She was a meditator with the group Don Elkins started in 1962, and she became partners with Don in L/L Research in 1968. In 1970, she turned full-time to assisting Don with his research into UFOs. She began channeling in 1974, and in 1987 she married Jim McCarty, the scribe for the Ra contact. She was the channel for the Ra contact from 1981-84, and Don was the questioner. The Law of One series of books was produced from that contact. She enjoys corresponding with a wide variety of wanderers, readers, and spiritual seekers of all kinds, as well as reading romances, gardening, cooking and writing. She continues her channeling efforts with the non-trance Sunday meditation meetings. Her librarian interests continue, and she has been collecting books, tapes, and other materials in the areas of metaphysical and UFO research since 1970. She lives in Louisville, Kentucky with Jim and their seven cats.

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A Wanderer's Handbook, by Carla Rueckert, is simply one of the best metaphysical books ever written, a manual for spiritual seekers who don't want religious doctrine or New Age guru ramblings. Using carefully sequenced quotations from the non-physical entities she channels, Carla combines the personal, human experience of being on her path with the brilliant, beautifully worded, and exquisitely wise words of her spiritual contacts. Every important facet of the spiritual quest, experienced within the amnesia-cloaked physical lifetime--including the frustrations, failures, and heartaches--is fully developed in this terrific book. This book is simple enough to be studied by beginners, while at the same time being one of the most advanced books even put into print on the spiritual quest.

What's nice about the material is you can skip to chapters or topics that are of the most interest to you. Just about any spiritual challenge you can think of is handled in a thorough, non-judgemental way. There is no preaching that you should be this or that particular way. We all make mistakes and have challenges that may not have clear cut answers. This book acknowledges this aspect in us all, and gives suggested ways and ideas in working through a spiritual path.

Well i'm still reading, and i have to say it effected me. Originally this book was geared to the 'out of sync' , outsiders, the ones that think what the hell is wrong with this planet and it's people, why can't they see ? From there the author uses her sources and input from many an outsider to build a picture of a path that's open to them, rules of engagement, if you will. As i said , havent finished it yet -its 560 pages- but i'm quiet sure that there must be scores if not hundreds of visitors to my blog that will benefit from reading this book.......

Carla Rueckert - Wanderers Handbook PDF (1.5 mb)




or buy it
Wanderers-Handbook @ Amazon

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All downloads are in * ogg-7 (224k) or ^ ogg-9(320k), artwork is included , if in need get the nifty ogg encoder/decoder here !

Rhotation (19) Into BPM

Hello, BPM strike again today but first...something else. Now i would think all of you would be interested in quality software of the free kind. This link brings you to techsupportalert.com who have reviewed the freebies that float around on the net, and i tell you they've come up with a great list/advice, i know because i've been using several of their hot tips for years, and just now picked up a nifty screen capture utility. Follow the link , and remember there's no reason to loose out or be suckered by the baddies on the web if you apply whats made known here. Be smart..the programs behind this link are all valuable tools, not just on security but on general pc use aswell.  BOOKMARK IT

The 46 Best-ever Freeware Utilities

Todd Terry defined New York house during the '80s, blending the sounds of classic disco, the more introspective Chicago sound pioneered earlier in the decade, plus plenty of hip-hop attitude and sampling piracy. Here's his first album making his first point with a Kraftwerk sample. He's present in several guises on the next album, Esta Loca (New York Freestyle House), a great and unmixed compilation of music that started off the nineties dancefloor . Finally mister Chikki Chikki Ahh Ahh but that would be selling him short
Peter Ford is still in the game, still making serious noise, minimal techno that is, and here is his third, a full cd length (79min) album that winds around everything that makes techno so versatile.

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The Todd Terry Project - To The Batmobile Let's Go (88 ^ 99mb)

Born in Brooklyn, Terry began DJing in the early '80s while still a teenager, spinning hip-hop at school events and on the street with a team called the Scooby Doo Crew. He increasingly listened to Italian disco as well, and when the house sound of Chicago dropped in the mid-'80s, Terry the DJ made an official switch to house music. In league with fellow New York DJ/producer/remixers Little Louie Vega and Kenny "Dope" Gonzalez, Terry borrowed the Masters at Work guise -- which Vega and Gonzalez would later popularize -- for one of his first big productions, the 1987 single "Alright Alright"; the single became a milestone on New York's early house scene. The Jungle Brothers, another crew of hip-hop heads who were beginning to stray into house, hooked up with Terry and the collaboration resulted in "I'll House You," one of the earliest and most high-profile fusions of hip-hop and house .

The added prestige transferred back to his own name for two wildly popular 1988 singles, "Weekend" and "Bango (To the Batmobile)," both released as the Todd Terry Project. Perhaps preferring the adoration of the faithful, Terry later resorted to dozens of aliases for dozens of club hits --Black Riot, Bombshell , Bootman, Chrome , CLS, D'Effect, D.M.S., Dred Stock, English Friday, Frontline, Gypsymen, Hardhouse, House Of Gypsies, INCS, KXP, Lime Life, Masters At Work , Orange Lemon, Raid, The, Royal House, Sax, Sound Design, Static, Swan Lake, Tech Nine, Todd Terry All Stars, Todd Terry Project, The, Youngbloods. Despite his wealth of released material, Terry remixed dozens of artists as well, including Sting, Björk, Janet Jackson, Tina Turner, Malcolm McLaren, Annie Lennox, Robert Plant, and Technotronic, among others. The British house boom of the early '90s provided Terry with many an overseas gig, including a high-profile residency at the London superclub Ministry of Sound. His proficiency on the decks became a minor sensation, causing several British journalists to describe him as "God."

Terry moved into label entrepreneurship in 1992 when he formed Freeze Records with William Socolov. Freeze became the obvious home for many of Terry's productions, including several volumes of his EP series Unreleased Projects beginning in 1992 and running through 1995. That same year, Terry's remix of the erstwhile pop act Everything but the Girl became a worldwide smash, selling over three million copies and almost single-handedly reviving the duo's flagging career for a sleek new dancefloor incarnation. The British label Hard Times released the DJ gig A Night in the Life of Todd Terry: Live at Hard Times in 1995, while the flip side of the coin, A Day in the Life of Todd Terry (including his best single and remix productions) appeared the following year. His next project, Ready for a New Day, provided more song-oriented fare, though still implicitly dance, with guest vocalists including Martha Wash, Jocelyn Brown, and Bernard Fowler. In 1999 Terry made another artistic change-up, he released Resolutions, successfully embracing the Drum-n-Bass aestethics, recorded for indie/electronica stalwart Astralwerks.

Todd Terry has become one of the best-paid DJs in both Europe and the United States. He normally performs on four turntables, mostly playing his own tracks. Recently he stated he's making all his money from gigs, as income from selling vinyl or cdees has shrivelled up. Well then, take this in and go see/hear him when he's in town !



01 - Bango (To The Batmobile) (3:17)
02 - Weekend (3:55)
03 - You're The One (You Bad) (3:28)
04 - It's Just Inhuman (3:31)
05 - Back To The Beat (4:15)
06 - Just Wanna Dance (4:18)
07 - Made By The Man (3:34)
08 - The Circus (4:25)
09 - Sense (3:25)
10 - Weekend (clubversion)
11 - Just Wanna Dance (clubversion)

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VA - Esta Loca (New York Freestyle House) ( 90, 75min ^ 179mb)

Many people list Let the Music Play by Shannon as the first Freestyle track. The song was produced by Chris Barbosa, a Latino from New York City. Barbosa changed and refined the electro funk sound, adding Latin American rhythms and a totally syncopated drum sound. This new, exciting sound rejuvenated the funk, soul and hip hop club scenes in New York City. While most of the neighborhood clubs were closing their doors for good, some Manhattan clubs were suddenly thriving. Places like the Roxy, the Funhouse, Broadway 96, Gothams West, and Roseland that played this were packed.

Many of the original freestyle artists – and the DJs who played the music, such as Jellybean, Tony Torres, Raul Soto and Roman Ricardo – were of Latino or Italian ancestry. This was one reason why the style came to be very popular among Hispanic Americans as well as Italian Americans, especially in the New York City area. This marks a notable merging of underground Hispanic and African-American urban cultures, hence, the names Latin Hip Hop or Latin Freestyle. Now, the more neutral term Freestyle is generally preferred. Of course, performers and producers associated with the style came from around the world. New York Freestyle, even in its most polished forms, retained a raw edge and underground sound, using minor chords that made the tracks darker and more moody. The lyrics also tended to be about unrequited love or other more somber themes, dealing with the reality of what inner city teens were experiencing emotionally.



01 - Casanova's Revenge - Let's Work (Club Version 1) (5:52)
02 - Sax - Don't Turn Your Back On Me (Halloween Mix) (4:21)
03 - Maurice - Opening Melody (5:17)
04 - Looney Tunes - Just As Long As I Got You (Original Club) (4:44)
05 - Royal House - Get Funky (Club Mix) (3:53)
06 - Sandee - Notice Me (Notice The House Mix) (8:32)
07 - Minutemen, The - OK Alright (Club Mix) (5:44)
08 - Lime Life - I Wanna Go Bang (Old Time Dub) (4:40)
09 - Todd Terry Project, The - The Circus (It's Just In Dubs) (5:27)
10 - Two Without Hats - Try Yazz / Esta Loca (Original Rough Yazz) (5:41)
11 - Frontline - I Can't Quite Understand (Paradise Mix) (4:15)
12 - Caped Crusaders - There's A Bat In My House (Club) (6:17)
13 - Royal House - A Better Way (Hot Toddy Mix) (5:02)
14 - Frontline - I Love The Way You Shake (Garage Dub) (5:09)

VA - Esta Loca (New York Freestyle House) ( 90, 75min 99mb)

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Baby Ford - BFORD 9 (92, 79min * 99mb)

Peter Ford (Peter Frank Adshead) is one of the most recognizable names in current dancefloor techno and was one of the founders of the U.K. acid house scene. He's released records under a slew of pseudonyms, including Casino Classix, El Mal, Solcyc, Simprini Risin', and his most frequent, Baby Ford. His early work -- heavily influenced by the late-'80s acid house sound, as well as Chicago producers such as Marshall Jefferson, Ron Trent, Armando, and Larry Heard -- appeared primarily through the Rhythm King label, and included classic cuts such as "Oochy Koochy," "Children of the Revolution," and "Fetish." He's released four full-length albums to date, including the debut classic Fordtrax and 1997's Headphone Easyrider, one of his more listener-friendly albums. His recent work has appeared mostly through Trelik and Ifach -- two of the U.K.'s most highly regarded experimental techno labels, and both of which Ford has a hand in managing (Trelik together with Eon's Ian Loveday; Ifach with Mark Broom). He's also collaborated with Ian Loveday on a number of projects (including Minimal Man), both for Trelik and for William Orbit's Guerrilla label. .

On BFORD 9 there's...in your face analog techno freakouts, deep and bassy late-night club grinders, hypnotic trance mantras, overcast trip-hop sleaze , contemplative 3am end of party ambient dub...it's all here. In short, a great techno acid album . There's a hungry harddisk (OGG 9) and an ' already deaf ' version available (OGG 6)



01 - RU486 (4:25)
02 - Fetish (5:40)
03 - Move-On (6:29)
04 - In Your Blood (5:40)
05 - Blow Back (4:16)
06 - Sashay Around the Fuzzbox (5:07)
07 - Intro (20, Park Drive) (0:49)
08 - 20, Park Drive (7:43)
09 - Disconoddy (6:05)
10 - Change (5:50)
11 - Move-On (Alt) (5:18)
12 - Fetish (5:25)
13 - Noddy (6:52)
14 - 20, Park Drive (Instrumental) (7:40)

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All downloads are in * ogg-7 (224k) or ^ ogg-9(320k), artwork is included , if in need get the nifty ogg encoder/decoder here !

Into The Groove (18)

Hello, todays post focusses on the famous ZE label , that is some of their artists. Previously i've posted work from Lizzy Mercier Descloux, Suicide , James White and John Cale's Music For A New Society, aswell as the rare version of their Christmas compilation. Today we add some to that list. Cristina, the not so kitchi kitchi yaya, still lot's of people got wound up by her, including her labelboss who 'snatched ' this price and married her, but then by 31 she was single again. For those that didnt get a 'funny' valentine... there's an extra size cover version included. Sadly she's been suffering of MS since 2000. The album here was produced and partly written by August Darnell, better known as Kid Creole, 10 weeks ago-in another context- i posted Maladie D'Amour, would have fitted nicely today. For now i chose Tropical Gangsters, the album that got him some major coconuts, seriously, it's danceable and witty, they were really on a roll.... "the man likes milk, now he owns a million cows" Tell me that i'm dreaming really touched a nerve back then. Crazy (not crazy) would have been a good alternative name for Was (not Was), i followed their career and even their production work would be reason enough to pick something out of the salesbin. Well they made 1,5 albums for ZE and so you'll find them here..... ZE released a number of compilation albums, the Mutant Disco series was great, specially the first one you'll find here.

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But first something on ZE, Michael Zilkha (b. 1954) was a British-born Oxford graduate of Lebanese descent, the son of the owner of Mothercare, a major UK retail company, and the stepson of Lord Lever. In the mid-1970s he was working in the New York publishing industry. Michel Esteban (b. 1951) was the French owner of the Paris punk shop Harry Cover (a pun on "haricots verts" [French for "green beans"]) and the magazine Rock News, and, with his partner Lizzy Mercier Descloux, they had moved to New York to become part of the punk and emerging post-punk music scene.

In 1977, Zilkha and Esteban were introduced to each other by John Cale. The music which they were listening to was a mixture of the New Wave of Talking Heads and Television, together with the disco-funk music being played in the New York clubs, at a point at which music, art, cinema, literature, and fashion were closely integrated. The pair decided to set up ZE Records, a name taken from the initials of their surnames, to record the new music emerging. The genre later became known generically as No Wave – the title of one of the company’s first compilation albums. Within a short time, ZE Records became one of the more hip labels of its time, signing up such new talent as James White and the Blacks, Was (Not Was), Kid Creole and the Coconuts, together with more established performers including John Cale and Suicide. Many of its releases were first played at the Paradise Garage club in New York, starting point of Garage music. Although essentially an independent label, ZE had a long-running partnership with Island Records, leading to their records being released via Island, Ariola, and other labels worldwide. The label’s success peaked around 1981-82, and it closed down in 1986.

Esteban restarted the label in 2002 in France to remaster and reissue the old catalogue. Meanwhile, the Zilkha family moved into the energy business, they sold their successful oil and gas exploration business in 1998 and moved into the wind farm development industry which they sold to Goldman Sachs(major bank) and went further into renewable energy and started a biomass company based in Texas. Looks like Oxford wasn't wasted on him i would say..

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Cristina - Cristina (80 ^ 90mb)

Cristina Monet, a Harvard drop-out, and the daughter of a French psychoanalyst and an American illustrator-novelist-playwright, she was working as a writer for The Village Voice when she met Michael Zilkha, who later became her husband. Zilkha was just starting ZE Records with Michel Esteban, he persuaded her to record a song called Disco Clone, an eccentric pastiche dance record which featured the uncredited Kevin Kline trying to seduce the breathy Cristina. According to some sources the record was produced by John Cale and was the first to be issued on the ZE label. "Disco Clone" was a cult success and encouraged ZE to release a full-length album in 1980, which was produced by August Darnell (aka Kid Creole). He created am atmosphere dense with percussion, scored with brash blasts of brass, riotously pan-generic, an oddly perfect backdrop for Cristina’s arch, playful vocals. Cristina’s first album reconnects with another key archetype of disco: physical, propulsive, joyous music as the backdrop to songs that document loss, broken hearts, social alienation, and when she tones down the misery, she increases the devilish word-play and humor.Subsequently she released a single with a cover of the Beatles' "Drive My Car" (see Mutant Disco vol1)

Those elements were amplified on 1984’s Sleep it Off, where Cristina teamed up with Don Was to produce an album whose topical consistency was hinged to music that shifted between modes from song to song. Cristina’s increasing confidence is audible in her style: the femme fatale squeals and sighs of 1980 have given way to an acerbic, sarcastic delivery. Don Was’ production gilds the record with sharp, plastic edges, splintered and stuttered rhythms making way for string-of-pearl guitars . Nevertheless the record flopped, and Cristina retired to domestic life in Texas. She and Zilkha divorced in 1990 and she returned to New York. She has more recently contributed learned essays and reviews to publications such as London's Times Literary Supplement, while battling MS, a debilitating illness.



01 - Jungle Love (5:26)
02 - Don't Be Greedy (6:22)
03 - Mama Mia (3:59)

04 - La Poupée Qui Fait Non (7:34)
05 - Temporarily Yours (5:48)
06 - Blame It On Disco (6:44)

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Kid Creole & The Coconuts - Tropical Gangsters ( 82 ^ 98nb)

Thomas August Darnell Browder (aka August Darnell) was born in Montreal, the son of a French Canadian mother and a Dominican father, but was raised in the New York City borough of the Bronx. In 1965, he formed the In-Laws with his half-brother, Stony Browder, Jr. He earned a master's degree in English and became an English teacher, but in 1974 again joined his half-brother as bass guitarist, singer, and lyricist in Dr. Buzzard's Original Savannah Band, a group that mixed disco with big band and Latin styles. When they broke up, Darnell began to write and produce for other acts working with James Chance among others. In 1980, he became a staff producer at ZE Records and created the persona of Kid Creole (adapted from Presley's King Creole) with a backup group, the Coconuts, consisting of three female singers led by his wife Adriana "Addy" Kaegi, and a band containing vibraphone player Andy Hernandez (aka Coati Mundi), also from Dr. Buzzard. Kid Creole was a deliberately comic figure, a Latinized Cab Calloway type in a zoot suit. Off the Coast of Me, the first Kid Creole & the Coconuts album, was released in August 1980 by Antilles through a distribution deal with ZE. It earned good reviews for its clever lyrics and mixture of musical styles, but sales disappointed.

ZE made a deal with Sire Records, which released the second Kid Creole & the Coconuts album, Fresh Fruit in Foreign Places, (1981). Fresh Fruit was a concept album that found the Kid Creole character embarking on an Odyssey-like search for a character named Mimi, and it was given a stage production at the New York Public Theater. Darnell continued the story with his third album, Tropical Gangsters in May 1982. The band toured Britain for the first time to promote the album, and they broke big. Three singles -- "I'm a Wonderful Thing, Baby," "Stool Pigeon," and "Annie, I'm Not Your Daddy" -- made the Top Ten. In the U.S., where the album was retitled Wise Guy, the band remained cult favorites. In 1983, Darnell produced side projects for the Coconuts (Don't Take My Coconuts) and Coati Mundi before releasing the fourth Kid Creole album, Doppelganger, which completed the Mimi cycle. The album charted in the U.K., but was a commercial disappointment after the breakthrough represented by Tropical Gangsters/Wise Guy.

Meanwhile, Kid Creole & the Coconuts remained a compelling live act with an imaginative visual style, which led to film and television opportunities. They appeared in the film Against All Odds in 1984 and continued to be tapped for movie projects in subsequent years, either for appearances or music: New York Stories (1989), The Forbidden Dance (1990), Identity Crisis (1990), Only You (1992), Car 54, Where Are You? (1994). They also made a TV film, Something Wrong in Paradise, based on the Mimi cycle and broadcast on Granada TV in the U.K. in December 1984.

Darnell broke up with his wife in 1985, and the original band split. Darnell pressed on, appearing at the Montreux Jazz Festival and releasing the fifth Kid Creole & the Coconuts album, In Praise of Older Women and Other Crimes, which did not chart. Neither did the sixth album, I, Too, Have Seen the Woods (1987). Darnell then took time off to write In a Pig's Valise, an off-Broadway show that ran for 12 weeks. Kid Creole & the Coconuts, now featuring former Dr. Buzzard singer Cory Daye, resurfaced in 1990, issuing a seventh album, Private Waters in the Great Divide, which featured "The Sex of It," a song written by Prince that made the British Top 40 and the American R&B charts. It was followed a year later by You Shoulda Told Me You Were....

Kid Creole & the Coconuts spent the 1990s touring internationally and releasing albums primarily outside the U.S. To Travel Sideways and Kiss Me Before the Light Changes both appeared initially in Japan, though they found stateside release on a small label in 1995. The Conquest of You was released in Germany in 1997. Kid Creole starred in the British musical Oh! What a Night, which ran in the West End from August to October 1999. A live album of the same name, which combined Kid Creole hits with renditions of some of the songs that appeared in the musical, was released in 2000. Too Cool to Conga!, a studio album, came out the following year. Darnell now lives in London (and occasionally Sweden), and still tours with the Coconuts occasionally. He is currently collaborating with writer/producer Peter Schott on a Contemporary Opera, to be produced by Son Of Kong Productions.



01 - Annie (I'm Not Your Daddy) (6:25)
02 - I'm A Wonderful Thing, Baby (5:14)
03 - Imitation (4:07)
04 - I'm Corrupt (4:01)

05 - Loving You Made A Fool Out Of Me (4:46)
06 - Stool Pigeon (4:56)
07 - The Love We Have (5:09)
08 - No Fish Today (4:50)

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Was (Not Was) - Was (Not Was) 80 * 99mb)

Was (Not Was) is an eccentric pop group founded by David Weiss (a.k.a. David Was) and Don Fagenson (a.k.a. Don Was), they were childhood friends who grew up together in suburban Detroit. Their first recording was "Wheel Me Out", a 12-inch dance record for the avant-garde Ze Records.Their first album Was (Not Was) (1981) was an amalgam of rock, disco, Weiss's beat poetry, Reagan-era commentary, and jazz. On vocals they recruited Harry Bowens and "Sweet Pea" Atkinson, who proved to be distinctive, soulful front men, who frequently found themselves singing absurd, surreal songs alongside tender ballads. The album was way ahead in directness, superstarsound and off the beaten track lyrics, it put people on the wrong foot I suppose, well they caught me, but then i was a minority and the album didnt chart. The follow-up, Born to Laugh at Tornados (1983), did. It introduced even more guest musicians, including Ozzy Osbourne rapping over electro, Mitch Ryder belting out a techno-rockabilly number, Mel Tormé crooning an oddly beautiful ballad about asphyxiation, and an abstract funk piece called "Man vs. the Empire Brain Building". ZE felt they were no longer part of the family and they were dropped , Geffen eventually released Born to laugh at tornadoes.

In 1988, they found their biggest hit with the album What Up, Dog?, which featured the singles "Walk the Dinosaur" and "Spy in the House of Love". Special guests included Stevie Salas, John Patitucci, Frank Sinatra Jr., and a writing credit for Elvis Costello. About this time, the Was'ses developed separate careers as producers, film scorers, and music supervisors. Don Was had become a prominent record producer, handling the board for Bonnie Raitt's Grammy-winning Nick of Time, among many other mainstream pop records. The group followed up with Are You Okay? in 1990, a critically lauded album, spearheaded by a cover of "Papa Was a Rolling Stone". Guest musicians included Iggy Pop, Leonard Cohen, The Roches, and Syd Straw. After a tour with Dire Straits in 1992 and a UK Top 5 single with "Shake Your Head, Weiss and Fagenson drifted apart and nothing was heard from Was (Not Was) but a compilation album Hello Dad... I'm in Jail. In 1993, Was (Not Was) officially parted ways, but then to be or not to be was the question and in 2004 the freaks came back out, Was (Not Was) reformed and were back on stage for a two-month club tour .In October 2005, they played four gigs at the Jazz Café in London. And..they announced that there will be a new studio album, Boo! (slated for an April '08 release), which includes many songs originally recorded in the '80s as well as new material.

I sampled the two ZE albums they made, Was not Was and the mini album, a collection of remixes, the Woodwork Squeeks, the ogg 7 version is pretty straight the orginal album topped up with some remixes. On the OGG 9 version i've exchanged the album versions directly with the remixes and there's another remix/dub mix added.



01 - Out Come The Freaks (5:39)
02 - Where Did Your Heart Go? (4:56)
03 - Tell Me That I'm Dreaming (5:00)
04 - Oh, Mr Friction (3:30)
05 - Carry Me Back To Old Morocco (6:01)
06 - It's An Attack! (3:10)
07 - The Sky's Ablaze (2:15)
08 - Go... Now! (5:28)
09 - Wheel Me Out (Classic 12" Version) (7:06)
10 - Dance Or Die (6:35)
11 - Out Come The Freaks (Classic 12" Version)
12 - Tell Me That I'm Dreaming (Traditional 12" Remix)
13 - Hello Operator (Classic 12" Version) (5:25)

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Was (Not Was) Souped up

Was (Not Was) - Was (Not Was) 80 ^ 92mb)

01 - Out Come The Freaks (Classic 12" Version) (7:12)
02 - Where Did Your Heart Go? (4:56)
03 - Tell Me That I'm Dreaming (Traditional 12" Remix) (6:33)
04 - Oh, Mr Friction (3:30)
05 - Carry Me Back To Old Morocco (6:01)
06 - It's An Attack! (3:10)
07 - The Sky's Ablaze (2:15)
08 - Go... Now! (5:28)

Xs Was (Not Was) - Was (Not Was) 80 ^ 75mb)

09 - Wheel Me Out (Classic 12" Version) (7:06)
10 - Dance Or Die (6:35)
11 - Tell Me That I'm Dreaming (Souped Up Version) / Out Come The Freaks (Dub Version) (12:52)
12 - Hello Operator (Classic 12" Version) (5:25)

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VA - Mutant Disco Vol 1 (84 * 135mb)

In spite of all the formula and tackiness, disco's hedonistic instincts on the dance floor attracted a certain bizarre crop of wily punk, no wave, and dedicated avant-garde artists. Here Ze Records, offering up dance music as an invitation to humor, fashion, funk, and whatever the hell else their artists wanted it to be. The past couple of years have exposed a whole slate of these musicians, thus framing the music they created (and in some ways the shadows of disco itself) not as any celebration of junk culture or an invite to laugh at fashion faux pas, but rather as distinctly good music. The Mutant Disco compilations shoe how ZE witnessed the explosion of No Wave's dissonant noise and acted as a platform for many of those same musicians to explore growing fascinations with dance beats and longer, more groove-centered structures.



01 - Was (Not Was) - Wheel Me Out (Remix Version) (7:08)
02 - Material feat.Nona Hendryx - Bustin' Out (6:40)
03 - Cristina - Drive My Car (3:21)
04 - Kid Creole And The Coconuts - Annie I'm Not Your Daddy (Remix Version) (6:30)
05 - Aural Exciters - Emile (Night Rate) (6:48)
06 - James White & The Blacks - Contort Yourself (August Darnell Remix) (6:18)
07 - Lizzy Mercier Descloux - Funky Stuff (4:12)
08 - Garçons - French Boy (3:08)
09 - Don Armando's Second Avenue Rhumba Band - Deputy Of Love (5:29)
10 - Gichy Dan - Cowboys & Gangsters (7:28)
11 - Cristina - Blame It On Disco (7:57)
12 - Garçons - Encore L'Amore ( Italian Version) (8:55)

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All downloads are in * ogg-7 (224k) or ^ ogg-9(320k), artwork is included , if in need get the nifty ogg encoder/decoder here !

Alphabet Soup (18)

Hello, Alphabet Soup Day has reached R today. When i glanced my R cdrow i noticed how dominated it was by big names, Rammstein, Radiohead, Red Hot CP, Reed, Rolling Stones, Roxy Music some 40 titles at least..duh..Not what i was searching for Alphabet Soup. Not to worry i've come up with a nice mixed bunch. Recoil is Alan Wilders project he started whilst still in Depeche Mode, the band he left on his 36th birthday stating he was no longer prepared to accept the work ethic of some of his fellow bandmembers ( spending more energy in taking credit). That was 95, meanwhile Recoil has released 3 albums. The one here he recorded just after the Violator tour in 91, with vocal support of Nitzer Ebbs Douglas McCarthy and Curve's Toni Halliday....Next up the man that doesnt relent, a muscular bundle of ADHD, a hardrock poet and these days a 'Talking Head'. Henry Rollins is the name with his Rollins Band he released Weight in 94 supported by that great single, Liar, and Corbijn video clip. It turned out to be their biggest smash...Finally Lesley Rankine she went to Seattle and met Mark Walk and the former post punk princes transformed into Ruby, Salt and Pepper comes in two distinct versions .

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Recoil - Bloodline (92 ^ 99mb)

Alan Wilder began piano at the age of eight, through the encouragement of his parents, later on, he learned the flute and became a leading musician in his school bands. After school, Alan worked as a studio assistant at DJM Studios. This led to him ending up working for a variety of bands .Following the departure of Vince Clarke, Depeche Mode put out an ad in the music magazine "Melody Maker": "Keyboard player needed for established band - no timewasters." Even though the ad was looking for someone under 21 (Alan was 22) he lied about his age to get the job and got away with it. For many years, Wilder was seen as the musician in Depeche Mode. As such, he is credited by much of the fan base for moulding Martin Gore's songs and sculpting the sound that became known as the Depeche Mode sound. His efforts can be felt all over classic albums like Black Celebration, Music for the Masses, Violator and Songs of Faith and Devotion.

After officially splitting from Depeche Mode in 1995, longtime member Alan Wilder finally went ahead with his side project Recoil. Wilder started Recoil in 1985, but efforts were halfhearted due to his responsibilities with DM. But despite such conflicts of interest, Recoil issued a set of early demos entitled 1 + 2, which coincided with the release of DM's 1986 album Black Celebration. As the '80s were coming to a close, Wilder and his original bandmates were becoming international superstars. With Violator the smash hit it was, and Depeche Mode coming off a huge burst in popularity and attention, Alan Wilder's solo project was never in a better position to get wider notice for itself in turn. Bloodline didn't produce an "Enjoy the Silence," but in many ways, this was and remains Wilder's most distinct Recoil album: a sharp combination of his ear for arrangements and notable guest singer turns. Wilder's production skills became even more influential with time. Electro-clash was a decade off, and the combination of pulsing energy and cold, brutal punch was perfectly evident throughout Bloodline.

In 1997 Wilder, after officially leaving DM, was freshly ready for Recoil, following up with the project's first album, Unsound Methods. This album, a cathartic set of techno-bombastic scores, brought in a wide range of artists such as spoken word sassy girl Maggie Estep, Songs of Faith and Devotion session vocalists Douglas McCarthy (Nitzer Ebb) and Hildia Cambell, and Recoil mainstay Siobhan Lynch. Unsound Methods was critically labeled as "difficult" and "dark," but it didn't distract Wilder. Certainly that was the reaction he was searching for. Three years later, his cunning musical mystery continued on Liquid. Strangely enthralling and genuinely unhinging, it masquerades as the aural equivalent of a disturbing movie. Following a five year break from recording, Alan Wilder, collaborating this time is blues-man Joe Richardson, returned with Recoil's fifth studio album, entitled subHuman released in July 2007, an album of complex sonic imagery and expansive dynamic range. SubHuman asks us to reach within ourselves and extract the very essence of what makes us human—and more importantly what allows us to subordinate others, sometimes with the most brutal consequences. "We are all 'subhuman' in somebody's eyes".



1 - Faith Healer (Voc.Douglas McCarthy) (6:01)
2 - Electro Blues For Bukka White (8:57)
3 - The Defector (8:06)
4 - Edge Of Life (Voc.Toni Halliday) (6:12)
5 - Curse (Voc.Moby) (7:04)
6 - Bloodline (Voc.Toni Halliday) (6:48)
7 - Freeze (7:28)

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Rollins Band - Weight (94 ^ 99mb)

Almost immediately after the legendary punk/hardcore band Black Flag called it quits in 1987, lead singer Henry Rollins issued his first solo releases, Hot Animal Machine and Drive By Shootings (the latter an EP credited to Henrieta Collins and the Wifebeating Childhaters), featuring longtime friend Chris Haskett on guitar. But Rollins missed being part of a true band, hence the formation of the Rollins Band. Similar in style to the Flag's latter direction, the Rollins Band enlisted ex-Gone members Sim Cain (drums) and Andrew Weiss (bass), while Haskett remained onboard. The group quickly made a name for themselves with their explosive concerts and nonstop touring, as soundman Theo Van Rock signed on as well (Rock's contributions were so great that he was often credited as a fifth member of the band).

A steady stream of releases followed: 1988's Life Time, 1989's Do It and Hard Volume, as well as the 1990 live set Turned On. 1990 also saw the release of Fast Food for Thought, a one-off experimental side project by Rollins and Weiss, dubbed Wartime. But the Rollins Band caught their big break when Perry Farrell invited them to join his inaugural Lollapalooza festival tour in the summer of 1991. Opening up the day's multi-band concert proved to be quite a challenge -- but the buzz on the band was growing and their next release, 1992's The End of Silence, proved to be their best selling album thus far, meanwhile Henry Rollins began appearing regularly on MTV as a guest VJ or on specialty programs.

Weiss left and was replaced by New York City funk bassist Melvin Gibbs, recommended by Living Colour's Vernon Reid. The Rollins Band's 1994 release Weight proved to be the biggest hit of their career, due to MTV's heavy rotation of the striking Anton Corbijn-directed clip for "Liar" On Weight, the Rollins Band is able to mix the musicians' love for jazz with a blindingly direct hard rock assault, making a twisted form of metal-jazz. Henry Rollins' lyrics have also begun to move away from his relentless self-examination, adding a touch of the self-effacing humor that distinguishes his spoken records. The new lyrical dimension adds depth to the band's music, making Weight their most impressive album to date.

A memorable appearance at Woodstock '94 followed shortly thereafter as the band continued their relentless touring schedule. 1997 saw the release of the band's debut for the massive DreamWorks label, Come in and Burn, but stagnation began setting in and Rollins dismissed his bandmates shortly after the conclusion of its supporting tour. He had produced a Los Angeles hard rock band called Mother Superior, and invited them to form a new incarnation of the Rollins Band. Their first album Get Some Go Again, was released two years later. The Rollins Band released several more albums, including 2001's Nice and 2003's Rise Above: 24 Black Flag Songs to Benefit the West Memphis Three. After 2003, the band became inactive as Rollins focused on radio and television work.



01 - Disconnect (4:57)
02 - Fool (4:26)
03 - Icon (3:42)
04 - Civilized (3:54)
05 - Divine Object Of Hatred (4:02)
06 - Liar (6:37)
07 - Step Back (3:58)
08 - Wrong Man (4:20)
09 - Volume 4 (4:39)
10 - Tired (3:47)
11 - Alien Blueprint (3:45)
12 - Shine (5:25)

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Ruby - Salt Peter (95 ^ 99mb)

Ruby was the alias of singer Lesley Rankine, previously the frontwoman of Scottish noise-provocateurs Silverfish. After leaving the group in the wake of their 1993 LP Fuckin' Drivin' or What, Rankine relocated from London to Seattle to collaborate with producer Mark Walk, with whom she'd previously worked on material for the industrial collective Pigface. Dubbing the project Ruby -- a name shared by both of their maternal grandmothers -- Rankine and Walk created a sonic backdrop closer to electronica than the abrasive rock of the singer's past work, with the acclaimed LP Salt Peter appearing in 1995. It's more provocative, as well as better written, instead of hard-edged post-punk, Ruby's music is a dark, eerie fusion of trip-hop and industrial, with quietly menacing beats and droning synths.

The remix version , Revenge, The Sweetest Fruit, appearied in 1996. She also appeared on the Toronto-based Monster Voodoo Machine's Suffersystem album recorded in 1994 at Chicago Trax. The album won a Juno award (the Canadian equivalent to a Grammy). Rankine returned to her native Scotland to work on Ruby's second album, Short Staffed at the Gene Pool. This saw the group release material on a new UK label, Wichita Recordings, as well as Thirsty Ear in the US. The song "Grace" was mixed by several abstract producers including Warp Records artist Mira Calix. Later in 2001, Altered & Proud gathered more remixes from luminaries such as Max Tundra, Kid 606, Console and Dot Allison.

Mark Walk is currently a member of legendary Industrial music group Skinny Puppy. Rankine has since taken a break from recording, and fell in love there (Scotland) with an Aussie/Scot, married and planned to go Australia..this was 2002. My guess is she's having kids and barbeques these days, but then writing/recording songs is not something easily passed on, so who knows she might be back with a record any day....



01 - Flippin' Tha Bird (4:10)
02 - Salt Water Fish (3:29)
03 - Heidi (4:03)
04 - Tiny Meat (4:05)
05 - Paraffin (3:36)
06 - Hoops (3:51)
07 - Pine (4:09)
08 - Swallow Baby (Tim Brown Remix) (5:32)
09 - The Whole Is Equal To The Sum Of Its Parts (4:09)
10 - Bud (4:19)
11 - Carondelet (7:06)

Ruby - Revenge, The Sweetest Fruit (Salt Peter Remixed) (96 * 99mb)

01 - Flippin' Tha Bird (Ceasefire Remix) (5:06)
02 - Salt Water Fish (Peshay Remix) (8:26)
03 - Heidi (Scream Team Remix) (7:51)
04 - Paraffin (Red Snapper Mix) (4:28)
05 - Hoops (Da Lata Remix) (4:49)
06 - Tiny Meat (Meat For The Feet Dub) (6:28)
07 - Heidi (Num Num Mix) (8:27)
08 - Swallow Baby (Tim Brown Remix) (6:16)
09 - The Whole Is Equal To The Sum Of Its Parts (Fila Brazillia Remix) (7:25)
10 - Bud (Rootless Mix) (7:05)
11 - Carondelet (Don't Fear The Remix) (5:11)
12 - Tiny Meat (Mark Walk Mix) (4:29)

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All downloads are in * ogg-7 (224k) or ^ ogg-9(320k), artwork is included , if in need get the nifty ogg encoder/decoder here !

Eight-X (18)

Hello, Eight-X the times you've been waiting for all week, some of you that is. Today we have another mixed bag, 'industrial' folk by a former art/kraut rocker who ended up as a Uni-professor lecturing in/on sound. Hearing it again this week made me wonder who's doing this today..great album and rather of these times "Flying Doesn't Help" being a great lyricist too you can read it as Fleeing aswell.. Our next stop brings us to a dotcom millionaire who went into business a decade after the band folded and her child was reared enough i guess. Eugenie Diserio, the post-punk princess went on to another life as a self-styled astrological self-help guru.Her band, The Dance, released two albums the latter, Soul Force, has recently been rereleased. Here you'll find their first In Lust..Last but not least Underworld, oops no that came later, still even if the boys look rather overstyled, the music shows Underworlds roots, i'm talking of cause about 'Freur' the name they came up with for the symbol that was devised to represent them, obviously the record company had said "bollocks, we can't have that" and i guess announcing a symbol is asking a bit much from the radio DJ's, let alone filing it

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Anthony Moore - Flying Doesn't Help(79 ^ 98mb)

Anthony Moore's musical career began when he met Peter Blegvad, while both were students at a Letchworth boarding school. After school Moore studied Indian classical music with Viram Jasani in 1969, and went on to compose his first film soundtrack for David Larcher's Mare's Tale. In 1971 Moore moved to Hamburg, Germany and worked in Hamburg's experimental music scene, recording two minimalist albums. In 1972 Blegvad visited Moore in Hamburg and, along with Moore's girlfriend Dagmar Krause, Moore (guitar, keyboards), Blegvad (guitar) and Krause (vocals) formed the avant-pop trio, Slapp Happy. Moore and Blegvad composed the band's music. Slapp Happy recorded two albums for Polydor Germany with krautrock group Faust as their backing band. Polydor released the first, Sort Of in 1972, but rejected the second, Casablanca Moon. This rejection prompted Slapp Happy to relocate to London where they signed up with Virgin Records and re-recorded Casablanca Moon, released in 1974 by Virgin as Slapp Happy. In 1974 they merged briefly with avant-garde rock group Henry Cow, recording two albums in 1975, Desperate Straights and In Praise of Learning. However, soon after recording the second album, first Moore, then Blegvad left the amalgamation on account of incompatibilities with the group, but Krause elected to remain with Henry Cow and that spelt the end of Slapp Happy. Moore and Blegvad parted company at this point, but did reunite for brief Slapp Happy reunions in 1982-1983, 1997 and 2000.

After leaving Henry Cow/Slapp Happy, Moore relaunched his solo career in 1977 by releasing Out on Virgin Records, with backing by Kevin Ayers and Andy Summers. Out, alas not commercial enough for Virgin so they cancelled Moore's contract. Meanwhile he produced a number of albums, including This Heat's This Heat (1978) . Moore went on to record a pair of exceptional albums -- Flying Doesn't Help and World Service -- on small independent labels. 1979's Flying Doesn't Help is elaborate yet accessible, the effects of Moore's masterwork can be felt on a number of levels. The opening track, a hooker-with-a-heart-of-gold story called "Judy Get Down, with playful use of double entendres and in its unfailing Beatlesque melodicism. The songs that follow run the gamut from mordant to mischievous to desolate. Moore manufactures a musical landscape that is starkly beautiful, emotionally charged and a tad dangerous, not unlike the best of John Cale's solo material. The album has stood the test of time remarkbly well .

After 1984's The Only Choice, Moore traded the uncertain fate as unsung singer for steadier employment as lyricist for the post Roger Waters incarnation of Pink Floyd. .Moore worked in various European locations as a freelance composer, writing songs and film scores. and collaborated with Pink Floyd on two of their albums. In 1996 Moore was appointed professor for research into sound and music in the context of new media at the Academy of Media Arts in Cologne, Germany. From 2000 to 2004 he was the principal of the Academy of Media Arts. Moore has also travelled to many European locations, presenting lectures on sound and music.



01 - Judy Get Down (2:56)
02 - Ready Ready (3:06)
03 - Useless Moments (2:46)
04 - Lucia (4:34)
05 - Caught Being In Love (4:54)

06 - Time Less Strange (3:43)
07 - Girl It's Your Time (3:17)
08 - War (4:19)
09 - Just Us (4:10)
10 - Twilight (Alexander Street) (2:15)


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The Dance - In Lust (81 ^ 99mb)

The Downtown New York City music scene of the late ‘70s and early ‘80s was a renaissance, a coming together of ideas and influences from all the arts and from cultures around the world. From the humble beginnings of CBGB and Max’s Kansas City, the music scene grew to be dominated by the “dance/rock emporiums” Hurrah, Danceteria, Peppermint Lounge, The Ritz, Mudd Club, as well as myriad smaller clubs like Tier 3 and Club 57. Among the first and most prominent bands of this era in NYC was The Dance, a band that made a unique form of poetic beat music, combining musical influences from minimalism, funk, hip-hop, reggae and rock with lyrics that use wit and startling candor to explore paradox and sexual politics. They headlined regularly at all the “emporia” and at similar venues throughout the Northeast US, and were also the “opening band of choice” for a great many of the more commercial British bands including The Cure, Depech Mode, Duran Duran. Releasing two LPs on the Statik UK label, their largest audience was in Europe where they toured only once.

The Dance was formed in New York City in late 1979 when Steven Alexander and Eugenie Diserio, both visual artists with MFAs from Columbia University, dissolved their first band, the notorious Model Citizens. They soon recruited bassist Louis Watterson, whom they heard play at a jazz/funk loft party. The first recording by The Dance was Dance for Your Dinner EP, at that time, The Dance was Eugenie, Steve and Louis, along with Fred Maher on drums and Jim Martin on percussion, second guitar and sax. In the next year, Martin was replaced by Tomas Doncker on guitar, and Maher was replaced by Robey Newsom on drums. This five-piece lineup recorded The Dance’s first LP, In Lust, released by Statik UK in 1981. Recorded in Surry, England, at Strawberry Studios, and co-produced at the label’s insistence by John Walker (a young and inexperienced engineer), In Lust presented a murky and sterile quasi-commercial funk sound. It was well received by fans and press, particularly in Europe where it had major label distribution. About the cover Robey says "Eugenie and Steve (her husband at the time) were artists so, if you listen to her lyrics, it should be no surprise that Eugenie is responsible for the album cover, Genie and Steve “sourced” the photo from a local sex shop and did the filtering and cropping, then added the text. "

Shortly after the release of In Lust, The Dance pared down to a four-piece band of Eugenie, Steve, Louis and Robey, streamlining their sound and embarking on a highly successful European tour. Returning to New York City in spring of 1982, The Dance entered Celestial Sound Studios to self-produce their second LP, Soul Force. The resulting record was The Dance at their most focused moment, confident and at home in the studio, and collaborating with fluidity and openness, reflecting the fusion of international sounds and attitudes that was Downtown NYC in 1982. Like much of the most original music made in the US, Soul Force was met with critical praise but little or no support from the record company. Available in the States only as an import, the record had broad distribution throughout the rest of the world, but left The Dance without distribution and promotional support at home. So in late 1982, Steve and Eugenie entered Shakedown Sound Studios with hip-hop producer Arthur Baker to record extended mixes of a new song “Into the Future,” a trippy, hedonistic incantation with a throbbing bass and a Middle-Eastern-sounding keyboard line. The record was immediately signed to Island Records by Mark Kamins, but then in 1983, a month before the record’s release, a personnel shake-up at the Island label left “Into the Future” on the shelf, where it remains today.

At that point The Dance project reached a natural conclusion. Steven continued to perform solo in New York and Austin for a short time, then resumed his painting career. His work is now widely exhibited and collected, and he teaches painting at a university in Pennsylvania. Louis moved for a time to New Orleans, and now continues to play music in New York. Robey continued his education and became VP of a bank in New York. Eugenie left her musical career behind to birth a baby. She moved in with her parents, and in the early 90's launched an astrology website. The post-punk princess went on to another life as a self-styled astrological self-help guru, who seemingly has a significant following. Her bio says

"A professional astrologer, author, entrepreneur and charismatic media personality, Eugenie Diserio has built a large, devoted following for her unique style of spiritual life management....In 1998, she was honored as one of Harvard Business School New York's Top 10 Entrepreneurs of the Year. She is profiled in DotCom Divas: E-Business Insights from the Visionary Women Founders of 20 Net Ventures published by McGraw-Hill and Mompreneurs Online - Using the Internet to Build Work@Home Success." Here's a 3 page interview she did that year at the New York Times Eugenie Diserio Astronet

In 2007, The Dance’s Soul Force LP has been reissued by ReRelease.net, and available for the first time in digital form. The music on this record is certainly just as alive and true as the day it was made. For many in the US, it is the first availability of this piece of New York underground music history.



01 - Breakout (3:49)
02 - In Lust (6:06)
03 - Survive Another Day (4:22)
04 - Surrogate For Hate (5:46)

05 - Personal Grooves (4:34)
06 - Networking The World (3:47)
07 - Shine (4:35)
08 - Relax And Be Romantic (3:38)
09 - Into The Black (4:28)

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Freur - Doot-Doot ( 83 ^ 99mb)



Formed in the early 1980s in Cardiff, Wales by Karl Hyde, Rick Smith and Alfie Thomas, this band originally had only a graphic 'squiggle' for a name. In 1983, after recruiting John Warwicker and drummer Bryn Burrows, they struck a recording deal with a major label, CBS Records, and met the label's insistence on a pronouncable name with the compromise that the squiggle was pronounced "Freur". Their first and only hit, "Doot Doot" (1983), was typically eighties pop, with drum machine, reverse live drums and phased vocal. The band's look was a cross between goth, rock, glam and new romantic - a combination that eighties chart favorites Sigue Sigue Sputnik pulled off to greater success not long after Freur attempted it.

The band released five further tracks after "Doot Doot", between 1983 and 1985: "Matters of the Heart", "Runaway", "Riders in the Night", "Devil and the Darkness" and "Look in the Back for Answers". All failed to dent the charts. There were also two albums: Doot Doot (1983) and Get Us Out of Here! (1985). The second LP was only released in Germany and Holland and is now a rarity.

Warwicker left the band in 1986 and Freur went into recess. In 1987, Hyde, Smith, Thomas and Burrows, along with bassist Baz Allen signed to Sire Records under a new name, Underworld, and found minor success with the single "Underneath the Radar" (1988) before folding in 1990. This incarnation is now remembered as "Underworld Mk.1", in the shadow of Hyde and Smith's later worldwide fame under the Underworld moniker. Now you may think this Doot-Doot is rather cheesy, but it isn't, with hindsight there are enough elements that brought them success 10 years later. If they weren't so busy and the rights probably reside at CBS, i think they could reproduce/remix it and end up with a good album to release for their 25 years in the muzik-biz party.



01 - Doot-Doot (3:59)
02 - Runaway (3:59)
03 - Riders In The Night (5:36)
04 - Theme From The Film Of The Same Name (3:22)
05 - Tender Surrender (2:57)

06 - Matters Of The Heart (4:04)
07 - My Room (3:25)
08 - Whispering (4:09)
09 - Steam Machine (2:56)
10 - All Too Much (4:49)

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All downloads are in * ogg-7 (224k) or ^ ogg-9(320k), artwork is included , if in need get the nifty ogg encoder/decoder here !

Around The World (18)

Hello, Around the Worldmusics finds itself in France, Brittanny (Breton) today. Back in the good old days, before rome culture and christian terror came down on the european peoples the Celts were dominant. What happened was that they were driven west and their druid locally managed lifestyle retreated to the British Isles, Ireland and mainlands most western region, Brittany. To date these regions show a strong genetic link to northern spain-Bask area where their migration started between 9 and 6 thousand years ago. Roman/Greek historians describe them as blonds even lemonising their hair, with females having equal rights ..even active as warriors and as (un)natural form of birthcontrol men preferring boys..but not too much otherwise the women would divorce them and take the possesions. So i guess in a way we are back where we were, if not for those New World Order morons striving for total control, with the help of their alien 'friends', that likely see them as the perfect tools to take over the planet...Back to the music, i guess what i want to say is that the fact that celtic music still carries an emotional punch for most westerners is because its deeply embedded in the culture that started deep in prehistoric times and in ways were the best of our times. Before roman militairy cunning and in its wake a vengeful roman catholic religion slashed and burned away freedom,and introduced money, tax and guilt and all the neuroses that come with those.

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Alan Stivell - Tir Na Nog (symphonie celtique) (79 ^ 161 mb)

If there is a single savior of Celtic music, Alan Stivell is probably it. Since the end of the 1960s, he has done more to revive interest in the Celtic (specifically Breton) harp than anyone in the world and, in the process, almost singlehandedly made the world aware of native Breton Celtic music. Since 1971, he has been recording albums of extraordinary beauty and diversity, ranging from ancient Breton and Irish material to modern folk-rock and progressive rock.

He was born Alan Cochevelou, the son of a harp maker. His father was the rediscoverer of the Breton harp, but he started his musical life on a somewhat more conventional instrument, taking up the piano at age five. He was given a harp by his father at age nine, and studied for the next several years under the direction of his father and Miss D. Megevand, a concert harpist, freely mixing classical repertory and arrangements of Breton, English, Irish, Scottish, and Welsh folk material. Stivell was playing concerts at age 11, and he began taking up the more general study of traditional popular Celtic music, including the Scottish bagpipes, drum, Irish flute, and tin whistle, while in his teens. He ultimately became well versed in all of these and won honors in national piping competitions in Scotland, and chose the professional name of Stivell, the Breton word meaning fountain, spring, or source. By the age of 21, while studying for his degree in English, he became an established folk musician, recording songs to his own harp accompaniment.


In 1967, he formed a group consisting of himself on harp, bagpipes, and Irish flute and Dan Ar Bras on electric guitar, backed by bass and drums. He released several albums during this period, including Reflections (1971), A L'Olympia (1972), Chemins de Terre (1972), Celtic Rock (1972), and E. Lagonned (1976). For a time during the mid-'70s, his success placed traditional Breton and Celtic music on the English charts on a regular basis. Stivell's biggest accomplishment, however, involved the rebirth and rediscovery of an instrument and an entire cultural history. His career brought to fruition the revival of the Breton harp that his father had begun in the 1930s and '40s,within 20 years there were over 100 players where there had been none.

Alan Stivell's music has found an audience among people who have never been anywhere near Brittany, Ireland, Scotland, or Wales. The Celtic peoples were among the western-most settlers of Europe, and occupied some of the bleakest yet most starkly beautiful land in Europe -- the Romans, in particular, couldn't understand why any sane race would want to live in those places; but, of course, the Romans are gone and buried. In contrast Celtic music is still played, and their culture exerts a pull on people the world over. The music has always had an element of loneliness, of the single harpist, piper, or drummer looking out across the vastness to the West (all that lay west was, of course, the Atlantic Ocean . Stivell, captures the inherent joy, wistfulness, and loneliness in this music, his music captures the mystery and strangeness of Breton, Irish, Welsh, and Scottish landscapes that are both ageless and timeless.

Tir Na Nog is a long way from Stivell's solo harp excursions. In addition to various harps, pipes, and whistles played by Stivell, the instrumentation includes a rock band (guitars, bass, drums, keyboards), uilinn pipes, an orchestra of 40-plus players, and a choir. It is not traditional Breton, Irish, or Scottish music, but it is a modern, mixed-ensemble successor to those sources. Obviously Stivell took a risk and got some slack for leaving the 'pure' path, nevertheless, to date, the original double album is Stivell's magnum opus.



Alan Stivell - Tir Na Nog (symphonie celtique) (79 ^ 90 mb)

Kelc'h Unan

01 - Beaj (4:38)
02 - Hiraezh: Gwerz 1 (3:22)
03 - Hiraezh: Loc'h Ar Goulenn (3:39)
04 - Divodan (9:20)

Kelc'h Daou

05 - Emskiant (3:46)
06 - Kendaskren (4:01)
07 - Imram (6:38)
08 - Dilestran (3:48)

Alan Stivell - Tir Na Nog (symphonie celtique)  2 (79 ^ 72mb)

Kelc'h Tri

09 - Ar C'hammou Kentan (4:06)
10 - Ar Geoded Skedus (4:23)
11 - Ar Bale Trema'r Geoded (5:40)

Kelc'h Tri (Suite)

12 - Gouel Hollvedel I (3:41)
14 - Gouel Hollvedel II (4:17)
15 - Gouel Hollvedel III (4:55)
16 - Gouel Hollvedel IV (2:25)
17 - An Distro (0:43)

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All downloads are in * ogg-7 (224k) or ^ ogg-9(320k), artwork is included , if in need get the nifty ogg encoder/decoder here !

Don't Panic ! (18)

Hello today the final episode of the Tertiary Phase of The Hitchhikers Guide To The Galaxy, not to worry the Quandary Phase manifests next week...


As usual a recap of last weeks 17th fit;

The episode opens with a Guide entry about the Silastic Armorfiends, a very aggressive species, who apparently were the first race ever to shock a computer, by asking it (Hactar) to design the "Ultimate Weapon". Hactar designed one, a small bomb which would destroy every sun in the universe by connecting them in hyperspace. However, it turned out to be a dud, because Hactar had decided that any possible consequence of making it a dud would be better than it actually being used. The Silastic Armorfiends were unimpressed with this and destroyed Hactar, and later themselves.

They arrive at the asteroid, but too late to do anything but watch. The Krikkit robots place the key into the Wikkit Gate, revealing Krikkit. As the robots from the escaped Krikkit ship leave their ship, they notice that Zaphod Beeblebrox is with them, who gets knocked out by the Krikkitmen, who then proceed to actually destroy the lock. Zaphod explains that they had brought him on their ship, but had not killed him, but not for any obvious reason. Zaphod comes with the others on Slartibartfast's ship, where Slartibartfast announces that they have no choice but to go down to the surface of Krikkit. Arthur had recovered two items - the Golden Bail, in order to allow the Heart of Gold to work once more, and more importantly, the Ashes of the Wooden Pillar. Zaphod returns to the Heart of Gold, and asks Trillian whether she wishes to come with him - she declines.

Arthur, Ford, Trillian and Slartibartfast finally land on Krikkit, where they notice that there are hundreds of floating buildings and warships above the surface. They are soon apprehended by some Krikkitmen, who ask them if they are aliens. The Krikkitmen ask them about the "balance of nature". They express concern that the plan of universal destruction would upset the balance of nature, and also would stop them from having sporting links with the rest of the Galaxy.The leader of the group, in private, explains to Trillian they have a bomb, that can destroy everything that exists, and cries about this. Trillian asks him to "take me to your leader, up there", in the sky.

Meanwhile, the others notice that the Heart of Gold is visible in the war zones above the planet. Zaphod sneaks into one of the floating buildings, where he finds the original starship that crash-landed on Krikkit. He dismisses it instantly as a fake. He later overhears a conversation between two Krikkit officers, and that apparently the robots are getting depressed and do fiendishly difficult quadratic equations instead of fighting. The episode ends with Zaphod over-hearing Marvin sing a depressing song.

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THHGTTG - Fit 18 (23mb)

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All downloads are in * ogg-7 (224k) or ^ ogg-9(320k), artwork is included , if in need get the nifty ogg encoder/decoder here !

Sundaze (18)

Hello, today a second installment of Tuxedomoon on Sundaze, this time checking some of the members solo work, Reininger and Brown have been very prolific with the latter even pursuing another succesfull path with Nine Rain, his mexican avant garde band. Here however i've tried to keep the latest work for what they are and concentrate on thhe early work when Tuxedoblood was still pumping .
Next week at Sundaze another Inside - Out with some more binaural titles and metaphysical news..

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Blaine L. Reininger - Colorado Suite/Paris En Automne (84/85 ^99mb)

Blaine L. Reininger is an American composer born in 1953 in Pueblo, Colorado. Having studied violin from age 9 guitar from age 11 and music theory and composition through high school and into college, he left Colorado in 1976 for San Francisco. There, in 1977, as a consequence of his studies in electronic music at San Francisco City College, he started the legendary American cult band Tuxedomoon together with classmate Steven Brown.

Blaine L. Reininger was the first member of Tuxedomoon to record a solo album, with Broken Fingers appearing in 1982. After leaving the band early in 1983, Blaine collaborated with Sleepers guitarist and occasional TM member Michael Belfer on Night Air. Produced by Blaine with Gareth Jones, this masterful part-vocal, part-instrumental album proved a significant critical and commercial success on release on 1984. After fruitful collaborations with Mikel Rouse and Vini Reilly of the Durutti Column (featured on the accomplished Instrumentals CD), Blaine released the powerful in-concert set Live in Brussels in 1986, followed by a string of further studio albums, including Byzantium, Book of Hours, Songs From the Rain Palace and The More I Learn the Less I Know. His film and theatre soundtracks include Radio Moscow, Manic Man and most recently Elektra.
Blaine also continues his long-standing duo work with Steven Brown, which has included several film, theatre and ballet soundtracks, as well as superlative piano/violin recitals of the kind preserved on the Live in Lisbon CD. Currently Blaine Reininger resides in Athens, and pursues parallel careers as a solo artist, releasing Glossolalia last year, and as Tuxedomoon member.

Colorado Suite (made to measure for a western)



1 - Side Wind (6:17)
2 - Windy Outside (6:38)
3 - West Wind (7:37)
4 - Sun Study (6:25)

 

5 - Paris En Automne (For J.J.) (4:33)
6 - Singular World (4:13)
7 - Raise Your Hands (5:06)
8 - Burn Like Rome (4:53)
9 - The Homecoming (4:38)

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Steven Brown - Music For Solo Piano (84 ^ 99mb)

Steven Brown these days is not only still involved with Tuxedomoon but with his mexican band Nine Rain aswell. Infact over the years he's been very busy, writing and playing music, not just as a keyboardman but he likes his windinstruments aswell..sax in partiicular and maybe i should include voice/vocals here too. Music for Solo Piano was the first project that was totally the work of Brown, and was released in 1984 by Crepuscule. He has, as a solo artist, recorded some ten solo albums, including Music For Solo Piano (1984), Zoo Story (1984), Searching For Contact (1987), Music for Film and Theatre (1988), and Half Out (1991). In 2002 LTM released a Best Of collection titled Decade. The all-instrumental Music for Solo Piano was originally recorded for Les Disques du Crepuscule in 1984, and remains one of Steven's best regarded works. The solo piano pieces range from modern to classically-informed, while on several tracks Steven is joined by Tuxedomoon violinist Blaine Reininger. These include three selections from TM's ambitious opera without wordsÇ The Ghost Sonata, namely Music #2, The Fall and the haunting Ghost Sonata itself. Brown has emerged as a leading force of the new music, which rejects the conventional separation of pop, classical and avant garde music forceful and subversive. Brown's solo work is marked by a deep intellectual content, including dedications to the German film director Rainer Fassbinder and a score based on Edward Albee's play Zoo Story. Later composition were inspired by the literature of Jean Genet and William Burroughs and the sonnets of British poet John Keats.

In 1993 Steven Brown and Nicolás Klau moved to Mexico. With the idea of continuing a project begun in Bruxelles they soon began working with Jose Manuel Aguilera (guitar, voice) and Juan Carlos Lopez (drums, percussion) on new music. Within the year they were playing all over Mexico City as well as touring around the country playing music of Brown, Klau and Tuxedomoon. From the onset this repertoire will begin to be influenced by Mexican music eventually giving birth to the unique Nine Rain sound. 1995 Alejandro Herrera joins the group incorporating Son Jarocho the traditional music of Veracruz with his instruments, the Requinto and the Jarana. March of 1996 Nine Rain presents their first Cd Nine Rain (chiknawi Quiahuitl in nauhuatl) in the prestigious Music Hall Blas Galindo in Mexico City. The CD Nine Rain is mix of atmospheres, languages and sounds that weaves a web of staccato fandango rhythms. In 1999 Brown Klau Aguilera and Herrera decide to record a second cd, and at the suggestion of Edmundo Navas the CD Rain of Fire will be recorded in Havana Cuba in the famous EGREM studios. In 2000 Nine rain is commissioned to compose the original music for the Mexican pavilion at the World Expo in Hannover. In June of 2006 Nine Rain completes the final mixing of what will be their third compact disc. As of this writing untitled, the disk includes eleven new compositions and was recorded and produced by Nikolas Klau.



01 - Piano No.1 (2:29)
02 - Waltz (1:26)
03 - The Ball (2:27)
04 - Hold Me While I'm Naked (3:09)
05 - Close Little Sixes (0:52)
06 - Fanfare (4:07)
07 - Egypt (4:18)
08 - The Fall (3:05)
09 - Fantasie For Clarinet & Violin (8:13)
10 - R.W.F. (3:18)
11 - Rotterdam Lullabye (8:14)

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Winston Tong - Theoretically Chinese (85 ^ 149mb)

Polymath performance artist Winston Tong was born in San Francisco in 1951, the son of Chinese parents exiled by the Communist revolution. He graduated in theatre from the California Institute of Arts in 1973, and quickly established a reputation in the Bay Area with a string of charismatic performance pieces such as Wild Boys, Eliminations, Frankie and Johnnie and Bound Feet, the latter loosely based on traditional oriental puppet theatre, and an Obie award winner. In late 1977 Tong met an early incarnation of Tuxedomoon, then comprising Steven Brown, Blaine Reininger and Victoria Lowe, after Lowe invited Tong to perform at a self-organized salon, Chez Dada. Afterwards Tong agreed to perform with the band as and when time allowed, a flexible arrangement which would remain in place until he finally ceased working with the band in 1985. At about the same time Tong met Bruce Geduldig, who would take on responsibility for visuals and staging with both Tong and Tuxedomoon.

Tong was absent from the first Tuxedomoon album, Half Mute, but returned for Desire, released to great acclaim in 1981, as well as their first European tour. Soon afterwards the band relocated to Europe on a permanent basis, settling first in Rotterdam and then Brussels. Several albums emerged on which Tong featured heavily, including Divine, Suite en Sous-Sol and The Ghost Sonata, the latter an ambitious 'opera without words' staged in Italy in the summer of 1982. At the same time Tong continued to reprise solo theatre performances such as Frankie and Johnnie.

At the beginning of 1983 Blaine Reininger quit Tuxedomoon for a solo career, and athough he would return in 1987, this setback left the band inactive for much of the next two years. Tong sang lead on an interim single, Soma, but elected to devote more time and energy to a musical collaboration with Belgian singer Niki Mono, in January 1984 they recorded a nine-song studio demo, which impressed Crepuscule sufficiently to sign the project for an album. In April Tong and Mono were dispatched to London to record the first single. Produced by Alan Rankine (ex Associates) and Dave Formula (ex Magazine), Theoretical China featured a stellar cast of guest musicians including Jah Wobble, Simon Topping (A Certain Ratio) and Steven Morris (New Order), although despite the exceptional pedigree of the supporting players the track doesn't quite gel as a funk-dance cut. At the end of April Tong and Mono traveled to Tokyo for a string of live dates with The Durutti Column and Mikado. During this trip the pair recorded The Hunger, a haunting sixteen minute track on which several Japanese musicians guest, including Atsuo Suzuki and Satoshi Kadakura. The Hunger is unquestionably one of Tong's best musical recordings.

At the same time Tong undertook an altogether different musical project, being the soundtrack to Miserere (Mercy), a modern ballet based on the myth of Orpheus and Eurydice. Commissioned by choreographer Pierre Droulers, the remarkable soundtrack by Tong and Sussan Deyhim was recorded exclusively acappella and. Feared lost for many years, the masters were eventually rediscovered and released by LTM in 2003. The Winston Tong 'pop' album eventually appeared as Theoretically Chinese in October 1985. It's an album of peerless electronic dance pop, the sound expansive and expensive, and a million miles from the angst, night and fog for which Tuxedomoon were renowned. The album sold well enough in Europe, although Crepuscule must have been galled that there were no live dates in support, and that Tong had already donated his best solo composition, In A Manner of Speaking, to Tuxedomoon.

That song proved an undisputed highlight of their first post-Reininger album, Holy Wars, released in April 1985, Tong assisted TM with the launch of the album, but was gone by the summer, devoting his time to the completion of his solo album, and performances of Miserere in Paris and elsewhere. Tong afterwards returned to the States, hoping to land a role in Bernardo Bertolucci's epic film The Last Emperor, and David Hwang's M. Butterfly on Broadway. Sadly there have been no more solo records. However Tong has continued to perform new shows such as Winston Tong Sings Duke Ellington and Rasputin, Isadora and Mao. He is alive and well and working on new projects in San Francisco, and appeared with Tuxedomoon for their 25th year reunion concerts in the city in March 2005.



01 - Big Brother (5:09)
02 - Endgame (4:31)
03 - The Quotidian (5:20)
04 - Theoretical China (5:43)
05 - Yellow Peril (3:40)
06 - Broken English (5:58)
07 - No Regrets (6:00)
08 - Reports From The Heart (5:50)
09 - The Principles Of Movement (6:47)
10 - The Hunger (15:50)

diet version
Winston Tong - Theoretically Chinese (85 * 99mb)

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Peter Principle - Tone Poems (88 ^ 98mb)

The Peter Principle is a special case of a ubiquitous observation: anything that works will be used in progressively more challenging applications until it fails. This is "The Generalized Peter Principle." as observed by Dr. William R. Corcoran

Peter Principle (born :1954) is guitarist and bass wizard in the group Tuxedomoon. His first two solo albums appeared on Crammed Discs' acclaimed Made to Measure imprint, being Sedimental Journey (1986) and Tone Poems (1988). Conjunction followed on LTM in 1990, and Idyllatry in 2005.
Aged 11, Peter Principle spent an entire summer in his native Queens (NYC) mowing an old woman's lawn, the agreed reward being an ancient reel-to-reel tape recorder. Peter then secreted himself away with his new toy and quickly discovered just how many wonderful things he could achieve with it, such as creating feedback with speakers, or inserting a plectrum and erase-head to create primitive sound-on-sound recording.Before long Peter was playing in a rock band, and realised that there were countless seruious composers (with impressive academic credentials) making music by employing the same techniques. Thus Peter had re-invented musique concrete without even knowing that it existed.In San Francisco in 1977 Peter joined forces with Steven Brown and Blaine L. Reininger in Tuxedomoon.

Peter's first solo album, Sedimental Journey, appeared in 1985, and represents a reaction against mathematical rhythms in music. here the beats are purposefully set at different distances from the rhythms, so corrupting the listener's expectations.Tone Poems followed in 1988, the soundtrack to the scores of "Parelmoer", a stage production, and "Innocence", a videotape, both by Saskia Lupini, supplying an undercurrent of surreal impressionism beneath the hynotic images. It was recorded in a tent between The Lion & The Eagle, summer 1987, and in The Ivory Tower Brocceliande. Completed at Daylight, July 1988. The motto : "In honour of the muses & the technology, home-taping is making music"..On Conjunction (1990) Peter combined psychedelic music and symbolist harmonics to create 13 sonic sculptures, ranging from environmental to his trademark concrete music.



01 - Le Maka (9:05)
Le Maka Part 1. 28 Day Snake
Le Maka Part 2. Theme
Le Maka Part 3. Sgt Rock In The Ardennes
02 - Sphinx (6:12)
03 - Sub-Lunar Folly (0:54)
04 - The Observatory (4:36)
05 - Independance Day (4:36)
06 - Pillar Of Salt (2:09)
07 - Orval (2:10)
08 - Orion's Shadow (4:43)
09 - Dolphins (1:28)
10 - Riding The Silver Chord (2:48)

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All downloads are in * ogg-7 (224k) or ^ ogg-9(320k), artwork is included , if in need get the nifty ogg encoder/decoder here !

Rhotation (18) Into BPM

Hello, its been a bit of a tiresome week for me, so i decided to start Rhotation 18 somewhat more relaxt (for me) , two samplers, two double albums and for your pleasure ..two versions. The Rough Trade Shop compilation has a number of rare goodies and nice picks, same can be said for the Skint compilation, some great dancefloor hits that still do nicely in a party mix.

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The Rough Trade Shop is an independent music store in the Portobello Road district of West London, England. It was founded in 1976 by Geoff Travis, and in 1978 spawned the famous Rough Trade Records, however, in 1982 the two separated and the shop remains an independent entity from the label, although links between the two are strong. At the same time the shop moved from its original location on Kensington Park Road round the corner to Talbot Road. In 1987 a second shop opened in Neal's Yard, Covent Garden. The opening of international shops in San Francisco, Tokyo and Paris but these were not a success and had to close. In 2007 they also opened in Dray Walk, Brick Lane in east London, claiming to be the largest record shop in the UK.

Musically, Rough Trade specialises in the post-punk genre, but carries items through a range of genres, mostly within the alternative or underground scenes. Recently the shop has released several compilation albums, each focusing on an individual genre such as indie-pop, electronica, country, singer songwriter, rock and roll and post-punk. It released a 4CD box set for its 25th anniversary in 2001, followed by Electronic 01 and Rock and Roll 1 in 2002. Every January since 2003 it has released a compilation putting together the best (in the opinion of the shops' staff) of the previous year's music entitled 'Counter Culture'. 2007 additionally saw the release of 'Counter Culture 76', reflecting the music of year the shop opened.

Rough Trade store has occupied a central and important role in the arena of worldwide electronic exchange for more than two decades. Spanning over 50 years of electronic enterprise, this collection positions modern producers such as Aphex Twin, Oval, Matmos and Schneider TM with early pioneers such as John Cage and Pierre Henry , Krautrockers Can , electronic pop bands such as the Human League and New Order and a host of other seminal electronicists such as Brian Eno, Raymond Scott, Kraftwerk, Non, Aux 88, To Rococo Rot and Fischerspooner. More than any other compilation, this shows the astonishing and near-impossible breadth and range of electronic music in the 20th-century.



VA - Rough Trade Shops - Electronic 01 (02, 70:25 ^ 156mb)

101 - Brian Eno - Signals (2:44)
102 - Rod Freeman & The Blue Men - I Hear A New World (2:38)
103 - Oval - Kardamom (1:00)
104 - Barbara Morgenstern - Die Liebe (Schneekristall Mix) (3:53)
105 - Throbbing Gristle - Hot On The Heels Of Love (4:18)
106 - Christian Zanési - Marseille 2 (3:24)
107 - BBC Radiophonic Workshop - Dr. Who (Original Theme) (2:21)
108 - I-f - Space Invaders Are Smoking Grass (Radio Edit) (4:05)
109 - Raymond Scott - Bufferin "Memories" (Original) (0:58)
110 - Schneider TM vs. KPT.Michi.Gan - The Light 3000 (4:03)
111 - Thomas Leer & Robert Rental - Day Breaks, Night Heals (3:59)
112 - Autechre - Basscadet (5:23)
113 - New Order - 586 (7:29)
114 - Matmos - Freak 'n' You (4:57)
115 - Uusitalo - Between Kate and Naomi (2:30)
116 - Pierre Henry - Atelier (3:31)
117 - Aphex Twin - Inkey$ (1:17)
118 - Terre Thaemlitz - D.c. d.o.a. (1:11)
119 - Kraftwerk The Robots (6:06)
120 - John Cage - Radio Music (Edit) (0:57)
121 - NON - Out Out Out (3:32)

satisfied with lower fidelity ?





VA - Rough Trade Shops - Electronic 01-2 (02, 72:21 ^ 154mb)

201 - Faust - Just A Second (Starts Like This) (3:36)
202 - To Rococo Rot - Cars (Variant) (3:58)
203 - Can - I Want More (3:31)
204 - Stereolab - Freestyle Dumping (3:56)
205 - Pan Sonic - Arvio (1:21)
206 - Arovane - Tascel_7 (5:41)
207 - LB - Superbad (3:14)
208 - D - Firspk (2:16)
209 - Human League, The - Being Boiled (3:47)
210 - Aux 88 Direct Drive (Edit) (3:50)
211 - Bruce Haack - Mean Old Devil (3:24)
212 - Kevin Blechdom - Peanuts (2:41)
213 - Fischerspooner - Turn On (4:23)
214 - Thomas Brinkmann - Trixie (4:51)
215 - Normal, The - Warm Leatherette (3:21)
216 - Depeche Mode - Big Muff (4:20)
217 - Dexter - Senderwahl (3:53)
218 - Fennesz - 011 (2:48)
219 - Farben - At The Golden Circle Stockholm Vol. 1 1965 (6:10)
220 - ELpH vs. Coil - Ended (1:13)

diet versions
VA - Rough Trade Shops - Electronic 01 (* 99mb)
VA - Rough Trade Shops - Electronic 01-2 (* 99mb)

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Skint Records is a Brighton based dance music record label owned by JC Reid, Tim Jeffery and Damian Harris. It was created as a sublabel of Loaded Records, also founded by Reid and Jeffery. The label was, together with Wall of Sound, a leader in the big beat music scene of the mid to late 1990s. The label's roster at this time included scene leaders Fatboy Slim, Hardknox, Indian Ropeman, Freq Nasty and X-Press 2. Towards the end of the 1990s and at the start of the 21st century the label had expanded its range of releases to include more house based songs, and releases by legendary techno artist Dave Clarke as well as artists as diverse as Lucky Jim, Freq Nasty, FC Kahuna, Bentley Rhythm Ace and Ralfe Band. One mainstay band of the label has been the Lo-Fidelity Allstars who have changed and diversified their style along with the label.



VA - We Are Skint ( 02, 68:37 * 99mb)

101 - Fatboy Slim - Santa Cruz (7:31)
102 - Bentley Rhythm Ace - Bentley's Gonna Sort You Out (4:57)
103 - Lo-Fidelity Allstars - Battle Flag (Feat.Pigeonhed) (5:39)
104 - X-Press 2 - Lazy (Feat.David Byrne) (4:15)
105 - Midfield General - Reach Out ( Feat.Linda Lewis) (5:29)
106 - Space Raiders - Beautiful Crazy (4:00)
107 - Indian Ropeman - Indian Ropeman (5:10)
108 - Freq Nasty - Amped (7:09)
109 - Fatboy Slim - Rockafeller Skank (6:55)
110 - Cut La Roc - Freeze (6:48)
111 - Dave Clarke - Compass (5:44)
112 - Hardknox - Coz I Can (4:53)




VA - We Are Skint 2 (* 99mb)

201 - Dave Clarke - The Wolf (6:17)
202 - Fatboy Slim - Star 69 (Timo Maas Remix) (6:35)
203 - X-Press 2 - Smoke Machine (Koma & Bones Remix) (7:08)
204 - Midfield General - Noel's House Party (5:56)
205 - Artificial Funk - Together - Dub (Voc.Nellie Ettison) (6:53)
206 - Lo-Fidelity Allstars - Dark Is Easy (5:57)
207 - International Pony - Leaving Home (3:20)
208 - Space Raiders - Stay (In The Honeytree) (4:40)
209 - Freq Nasty - Dog Choon (7:30)
210 - Danmass - Haze (Original Mix) (6:05)
211 - Roland Clark - Time Of The Night (5:03)
212 - Phil Kieran - My House (6:25)


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All downloads are in * ogg-7 (224k) or ^ ogg-9(320k), artwork is included , if in need get the nifty ogg encoder/decoder here !

Into The Groove (17)

Hello, Into The Groove is getting funky today, when i got my mind made up i thought seventies disco funk, should be able to shake those bones loose tonight. Instant Funk were a sought after backing and studio band, but obviously they had something to say themselves aswell, this resulted in their 76 debut album Get Down With The Philly Jump. They weren't lucky with their choice of label because after their third album, containing that millionseller Got My Mind Made Up, for the third consecutive time the label they were assigned to folded (makes you wonder did they ever see any money) anyway the ' funk' was gone and they split. Cameo 's debut was right in yr face funk, macho stuff . If you were into hard, tough funk in 1977, it was impossible not to be excited by Cardiac Arrest. For funk lovers, this is essential listening. Finally Fatback, by 77 they dropped the Band , and when pronouncing just Fatback sounds much more direct and funky. Brite Lites, Big City is, you guessed it about New York, a town they rarely left , they never scored mega hits but had enough to offer for 20 albums over the years, word has it they still jam the funk whenever...

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Instant Funk - Get Down With The Philly Jump (76 ^ 85mb)

Instant Funk came out of New Jersey consisting of Raymond Earl, Scotty Miller and guitarist Kim Miller. The group was then called The Music Machine and they were very successful as a back-up band for The Manhattans, Bunny Sigler and also the TNJs. Throughout their careers, Instant Funk would be the back-up band for many stars, including Lou Rawls, Loleatta Holloway, The O'Jays, MFSB, Curtis Mayfield and Evelyn Champagne King (they are the backing band on the hit single, "Shame").

The group relocated to Philadelphia in 1976 to release its first album, Get Down With the Philly Jump, as they started to formulate their own sound. Instant Funk had one foot in the sophisticated Philly soul/disco sound and the other in the gritty, down-and-dirty funk of pre-J.T. Taylor Kool & the Gang -- put those things together, and you have a group that was certainly unique and risk-taking. Bunny Sigler produced Get Down with the Philly Jump at Philly's famous Sigma Sound Studios, the material is generally decent; one can hear Instant Funk's potential on infectious tracks like "I Know Where You're Coming From," "Hup Two, Hup Two (Get in Line, Say Get in Line)" and "Philly Jump." that said, the best was yet to come for Instant Funk.

Instant Funk followed this album up with a release for former MFSB guitarist Norman Harris' new record label Gold Mind, with front man Bunny Sigler entitled "Let Me Party With You".The Gold Mind label folded, and Instant Funk's new cut "I Got My Mind Made Up" was transferred to the Salsoul label, which pushed the record heavily to all of the disco clubs. The remix of this song by club DJ Larry Levan and engineer Bob Blank quickly became the talk of Manhattan. "I Got My Mind Made Up" hit #1 on both the R&B and disco charts and #20 on the Billboard Hot 100 chart in the spring of 1979. Instant Funk initially stayed together to tour , but then Salsoul folded. They eventually disbanded, and Bunny Sigler went on to perform as part of The Trammps.



01 - It Ain't Reaggae (But It's Funky) (3:46)
02 - The Mack Is Back (3:09)
03 - Philly Jump (5:07)
04 - Give Me Your Love (3:17)
05 - I Know Where You're Coming From (4:05)

06 - Hup Two, Hup Two (Get In Line, Say Get In Line) (4:02)
07 - So Glad I'm The One (3:15)
08 - Funky Africa (4:34)
09 - We Can Work It Out (2:58)
10 - Go For Yourself (4:05)

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Cameo - Cardiac Arrest (77 ^ 87mb)

Formed in 1974, Cameo started out as a 13-member group created by Larry Blackmon called the New York City Players. Signed by Casablanca Records to their Chocolate City imprint in 1976, the group soon changed its name to Cameo after concerns "New York City Players" might cause confusion between them and the funk band Ohio Players. Cameo started with a deep, funky sound, but it was obvious from the start their sights were set on the dance floor. For the most part, this is an album of aggressive, unapologetically gritty funk. On classics like "Rigor Mortis," "Funk, Funk," and "Post Mortem," one can pinpoint Cameo's influences -- namely, Parliament/Funkadelic, the Ohio Players, and the Bar-Kays. But at the same time, these gems demonstrate that even in 1977, Cameo had a recognizable sound of its own. Their first albums Cardiac Arrest, Ugly Ego, We All Know Who We Are, and Secret Omen contained dance floor songs such as "Rigor Mortis", "I Just Want To Be" and "Find My Way," the latter which was a major disco smash and was included on the soundtrack to Thank God It's Friday. By the time Cameosis came out in 1980, Cameo had gained considerable momentum through singles such as "Shake Your Pants". Albums such as 1981's Knights of the Sound Table and 1982's Alligator Woman saw the band playing up their eclectic style.

In 1982 they packed up and set up shop in Atlanta. Pared down to a quintet and located in a less hectic city. Blackmon started his own label, Atlanta Artist. The label's first LP, Style, also marked a significant shift in sound, inspired by the edgy synthesizer arrangements being pushed forward by the new wave groups of the time, he moved the band into a hard-core "electronic funk" direction. It utilized heavily sequenced drum machines, bass and occasional horn arrangements. Paydirt was struck with 1984's She's Strange; the title cut, a late-night slithery smolder, topped the R&B chart and eclipsed the Top 50 of the pop chart, kicking off a remarkable three-album run that made Cameo one of the most popular groups of the '80s. Single Life and Word Up!, released respectively in 1985 and 1986, continued the hot streak. The singles from those two albums -- "Attack Me With Your Love," "Single Life," "Word Up," "Candy," and "Back and Forth" -- held down the Top Five plateau of the R&B chart. "Word Up" even went to number six on the pop chart, giving them their biggest bite of the mainstream. The song was everywhere.

What goes up must come down, and that's exactly what happened to Cameo. Neither Machismo nor Real Men Wear Black performed well as albums. After 1991's Emotional Violence, the group's profile was lowered significantly, but they did tour sporadically to the delight of hardcore fans as well as plenty of misguided people who thought Cameo was all about "Word Up" and nothing more. Notably, Blackmon spent a few years of the '90s at Warner Bros., as the vice president of A&R. Cameo's presence continued to be felt through extensive sample use and less tangible influences upon younger artists and producers, aswell as several compilations.



01 - Still Feels Good (4:13)
02 - Post Mortem (4:14)
03 - Smile (3:46)
04 - Funk Funk (4:41)

05 - Find My Way (3:33)
06 - Rigor Mortis (5:16)
07 - Good Times (4:52)
08 - Stay By My Side (4:19)

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Fatback - Brite Lites, Big City (79 ^ 92mb)

Formed in New York City in 1970, The Fatback Band was the concept of Bill Curtis, an experienced session drummer, inspired to merge the "fatback" jazz beat of New Orleans into a funk band. In addition to Curtis, the band's initial line-up included guitarist Johnny King, bassist Johnny Flippin, trumpet player George Williams, saxophonist Earl Shelton, flautist George Adams, and keyboardist Gerry Thomas. The band specialized in playing "street funk".The Fatback Band signed to Perception Records and had a hit single that summer with "Street Dance". The band released the albums Let's Do It Again, People Music, and Feel My Soul before signing to Event Records in 1974. In the mid-1970s, the band incorporated jazz elements and moved more towards a disco sound .

Now recording for Spring/Polydor, late 1977 the shortened their name to Fatback, and in 1978 they found their first Top Ten single with "I Like Girls". The song "King Tim III (Personality Jock)" is often considered to be the first commercially released rap single, having shipped just a week before The Sugarhill Gang's "Rapper's Delight" in October 1979. In 1980, Fatback had a pair of their biggest hits with "Gotta Get My Hands On Some (Money)" and "Backstrokin'". Keyboardist Gerry Thomas was simultaneously a member of The Jimmy Castor Bunch, so the band elected to remain close to the New York area instead of extensive touring. They had substantial success in South America, especially in Brazil (with "Money", and "Backstrokin'"). The band is still currently touring and actively recording new material.



The Joint
01 - Freak The Freak The Funk (Rock) (7:23)
02 - Let Me Do It To You (5:09)
03 - Big City (6:27)
Mellow
04 - (Do The) Boogie Woogie (5:38)
05 - Hesitation (6:00)
06 - Wild Dreams (5:28)

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All downloads are in * ogg-7 (224k) or ^ ogg-9(320k), artwork is included , if in need get the nifty ogg encoder/decoder here !

Alphabet Soup (17)

Hello, Alphabet Soup reached Q today, now that's not a letter much in use today. Possibly it's because there's too little to make of it, queen(s), queer, quiet, quacks, quarks oh well you get the picture, there's just not much between P and R no quantum jumpers yet , i already posted icelandic hiphoppers Quarashi a year ago so in the end my choice was limited.
You may have heard that the Maharishi Mahesh Yogi died yesterday, the man who brought us Transcendental Meditation (TM), the easiest and cheapest way to feel better and thus better able to achieve your goals. Well, he died piecefully 91 years old, leaving behind 5 million adepts who will carry on the torch for global peace.

So whats that got to do with my first Q, well a lot actually todays first band played a mixture of jazz and progressive rock with an strong influence of music from India. They were tagged a 'spiritual' band and were playing new age rock before the term was born. Quintessence is the name, i have here a compilation of their first early seventies albums, which sadly doesnt do too much justice to their Indian input, but then the way this band finally broke up isnt a happy story either, money and crazy label management, but before those dark days the shared many moments of bliss. Secondly, Quando Quango a band founded in Rotterdam but from there went straight to the heart of Manchester's Factory records and the Hacienda, a handful of 12" and just the one album you' find here.Finally, i had to have a queen, in fact a whole bunch of them right from the stoned age. Throughout the nineties there was a lot of crosspolinating going on at the US 's N W coast. One such band that over the years sort of crystalized to a regular line up are Queens Of The Stoneage, with such a background it should be no surprise that the first album under that name easily could have been the last aswell, it sure wasn't, and that i would says enough...

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Quintessence - Oceans Of Bliss ( 70 * 99mb)

Quintessence were formed in April 1969 by Raja Ram in Ladbroke Grove, Notting Hill. They played a hybrid of jazz, progressive rock and Indian Music. The original line-up included Shiva Jones (voice, keys, percussion), Raja Ram (flutes, percussion), Sambhu Baba (bass, guitar), Maha Dev (guitar), Allan Mostert (guitar), and Jake Milton (drums, percussion). Quintessence were tagged a 'spiritual' band and were playing new age rock before the term was born. Although their evangelism in retrospect might seem to be a bit over the top, the music retains its beauty created by some highly individual souls. They rehearsed in All Saints Hall which was a converted church near Portobello Road, and recorded 3 albums for Island Records between 1969 and 1971. two further albums were recorded in 1972 for RCA. The 'Self' entitled first of these was their best with studio material on side one, and the band playing live at Exeter University December 11, 1971 on side two.

Their live set was usually mostly improvised as they avoided playing the same riff twice or going into a routine thing. Not unlike the Grateful Dead, they did a lot of collective jamming with an intention to trance out their colourful audiences by a forceful combination of the chanting of mantras with the Krishna flute lines and the lyrical guitar soloing. Often the local Hare Krishna disciples would provide an extra percussion section to the already steamy proceedings. Quintessence had their household guru in Swami Ambikananda who, with his clairvoyant talents and psychic abilities, was known to blow people's minds constantly. They built a reputation on solid club work and were deemed London's Underground Sensation in 1970. Besides appearing at the first two Glastonbury Festivals (then called 'Faires'), in 1970/71, they also were invited to play the Montreux Jazz Festival at a time when jazz was still being played there. At their peak they sold out the Royal Albert Hall twice.



01 - Notting Hill Gate (4:40)
02 - Move Into The Light (3:30)
03 - Giants (4:37)
04 - Prisms (3:11)
05 - Twilight Zone (5:17)
06 - Dive Deep (4:44)
07 - St. Pancras (6:14)
08 - Manco Capac (5:18)
09 - Dance For The One (10:46)
10 - Midnight Mode (9:12)
11 - High On Mount Kailash/Burning Bush/Shiva's Chant (10:38)

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Quando Quango - Pigs and Battleships (85 ^ 132mb)

Quando Quango was formed in Rotterdam, The Netherlands in 1980 by Mancunian Mike Pickering and Rotterdam-based Gonnie Rietveld, supported on drums by her brother Reinier Rietveld. In 1982 they moved to Manchester, England, where Pickering's friend Rob Gretton was setting up The Haçienda nightclub. Their unique sound , the result of an eclectic mix of Latin, jazz, reggae and disco, all in a pioneering new wave context, influenced the underground dance music scenes in New York and Chicago in the 1980s.In 1983 Reinier Rietveld left the group to concentrate on his Rotterdam band Spasmodique. Soon after, former A Certain Ratio drummer Simon Topping joined as percussionist. Hillegonda Rietveld settled into her role programming their electronic music and Pickering continued to write lyrics and melodies.

The same year, Derek Johnson of fellow Factory act 52nd Street joined on bass, soon to be replaced by his brother Barry Johnson, After releasing a few singles that were minor dance club hits, the group collaborated with Manchester music legends Johnny Marr and Vini Reilly to create full-length album Pigs & Battleships. Andy Connell of A Certain Ratio and Beverley McDonald of 52nd Street also contributed. The group didn't last long after the album's release. After the group's demise, Pickering went on to form dance duo T-Coy with Topping and, later, M People. Rietveld's connection with the Haçienda continued when she researched and co-edited the book The Haçienda Must Be Built!, which was edited by Jon Savage. After gaining her doctorate, Dr Rietveld single-authored This Is Our House: House Music, Cultural Spaces and Technologies, and is currently Reader in Cultural Studies at London South Bank University, where she supervises postgraduate research projects in electronic dance music cultures.



01 - Genius (6:21)
02 - Go Exciting (5:53)
03 - Happy Boy (5:07)
04 - Rebel (5:37)
05 - This Feeling (4:57)
06 - S.T. (4:36)
07 - 40 Dreams (5:51)
08 - Low Rider (4:18)
--Xs
09 - Atom Rock (6:39)
10 - Triangle (6:56)


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Queens Of The Stoneage - Queens Of The Stoneage (98 ^ 99mb)

Formed from the ashes of stoner rock icons Kyuss, Queens of the Stone Age reunited the group's singer/guitarist Josh Homme, drummer Alfredo Hernandez, and bassist Nick Oliveri along with new guitarist/keyboardist Dave Catching. The project's origins date back to Homme, who in the wake of Kyuss' 1995 demise relocated to Seattle to tour with the Screaming Trees; he soon began working with a revolving lineup of musicians including the Trees' Van Conner, Soundgarden's Matt Cameron, and Dinosaur Jr.'s Mike Johnson, recording a series of 7"s originally issued under the name Gamma Ray. After rechristening the group Queens of the Stone Age, Homme recruited Hernandez to begin work on their self-titled debut LP, issued in late 1998 on Loosegroove. Instead of trying to recreate the sound of his former band Kyuss, Josh Homme took a new approach to music. He crafted tight hard rock songs that were heavy on melody and light on vocals. While there is still a lot of fuzz coming from the amplifiers, the vocals are softly interwoven among the chords. There's no screaming or rock & roll antics, and the group takes an almost lo-fi attitude to heavy metal -- an interesting combination that makes it acceptable to produce creative music that doesn't rely on testosterone as the driving force. After the album was completed, Oliveri left the Dwarves to rejoin his former bandmates, with the subsequent addition of Catching rounding out the roster. In addition to extensive touring, Homme put together a series of albums for the indie label Man's Ruin; the various volumes of the Desert Sessions feature Homme's collaborations with a loose-knit, revolving-door lineup of likeminded musicians, some from bands like Soundgarden, Fu Manchu, and Monster Magnet.

In mid-2000, Queens of the Stone Age issued their sophomore album, R By that point, drummer Hernandez had been replaced by a tag-team combo of Gene Troutman and Nicky Lucero. The group built a healthy buzz courtesy of accolades from such renowned publications as Rolling Stone, and due to good old-fashioned touring. 2001 saw the group perform at the massive Rock in Rio festival and a spot on the year's Ozzfest. The same year, Homme and Oliveri put together yet another volume of the Desert Sessions series, while QOTSA assembled a third studio album.

Ex-Nirvana drummer Dave Grohl was very vocal in the press about his admiration of the Queens, which led to an invitation for him to join the group for the third album's recording and, subsequently, supporting tour. Surprisingly, Grohl accepted, putting the Foo Fighters on hold (despite having a new album completed and ready to go). One of the year's most eagerly anticipated hard rock albums, Songs for the Deaf was issued in August 2002 and was preceded by a tour that saw Oliveri and Homme joined by Grohl on drums, ex-Screaming Trees vocalist Mark Lanegan, and A Perfect Circle guitarist/keyboardist Troy Van Leeuwen. As if their schedules weren't busy enough between QOTSA and their other projects, Oliveri and Homme signed on to pen the musical score to the movie The Dangerous Lives of Altar Boys (with backing by Rage Against the Machine drummer Brad Wilk), and formed a new project, Headband, with ex-Marilyn Manson bassist Twiggy Ramirez and Amen frontman Casey Chaos. Homme also hooked up with old friend Jesse Hughes for Eagles of Death Metal, which issued the Peace Love Death Metal LP in 2004.

When QOTSA reconvened for the March 2005 LP Lullabies to Paralyze, the lineup featured Homme, Joey Castillo, Alain Johannes, Van Leeuwan, and Lanegan. The Over the Years and Through the Woods CD/DVD appeared in November that same year. It featured live material from the band's tour for Lullabies, but also included rare and archival Queens footage. In 2007, the band (Lanegan at this point was only a guest) released the excellent Era Vulgaris, which also included contributions from the Strokes' Julian Casablancas, among others.



01 - Regular John (4:35)
02 - Avon (3:22)
03 - If Only (3:20)
04 - Walkin' On The Sidewalks (5:03)
05 - You Would Know (4:16)
06 - How To Handle A Rope (3:30)
07 - Mexicola (4:54)
08 - Hispanic Impressions (2:44)
09 - You Can't Quit Me Baby (6:33)
10 - Give The Mule What He Wants (3:09)
11 - I Was A Teenage Hand Model (5:01)

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Eight- X (17)

Hello, a bit later then usual, spent a night in hospital after being cut up by a surgeon, well in last years Euro Trip i made a stop over
at what was Germany's answer to new wave..Neue Welle. Krautrock's development of electronics didnt go by unnoticed in the world and neither on those i present today...

Neue Deutsche Welle ( abbreviated NDW) was a genre of German music originally derived from punk rock and New Wave music in 1976/77. From its beginnings to 1981, the Neue Deutsche Welle was mostly an underground movement with roots in British punk and New Wave music; it quickly developed into an original and distinct style, influenced in no small part by the different sound and rhythm of the German language which many of the bands had adapted from early on.The main centers of the NDW movement during these years were Berlin, Düsseldorf and Hamburg,

From about 1980 on, the music industry began noticing the Neue Deutsche Welle; however, due to the idiosyncratic and anti establishment nature of the music, the focus shifted to creating new bands more compatible with the mainstream, rather than promoting existing bands. Many one-hit wonders and short-lived bands appeared and were forgotten again in rapid succession, and the overly broad application of the "NDW" label to these bands as well as to almost any German musicians not using English lyrics, even if their music was apparently not influenced at all by the 'original' NDW. It quickly led to the decay of the entire genre when many of the original musicians turned their backs in frustration.

The music i present here is smack in the middle of the original 'wave' , D.A. F . and spin offs, though that may sound a bit too demeaning, Liasons Dangereuses may have not been able to carry beyond their one big track and album . On the other hand Mr Dahlke quickly moved to find and found his own place in music. Der Plan and solowork as Pyrolator let him express his own vision, off beat but certainly not off, in fact the music production is way ahead of his contemporaries (safe Kraftwerk), the lyrics are in german but rather aback. His unfriendly leave of DAF may have set him to do them and Liasons D one over, but he sure don't need that, plenty of creativity available. Ausland (abroad) is a great album a pity that it's not available in the US, in fact the label Ata Tak and he have a minimal presence on the net - no english Wiki for instance. Pyrolators albums and other AtaTak bands are available here 14 euro or 21 dollars a piece, indeed rather naively priced . Anti establishment comes at a price i guess...

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Deutsch Amerikanische Freundschaft - Die Kleinen Und Die Bösen (80 ^ 97mb)

Deutsch-Amerikanische Freundschaft, or the acronym D.A.F. or just DAF came from Düsseldorf. The band was founded in 1978 by Robert Görl (drums/percussion, elektronics), Gabi Delgado-Lopez (singer), Kurt Dahlke a.k.a Pyrolator (Elektronics; later Der Plan, Fehlfarben), Michael Kemner (bass; later Fehlfarben) and Wolfgang Spelmans (gitar). Chrislo Haas (Elektronic, bass, saxophon; later Liaisons Dangereuses) replaced Kurt Dahlke 1979, until in 8o during an UK tour, Chrislo Haas and Michael Kemner left no longer capable to bring up the minimalist life style. It was 1980 when "Die Kleinen und die Bösen", got the remaining trio noted internationally. One side was recorded in Conny Plank's Studio the other Live-B-side in the London club "The Electric Ballroom". It set them up to become the godfathers of EBM. Then Spelmans left, and the group as a duo became even more minimalist, it started off the phase of the band known as the sex machine, relying heavily on synths, sequencers and loops; but always still with analog drums. Establishing the image and concept with which the core duo Robert Görl/Gabi Delgado-Lopez ultimately became successfull as D.A.F.

Their next album "Alles Ist Gut" aswell as the follow-ups "Gold Und Liebe" and "Für Immer" ( 1981 and 1982 ) brought the duo commercial and artistic success . Allles is gut got them a " thank you for the money award" from the musicindustry. Some songs, "Der Mussolini" , "Der Räuber und der Prinz", "Greif Nach Den Sternen", "Die Götter Sind Weiß" or "Ein Bisschen Krieg" were textually provoking, befitting their build up image. Being confronted with the claim they were fascist, they just said well we extend from anarcho-skin to disco-nazi , and we are just too horny for fascists. The duo had already split before the release of "Für Immer" (forever) an ironic goodbye it was, they would concentrate on solo projects, but neither would come close to their previous level or success. In 2003 they came back together and released 15 new songs "15 Neue DAF Lieder" and toured again in 2005 the revival came to a halt again.



01 - Osten Währt Am Längsten (5:43)
02 - Essen Dann Schlafen (1:05)
03 - Co Co Pino (3:26)
04 - Kinderfunk (3:00)
05 - Nacht Arbeit (1:52)
06 - Ich Gebe Dir Ein Stück Von Mir (1:40)
07 - De Panne (2:32)

08 - Gewalt (1:24)
09 - Gib's Mir (1:01)
10 - Auf Wiedersehen (1:58)
11 - Das Ist Liebe (1:19)
12 - Was Ist Eine Welle (1:16)
13 - Anzufassen Und Anzufassen (1:45)
14 - Volkstanz (0:48)
15 - Die Lustigen Stiefel (1:48)
16 - Die Kleinen Und Die Bösen (1:13)
17 - Die Fesche Lola (1:40)
18 - El Basilon (2:43)
19 - Y La Gracia (2:01)

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Liaisons Dangereuses - Liaisons Dangereuses ( 81 ^ 99mb)

After splitting up with the other two DAF members Haas started up a new project together with Beate Bartel and french singer Krishna Goinau: Liasons Dangereuses. . With their hit "Los Ninos del Parque" he proved where DAF had found its sound. As a part of the Neue Deutsche Welle scene (especially electropunk) in Germany they pioneered Electronic body music. After recording four ten minutes cassettes they released their sole album in 1981. The self-titled album was mixed at Conny Plank's studio in Köln. The group made several live appearances throughout 1981 and 1982 and were occasionally joined by Anita Lane (Nick Cave and the Bad Seeds) and Hideto Sasaki. The album carried the single "Los Niños del Parque" which became an underground hit and has been cited by many prominent Chicago house and Detroit techno DJ's as a crucial influence.After that he also joined Crime and the City Solution, Phew and Armed Response and also worked on a solo project (simply named Chrislo) for Tresor Records. Chrislo Haas, died in Berlin on October 24th 2004, he's said to have had a long history with alcohol abuse.



01 - Mystère Dans Le Brouillard (4:25)
02 - Los Niños Del Parque (5:00)
03 - Etre Assis Ou Danser (3:25)
04 - Aperitif De La Mort (3:40)
05 - Kess Kill Fé Show (3:28)
06 - Peut Etre... Pas (6:18)
07 - Avant - Après Mars (3:48)
08 - El Macho Y La Nena (3:58)
09 - Dupont (3:50)
10 - Liaisons Dangereuses (1:41)

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Pyrolator - Ausland (81 ^ 167mb)

Pyrolator was the solo guise of German synth experimenter Kurt Dahlke, best known as a member of the groundbreaking (if underexposed) post-punk/synth pop band Der Plan. Like that group, Pyrolator was chiefly inspired by the synthetic sleekness of Kraftwerk and the dissident surrealism of the Residents, fitting squarely into the emerging German new wave movement. However, Dahlke also drew from the experimental side of post-punk, employing proto-industrial beats and tape collages for a distinctly off-kilter brand of electronic pop.Dahlke began his career as a charter member of D.A.F., helping to found the Ata Tak label that issued their first album, but left that group very early on to pursue other projects.

He quickly formed Der Plan with Frank Fenstermacher and Moritz "RRR" Reichelt, but actually beat his new band to the punch by issuing Inland, his debut album as Pyrolator, on Ata Tak in 1979. Using found environmental sounds and implicit social commentary in place of lyrics, Inland received positive reviews in Germany and earned Pyrolator a cult following. The 1981 follow-up, Ausland, was even more acclaimed, expanding Dahlke's audience, and got some positive notice in England as well. Third album Wunderland appeared in 1984, the same year Dahlke teamed up with A.K. Klosowski for the groundbreaking sampling experiment Home Taping Is Killing Music. Meanwhile, Dahlke continued to record extensively with Der Plan, and also served as a producer for numerous other German artists. His final album as Pyrolator arrived in the form of 1987's Traumland. Dahlke stayed with Der Plan into the mid-'90s, and also continued his production work, when Der Plan disbanded, Dahlke and Frank Fenstermacher reteamed under the name A Certain Frank, issuing the first of several albums in 1996. Still involved with Ata Tak, Dahlke also served as producer and remixer for contemporary electronica artists, including Kreidler, To Rococo Rot, and Stereo Total, among others.



01 - Max (Voc. Steinkrüger, Fenstermacher) (3:14)
02 - Die Haut Der Frau (3:05)
03 - Mein Hund (2:03)
04 - Elefantendisco (3:10)
05 - Fricandel Speciaal (Gaat Swingen) (Voc. Steinkrüger) (1:47)
06 - Gold & Silber (Voc. Frank Fenstermacher) (2:47)
07 - Bacano, Brothercito! (Voc. Steinkrüger) (3:40)
08 - 180° (2:54)
09 - True Love (6:09)
10 - Studio Fatal (4:12)
11 - Cassiopeia (1:46)
12 - Du Bist So... Ich Träume (Voc.Steinkrüger, Hiller ) (3:56)
13 - Vati, Es Brennt! (3:13)
14 - Happiness (2:54)
15 - Danger Cruising Part 2 (3:46)
16 - True Love Part 1 (3:34)
17 - Ein Weihnachtsmann Kommt In Die Disco (4:12)
18 - Hirnriss (2:48)
19 - Abendmahl (2:22)
20 - Program No. 1 (Voc. Frank Fenstermacher) (6:53)

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Around the World (17)

Hello , Around the World finds it self in Jamaica where from todays artist stems, an outspoken Jamaican so called dub poet, who's sharp comments led to his tragic death at a political really a year after recording his one and only album, produced by that other dub poet, Linton Kwesi Johnson. Smith was allegedly stoned to death by political opponents associated with the right-wing Jamaica Labour Party after heckling the Jamaican Minister of Culture at a political rally on August 17, 1983. The English-speaking Caribbean lost an original poetic voice with a strong social conscience that day.

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Michael Smith - Mi Cyaan Believe It (82 ^ 84mb)

Michael "Mikey" Smith (born 1954) was a Jamaican dub poet. Along with Linton Kwesi Johnson, and Mutabaruka, he was one of the most well-known dub poets. Smith was educated at Kingston College and the St George's College Extension School. He also studied at the Jamaican School of Drama with Jean 'Binta' Breeze and Oku Onuora. Linton Kwesi Johnson released some of Smith’s work on his LKJ label. "Mi Cyaan Believe It" is most remembered for Smith’s heartfelt phrase "Laaawwwd - mi cyaan believe it - mi seh - mi cyaan believe it". In 1982, Smith released his debut album, produced by Linton Kwesi Johnson, and performed extensively in Europe supporting such acts as Gregory Isaacs, he also recorded a session for John Peel which was broadcast by the BBC on 4th May 1982.

He continued to work as a social worker representing prisoners in Gun Court. His outspoken commentary on the “isms and schisms of ‘politricks”’ in Jamaica led to his life being cut short. Michael Smith was stoned to death following a clash at a political rally, which sadly occurred on Marcus Garvey's birthday.



01 - Black 'n' White (0:29)
02 - Mi Feel It (2:54)
03 - Mi Cyaan Believe It (3:04)
04 - Long Time (3:32)
05 - Trainer (4:51)
06 - Picture Or No Picture (3:58)
07 - Roots (6:20)
08 - It A Come (4:16)
09 - Give Me Little Dub Music (2:58)

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Don't Panic ! (17)

Don't Panic ! The Hitchhikers Guide To The Galaxy continues ....

Lastweeks recap of fit 16;

The episode begins with Arthur, who has been "diverted" by Agrajag, who claims that Arthur has killed previous incarnations of him hundreds of times. He also claims to have been the bowl of petunias that materialised into existence in Fit the Third. Eventually it transpires one of the deaths was at Stavromula Beta, where someone tried to assassinate Arthur, and he ducked, hitting Agrajag. Arthur however has never been there. Agrajag cries "I've brought you here too zarking soon", but decides to attempt to kill Arthur anyway.Arthur and Agrajag struggle, and Agrajag dies. Arthur escapes from the Cathedral of Hate, to which he had been diverted, by running into a passageway in the mountain. He notes that he has somehow ended up with the wrong bag - one he lost on Earth many years ago. He trips, and falls, only to discover that he is flying. He experiments with flying for a while, only to be hit in the small of the back by the party which Ford and Slartibartfast are attempting to enter.

The party is flying as well, and Ford and Slartibartfast are on a ledge around the building, not being permitted entry due to the lack of a bottle. Arthur remembers that his bag contains a bottle of Retsina, and this gets them entry. They see Trillian and Thor at the party, where Thor is chatting Trillian up.They quiz people trying to find the Silver Bail, and discover that it has been instantiated as an award (a Rory) for the Most Gratuitous Use Of The Word Fuck In A Serious Screenplay. Before they are actually able to find it, the Krikkit robots appear, massacre the party-goers and take the Silver Bail. Arthur tricks Thor into walking out of the building by challenge him into a fight, leaving Trillian with no choice but to come with them. The Krikkitmen now have all the parts of the Wikkit Key, and Slartibartfast notes that their next move must be to go to the Wikkit Gate itself and try to intervene.

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THHGTTG - Fit 17 (20mb)


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Sundaze (17)

Hello, Sundaze is branching out, i find the pure ambient a bit too constraining and i will add so-called avant-garde music to the rostrum, aswell as follow up on the Inside Out series with a monthly episode at Sundaze. Tuxedomoon kicks off the new Sundaze with their first line up releases, basicly they have 3 episodes 78-83 85- 88 under the 'guidance' of Ivan Georgiev (meanwhile a classical music director of world renown) 2002-now when the more or less original line up got back together and started recording again. Besides, over the years individual members have released a lot of solo work. That aside the releasing of their work has often been sketchy, availability marred...lots of rereleasing/repackaging. Well after 25 years they seem to have gotten some order to it, so make sure you order some Tuxedomoon...naturally assuming you like it.

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It was 30 years ago that Tuxedomoon came out of the electronic music lab of San Francisco City College and began making, provocative, idiosyncratic music. Music which shapeshifted with beguiling ease , aswell as with an almost underworld magick and mystical hypnotism. Formed in San Francisco in 1977 by two electronic music students at San Francisco City College, Blaine L. Reininger (keyboards, violin) and Steven Brown (keyboards, other instruments). Brown's local theater connections supplied equipment and occasional vocalists in Gregory Cruikshank and Victoria Lowe, plus more frequent contributions from singer and performance artist Winston Tong. Lowe quit the band before their first EP, No Tears, which featured off-and-on members Michael Belfer (guitar) and Paul Zahl (drums). Tong and Belfer departed temporarily, and Peter Principle (b. Peter Dachert) joined as a full-time member. Tuxedomoon signed to the Residents' Ralph Records in 1979, which eventually got them overseas exposure. Feeling that their ideas were more in tune with the European electronic music scene, the band toured Europe after 1980's Half Mute. After 1981's Desire, the band relocated in an artist's commune in Rotterdam, Netherlands. Within a year though they were forced to leave and moved to Brussels, to find first shelter in the Plan K. Throughout the 80s and some of the 90s the band lived in Europe, absorbing more influences and sounds from their privileged position in Brussels. Today the core members are as disparate geographically as they are sonically, with Steven Brown in Mexico, Peter Principle in New York, Blaine Reininger in Greece, and Dutch trumpet player Luc Van Lieshout (who had joined the band in 85) residing in Brussels.

In 82 Tuxedomoon was hired to score a Maurice Bejart ballet, the results of which were released as Divine. Afterwards Reininger left for a solo career in 1983 and was replaced by Frankie Lievaart and horn player Luc Van Lieshout. In between side projects and scoring, the band sought an international deal for their forthcoming LP Holy Wars; it was eventually released in 1985 and became the band's biggest commercial success. Tong left the group for good that year, leaving Brown and Principle the only remaining San Francisco members; multi-instrumentalist Ivan Georgiev was hired to replenish the group's sound for 1986's Ship of Fools album and tour. 1987's jazz-fusion-oriented You was Tuxedomoon's last studio album for more then a decade, although scoring work from past projects was subsequently reissued in Belgium. Meanwhile Reininger, Brown, Principle, and Tong all recorded as solo artists.

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Tuxedomoon - Half-Mute / Scream With A View (80 ^ 99mb)

Tuxedomoon's debut album on Ralph Records followed in the wake of several EPs and singles released on their own label. Unlike many techno bands in the wake of punk, they punctuated the electronics with instruments such as sax and violin, the sax reminiscent of the self-taught sounds of David Bowie -- not entirely polished, but unmistakable. The lyrics are dark and morose with glimpses of humor. Peter Principle's bass sounds positively chunky as well, contrasting with the rather fey but propulsive drum machines. "What Use?" is as close as they get to pop here. The experimental musicianship is what makes this album recommended.



01 - Nazca (3:06)
02 - 59 To 1 (3:52)
03 - Fifth Column (2:57)
04 - Tritone (Musica Diablo) (2:45)
05 - Loneliness (2:56)
06 - James Whale (2:42)
07 - What Use ? (4:00)
08 - Volo Vivace (2:47)
09 - 7 Years (3:06)
10 - KM / Seeding The Clouds (11:36)

Scream With A View
11 - Nervous Guys
12 - Where Interests Lie
13 - Special Treatment For The Family Man
14 - Midnite Stroll

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Tuxedomoon - Desire (81 ^ 161mb)

The follow-up to Half Mute was seen by most critics (of a certain kind) as the lesser of the two albums, i disagree but then .. . There is more of a leaning towards pop in tracks such as "Jinx" and the most excellent "Incubus (Blue Suit)" which, surprisingly, full of catchy synth lines by way of Vangelis/Kraftwerk, assaultive guitars, and "serious" lyrics, it's all here. Regrettably, the saxophone is mostly absent from this recording. The album is infused with the exotic melancholia..as they planned to leave the US and settle in Europe after what they experienced when touring there..but this desire brought mixed feelings with it..




01 - East / Jinx / ... / Music # 1 (14:54)
02 - Victims Of The Dance (5:48)
03 - Incubus (Blue Suit) (3:50)
04 - Desire (7:06)
05 - Again (6:20)
06 - In The Name Of Talent (Italian Western Two) (6:02)
07 - Holiday For Plywood (5:38)
---No Tears--
08 - New Machine (4:22)
09 - Litebulb Overkill (3:12)
10 - Nite And Day (Hommage A Cole Porter) (5:11)
11 - No Tears (5:39)

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Tuxedomoon - Suite En Sous-Sol + Time To Lose + Short Stories (82 ^ 99mb)

"Suite en Sous-Sol" is based on the principle of the suite of dances from the baroque period, and was recorded in 82 with the participation of Moroccan musicians (on the Camus-inspired track "Stranger"). It originally came out in 82 on an Italian label as a double-12". This re-release also includes two excellent twelve-inchers from 82: "Time To Lose", and "Short Stories" ("The Cage/This Beast").



01 - Prélude (1:19)
02 - Allemande Bleue (6:01)
03 - Courante Marocaine (7:42)
04 - Sarabande En Bas De L'Escalier (4:20)
05 - Polonaise Mécanique (2:24)
06 - L'Etranger (Gigue Existentielle) (5:48)

07 - Time To Lose (5:06)
08 - Music # 2 (3:28)
09 - Blind (7:27)

10 - The Cage (4:10)
11 - This Beast (5:24)

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Rhotation (17) Into BPM

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Hello, Into the BPM is on the remix today. Some don't like remixes, not me, i like remixes. I think it's a great expression of not only the power of music but of it's versatility aswell. Some remixers stay close others veer off widely, some give it their own 'sound' and basicly make it their own. like Orbital's Diversions, well there maybe 5 versions of Lush on it, but that dont make it boring, quiet the contrary, it's a great and diverse album and yes Underworld certainly makes it's own 'Nobasswithmyheadman". Sven Väth got some serious slack with his second concept album a bit too O.T.T. for most, but when he gave it over to remixing the result was excellent, Speedy J 's remix got even a single release , Hardfloor and Alter Ego certainly knew what to do with it and yes well Underworld made it their own again..Almost 2,5 hours of dance music thusfar, but thats get topped by my final date of the day, Wasted, a double cd compiling the best electronic/dance tracks of first 12 issues of the music mag Volume cdees. Again mostly remixes .. accompanied by a 192 page booklet which unfortunately i can't share, still lots to enjoy and explore today...with or without mindexpansion..a nice surroundsystem will do ...wink

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Orbital - Diversions 94 ^ 167mb)

The brothers Hartnoll, Phil and Paul, grew up in Dartford, Kent, listening to early-'80s punk and electro, during the mid-' 80s, Phil worked as a bricklayer while Paul played with a local band called Noddy & the Satellites. They began recording together in 1987 with a four-track, keyboards, and a drum machine, and sent their first composition, "Chime" (recorded and mastered onto a cassette tape for a total production cost of £2.50), into Jazzy M's pioneering house mix show Jackin' Zone, as a result "Chime" was released as a single in 89. The following year, ffrr Records re-released the single and signed a contract with the duo -- christened Orbital in honor of the M25, the circular London expressway which speeded thousands of club kids to the hinterlands for raves during the blissed-out Summer of Love. "Chime" hit number 17 and saw them on Top of the Pops, where the Hartnolls stared at the audience from behind their synth banks.

Orbital's untitled first LP (the "green album") was released in September 1991, consisted of all-new material -- that is, if live versions of "Chime" and the fourth single "Midnight" are considered new works. Unlike the Hartnolls' later albums, though, the debut was more of a collection of songs than a true full-length work, its cut-and-paste attitude typical of many techno LPs of the time. During 1992, Orbital continued their chart success with two EPs. The Mutations remix work -- with contributions from Meat Beat Manifesto, Moby, and Joey Beltram, Orbital returned Meat Beat's favor later that year by remixing "Edge of No Control," and later reworked songs by Queen Latifah, the Shamen, and EMF as well.

Their career took off in 1993-1994, with the release of the EPs "Lush" and "Radiccio" and their second album ,also untitled, but nicknamed the "brown" album as an alternative to the "green" debut, it unified the disjointed feel of its predecessor and hit number 28 on the British charts. The Hartnolls continued the electronic revolution that fall during their first American tour. Phil and Paul had first played live at a pub in Kent in 1989 -- before the release of "Chime" -- and had continued to make concert performance a cornerstone of their appeal during 1991-1993, featuring live projections, live musical arranging and sequencing on the fly, making their shows entertaining, improvised and truly "live". On a tour with Moby and Aphex Twin, Orbital proved to Americans that techno shows could actually be diverting for the undrugged multitudes. That summer proved to be the pinnacle of Orbital's performance ascent; an appearance at Woodstock 2 and a headlining spot at the Glastonbury Festival (both to rave reviews) confirmed the duo's status as one of the premier live acts in the field of popular music, period.

The U.S.-only albumlength Diversions EP released in March 1994 as a supplement to the second LP -- selected tracks from both the Peel Sessions and strong remixes from the album's single, "Lush." Following in August 1994, Snivilisation became Orbital's first named LP. The duo had not left political/social comment completely behind on the previous album -- "Halcyon + On + On" was in fact a response to the drug used for seven years by the Hartnolls' own mother -- but Snivilisation pushed Orbital into the much more active world of political protest. It focused on the Criminal Justice Bill of 1994, which gave police greater legal action both to break up raves and prosecute the promoters and participants. The wide variety of styles signalled that this was Orbital's most accomplished work. Snivilisation also became the duo's biggest hit, reaching number four in Great Britain's album charts.

During 1995, the brothers concerned themselves with touring, headlining the Glastonbury Festival in addition to the dance extravaganza Tribal Gathering. In May 1996, Orbital set out on quite a different tour altogether; the duo played untraditional, seated venues -- including the prestigious Royal Albert Hall -- and appeared on-stage earlier in the night, much like typical rock bands. Two months later, Phil and Paul released "The Box," a 28-minute single of orchestral proportions. It screamed of prog rock excess -- especially the inclusion of synth harpsichords -- and appeared to be the first misstep in a very studied career. The resulting In Sides, however, became their most acclaimed album, with many excellent reviews in publications that had never covered electronic music. It was over three years before the release of Orbital's next album, 1999's Middle of Nowhere. An aggressive, experimental album titled The Altogether emerged in 2001, and one year later Orbital celebrated over a decade together with the release of the retrospective Work 1989-2002. With the release of 2004's Blue Album, however, the Hartnolls announced that they were disbanding Orbital. After the split, Paul began recording music under his own name, including material for the Wipeout Pure PSP game and a solo album (The Ideal Condition), while Phil formed another duo, Long Range, with Nick Smith and released Madness and Me last year.



1 - Impact USA (The Earth Is Burning: Diversion) (11:20)
2 - Lush 3 (Euro Tunnel Disaster '94) / Walk About (John Peel Sessions) (14:34)
3 - Semi Detached (9:33)
4 - Lush 3-5 (C.J. Bolland) (6:15)
5 - Lush 3-4 Warriors Drift Psychick Warriors Ov Gaia (10:48)
6 - Lush 3-3 (Underworld) (13:01)

diet version
Orbital - Diversions (94, 65min * 99mb)

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Sven Väth - Touch Themes Of... (95 ^ 162mb)

Sven Väth was the lead singer of a dance-pop group named OFF, that had a big hit around the world with "Electric Salsa". The band later disintegrated, leaving Väth free to pursue his interest in the hard trance underground of Frankfurt. Väth became a DJ of note for his marathon sets and he founded Harthouse Records in 1992 with Matthias Hoffman and Heinz Roth. Blessed with an agreement connecting Harthouse (plus its subsidiaries Eye-Q and Recycle or Die) to the American major label Warner Bros., Väth released his first solo album, An Accident in Paradise, in 1993. An attempt to connect techno and trance to the concept-album ideas of prog-rock. Signs of excess are generally frowned upon in the dance community, however, and An Accident in Paradise died a quick death on American shores. However he remains by far the most successful DJ in the world. His second album, The Harlequin, The Robot & The Ballet Dancer, was released in Europe in 1994, but its American release was delayed more than a year and sank much quicker than its predecessor. The remix-album "Touch Themes of Harlequin -Robot- Ballet-Dancer" was released in 95, including remixes of B-Zet, Underworld and Speedy -J, whose remix of "Ballet Fusion" is also released as a single. Sven is without exaggeration Europe's Nr. 1 DJ and simultaneously successful all over the world: from Japan over Mexico to the US, where he is elected to be the first DJ at the famous "Lollapalooza Festival".

Together with B-ZET (Steffen Britzke), Sven starts a new project Astral Pilot and with "Electronic Acupuncture" he again releases a milestone setting album apart from the mass-compatibility of many other releases. After recording this album, Väth laid low for several years, releasing just the soundtrack for the Ralf Huettner movie "Der Kalte Finger" ("The cold finger") and severing his connections with Eye Q/Harthouse, preferring to concentrate on DJing instead. Then in 1998, he returned with a contract to Virgin and his third album, Fusion, and starts his FUSION World Tour, playing not only all over Europe but also in Asia, America and Canada. For the sake of keeping a platform for electronic music in Frankfurt alive, he initiates Cocoon Club. He chooses U60311 as location, where every second Friday of the month Cocoon Club takes place. Cocoon stands for metamorphosis, development, new birth, surprises.. It sprouts further into Cocoon Clubbing, a mobile event agency touring in Germany's most well-known techno clubs.

Meanwhile the Fusion remix album- 6 in themix is released. 2000 saw the release of Contact, it's a Frankfurt project - not only regarding the music it embodies( styling, graphics, photography). Another world tour follows , meanwhile Cocoon grows unstoppably. With Cocoon Recordings, apart from several single releases, the Cocoon Compilation "A" is released in June 2000. Cocoon is now represented in Ibiza each Monday with 14 dates at the Amnesia. Sven's idea of offering the crowd a multi-sensual experience, is brought to life in the most perfect way in Ibiza. In order to provide his fans with a memory of this summer Sven decides to produce his first official Mix-CD ever: "Sven Väth In The Mix - The Sound Of The First Season" . Meanwhile he's reached the eight season and has released several more albums, and done corresponding world DJ tours. And has stayed on top for 15 years now...he knows his business i would say.



1 - Harlequin's Meditation (B-Zet Rmx) (8:48)
2 - Harlequin Plays Bells (Alter Ego Harlequin Plays Hells Bells Rmx) (6:26)
3 - Harlequin - The Beauty And The Beast (Underworld Remix) (12:53)
4 - Robot (Hardfloor Remix) (8:05)
5 - The Birth Of Robby (Aural Float Mix) (17:42)
6 - Ballet-Fusion (Speedy J Rmx) (10:21)
7 - Ballet-Dancer (B-Zet Rmx) (9:38)

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VA - Wasted (The Best Of Volume 1 ) (95, 156 min, 99+99+99 mb)

Volume magazine was a series of compact disc compilation albums that were published in the UK in the early to mid 1990s. The albums typically contained exclusive tracks and remixes from a diverse range of indie artists. Each album was packaged with a 192-page booklet that contained features on the artists, and original articles. The booklet was the size and shape of a CD jewel case, and was usually packaged with the CD case in a cardboard sleeve. Volume One, the first issue, was published in September 1991. The series came to an end in January 1997, with Volume Seventeen. Of the two "best of" compilations, Wasted rounded up electronic/dance tracks.



VA - Wasted ( 1 )

101 - Orb, The - Reefer Spin In The Galaxy (4:56)
102 - Cabaret Voltaire - Low Cool (Remix) (5:22)
103 - One Dove - Fallen (The Last Monday Morning At Bobby N's Remix) (5:23)
104 - Björk - One Day (4:53)
105 - Shamen, The - Hyperreal (Remix) (5:03)
106 - Pop Will Eat Itself - Bulletproof! (Boilerhouse Mix) (4:51)
107 - Grid, The - Cybernetic (4:22)
108 - System 7 - Miracle (Orb Mix) (6:14)
109 - Underworld - Why Why Why? (Remix) (8:20)

VA - Wasted ( 2 ) ( 99mb)

110 - Delta Lady - Anything You Want (Volume Vocal Mix) (6:03)
111 - Drum Club - One Tribe (Edit) (5:11)
112 - Sabres Of Paradise, The - Lick Wid Nit Wit (7:24)
113 - Spooky - Aqualung (Dub) (4:15)
114 - Orbital - Belfast / Wasted (Vocal Mix) (7:03)

201 - © - He Was (5:29)
202 - Massive Attack - Karmacoma (Bumper Ball Dub) (5:56)
203 - Tricky - You Don't (4:42)
204 - Cypress Hill - Lick A Shot (Baka Boys Vocal Up Mix) (3:29)
205 - Credit To The Nation - Come Dancing (4:38)

VA - Wasted ( 3 ) ( 99mb)

206 - Little Axe - 15 To 4 (4:46)
207 - Sandals - Venice Groove (5:17)
208 - Stereo MC's - Elevate My Mind (Live) (4:06)
209 - Jah Wobble - Whiskey Priests (5:28)
210 - Node - Olivine (7:45)
211 - New Order - Confusion (Dimitri Remix) (5:23)
212 - Moby - Go (Subliminal Mix) (4:24)
213 - LFO - Slow Down Speedy (3:13)
214 - Autechre - Lanx 3 (5:43)
215 - Aphex Twin - En Trange To Exit (4:24)
216 - Mindless Drug Hoover - The Reefer Song (1:53)

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All downloads are in * ogg-7 (224k) or ^ ogg-9(320k), artwork is included , if in need get the nifty ogg encoder/decoder here !

Into The Groove (16)

Hello, Into The Groove is all about late eighties hip hop today. The catchy pop rap from Young MC who supporting Tone Loc's hits made a name and successfully followed up with stone cold rhymin', but as the nature of hiphop changed fell to the wayside in the early nineties. The 7A3 never got that far, they fell apart after just one album the potential it showed wasn't recognised by their label Geffen and that was it. 3rd Bass are still a real treat, great samples , clever lyrics.. power. Why they didnt go on beats me, they sure were on par with say the Beastie Boys at the time..well hindsight..still maybe they werent that hit orientated and that as we know brings in the bucks, that shortsighted measuring stick that, specially in the US, rules. Poor artists ..how romantic.

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Young MC - Stone Cold Rhymin' (89 ^ 99mb)

Intelligent and middle-class, rapper Marvin Young earned a degree in economics from USC, where he met Michael Ross and Matt Dike, co-founders of the fledgling Delicious Vinyl rap label. He made his debut as Young MC on the single "I Let 'Em Know." In 1989, Young collaborated with Tone-Loc on "Wild Thing," the first Top Ten pop hit for a black rapper, and the follow-up smash "Funky Cold Medina." He stepped out on his own later in the year with the Top Ten smash "Bust a Move," a good-natured examination of romantic successes and failures spiced by his sense of humor and quick-tongued rapping. The song won a Grammy for Best Rap Performance. Stone Cold Rhymin' is a product of its time, particularly in its sound and lyrical references, it comes off as one of the catchiest, friendliest pop-rap records and it's still an infectious party record years after its release.

Following Young's success, he split acrimoniously from Delicious Vinyl, citing restrictions on his work and unwanted tinkering with his album; the label sued him for breach of contract and eventually settled out of court. Young signed with Capitol and released Brainstorm in 1991, expanding into message tracks promoting personal responsibility. The album didn't fare as well, and by 1993, audience tastes had shifted towards harder-edged hip-hop, rendering What's the Flavor? a flop. In late 2000, he attempted a return with Ain't Going Out Like That on the indie label Young Man Moving. It didn't make much of an impression in the rap world, but Young tried again in the summer of 2002 with Engage the Enzyme.



01 - I Come Off (4:05)
02 - Principals Office (4:14)
03 - Bust A Move (4:23)
04 - Non Stop (3:26)
05 - Fastest Rhyme (0:49)
06 - My Name Is Young (4:23)
07 - Know How (4:01)
08 - Roll With The Punches (4:30)
09 - I Let 'Em Know (5:00)
10 - Pick Up The Pace (3:17)
11 - Got More Rhymes (4:51)
12 - Stone Cold Buggin' (1:41)
13 - Just Say No (2:55)

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The 7A3 - Coolin' In Cali

The short-lived hip-hop group out of California released one album in 1988. DJ Mixmaster Muggs was a mobile DJ in Southern California in 1985 and soon teamed up with rappers Brett B and Sean B forming the 7A3 crew. After pushing some material through the independent label Macola Records the group tried pushing a demo to major labels. The rock label Geffen Records tried to infiltrate the growing hip-hop market and was turned on by 7A3's non-threatening and radio-friendly party rap style, they recieved moderate notice for their single "Mad Mad World" which appeared on the Colors soundtrack. After the group broke up DJ Mixmaster Muggs hooked up producing for Mellowman Ace but gained wide recognition with his role in Cypress Hill as producer/DJ and for his work on House of Pain's "Jump Around". In the 90's Mixmaster Muggs is more commonly recognized simply as "DJ Muggs"



01 - Coolin' In Cali (4:02)
02 - That's How We're Livin' (3:59)
03 - Everybody Get Loose (3:55)
04 - A Man's Gotta Do What A Man's Gotta Do (3:59)
05 - Freestyle '88 (2:55)
06 - Express The Mind (3:44)
07 - Hit 'Em Again (5:42)
08 - Drums Of Steel (4:19)
09 - Goes Like Dis (3:58)
10 - 1/2 Bouldin, The Other 1/2 Ince (5:21)
11 - Groovin' (4:24)
12 - Lucifer (5:24)

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3rd Bass - The Cactus Album (89 * 99mb)

3rd Bass was formed by Queens-born MC Serch (born Michael Berrin) and Brooklyn-native Prime Minister Pete Nice (born Pete Nash), along with African-American DJ Richie Rich (born Richard Lawson). Nice had been an English major at Columbia University and hosted a short-lived hip-hop show on radio station WKCR. Serch, meanwhile, had honed his skills battle-rapping at clubs and block parties and had previously released a solo single called "Hey Boy" on the small independent Idlers label. Both Serch and Nice were working as solo acts until producer Sam Sever convinced the two 20 year olds to join forces in 1987. Along with Prince Paul and the Bomb Squad, Sever produced their 1989 Def Jam debut, The Cactus Album (aka Cee/D), which was greeted with enthusiastic reviews in most quarters. MC Serch's bombastic, goofy good nature and Prime Minister Pete Nice's gritty, English-trained wordsmithery put together a great debut album full of great songs, alternately upbeat rollers, casual-but-sincere disses, razor-sharp street didacticism, and sweaty city anthems . With A-plus production by heavyweights Prince Paul , Bomb Squad and Sam Sever.

They followed it in 1991 with Derelicts of Dialect, which featured one of the first recorded appearances by Nas and contained a viciously funny jab at Vanilla Ice called "Pop Goes the Weasel." Accompanied by an equally humorous video, "Pop Goes the Weasel" became 3rd Bass's biggest chart single and performed some much-needed damage control in the hip-hop community: not only did it prevent 3rd Bass from getting lumped in with Ice, but by extension, it also distanced at least some of the Caucasian race from the whole phenomenon, opening doors for greater inclusiveness later on. Despite their success, 3rd Bass disbanded in 1992 when MC Serch went solo. He issued Return of the Product later that year, and the remainder of the group, billed as Prime Minister Pete Nice & DJ Daddy Rich, teamed up for Dust to Dust in 1993. Neither was as successful or high-profile as the two gold-selling 3rd Bass albums. Serch, interested in discovering new talent, became the head of A&R at the respected, now-defunct Wild Pitch label, and later founded his own label, Serchlight Productions. Nice, meanwhile, dropped out of the music business.



01 - Stymie's Theme (0:13)
02 - Sons Of 3rd Bass (4:46)
03 - Russell Rush (0:24)
04 - The Gas Face (3:49)
05 - Monte Hall (5:26)
06 - Oval Office (3:32)
07 - Hoods (0:17)
08 - Soul in the Hole
09 - Triple Stage Darkness (4:10)
10 - M.C. Disagree (0:44)
11 - Wordz Of Wizdom (6:31)
12 - Product Of The Environment (6:15)
13 - Desert Boots (0:21)
14 - The Cactus (4:40)
15 - Jim Backus (0:04)
16 - Flippin' Off The Wall Like Lucy Ball (3:16)
17 - Brooklyn-Queens (3:37)
18 - Steppin' To The A.M. (4:50)
19 - Episode #3 (0:11)
20 - Who's On Third (0:59)
21 - Wordz Of Wizdom (II) (7:56)


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All downloads are in * ogg-7 (224k) or ^ ogg-9(320k), artwork is included , if in need get the nifty ogg encoder/decoder here