Dec 12, 2018

RhoDeo 1849 Aetix

Hello,


Today's artists are a French cold wave group, formed in Denain, near Lille, France in 1980 by brothers Philippe and Hervé Lomprez. They are mainly active during the 1980s and 1990s.....N'Joy

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Centered around brothers Philippe and Hervé Lomprez, Trisomie 21 (often abbreviated to T21) are a French cold wave group who have endured since the early '80s, spanning styles such as brooding, experimental post-punk as well as a more danceable synth pop sound. The band formed in 1981, taking their name from trisomy 21, the medical term for the extra chromosome that causes Down syndrome. The two Lomprez brothers were initially joined by keyboard player Jean-Michel Matuszak (who also served as their manager) and bassist Pascal Tison, and their music was influenced by dark post-punk acts like Joy Division and the Cure as well as the experimentation of the Residents and Yello. Belgian label Stechak released T21's debut mini-album, Le Repos des Enfants Heureux, in 1983. Bassist Laurent Dagnicourt replaced Tison for the group's 1984 full-length Passions Divisées. Emphasizing the band's rhythm section while keeping their keyboard-heavy experimentation intact, the album included the haunting "La Fête Triste," which would emerge as one of their signature tunes.


Following two successful concerts in Belgium, T21 signed to Brussels-based industrial/goth label Play It Again Sam, greatly increasing their visibility. The 1985 EP Wait & Dance was issued by PIAS' short-lived Scarface imprint, followed by the 1986 full-length Chapter IV: Le Je-Ne-Sais-Quoi et le Presque Rien, which contained the group's biggest hit, "The Last Song." A re-recorded, remixed version of the album appeared in 1987, as did the full-length Million Lights, which appeared on PIAS proper following the Scarface sublabel's closure. The album was created solely by the Lomprez brothers, without a bass player, and was significantly more electronic than their past material. Arriving in 1988, Works marked the debut of guitarist Bruno Objoie, who also contributed to the more atmospheric Plays the Pictures (1989) and live album Raw Material (1990).


The 1992 full-length Distant Voices, which featured Tuxedomoon violinist Blaine Reininger and backing vocalist Lena Kane, found the group experimenting with jazz, pop, and cinematic textures, resulting in some of their strangest yet most accessible work. However, disputes with their label would delay their next album by several years. Following the release of three compilation CDs, 1987's ambient-influenced Gohohako would be T21's final album for PIAS.

The group went on hiatus for a while, but returned in 2003, when they were asked to remix the song "Le Grand Secret" by French pop/rock band Indochine. The comeback album Happy Mystery Child was released by Le Maquis in 2004, followed by a series of remix albums featuring producers from throughout the techno, electro, and EBM scenes. In 2007, the Belgian label Alfa Matrix released T21's live album Rendez-Vous en France, some copies of which included a CD of early rarities and demos. The group's final release on Le Maquis, 2009's Black Label, was one of their heavier, more driving releases.

The group embarked on what they assumed would be their final tour, playing one last gig in Brussels. However, the Lomprez brothers secretly returned to the studio in 2017, with early member Tison contributing to some of the sessions. The full-length Elegance Never Dies was released by the group's own Chromo Music Production by the end of the year, and the group toured throughout Europe in support of the album. Additionally, the American label Dark Entries released Chapter I-IV, a vinyl box set containing expanded editions of T21's first four records, which were also reissued individually. The group also released a three-CD box set of early material titled Originally in 2018.


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The T21's Works recorded at theit studio from April to August 1988. Mixed by T21 and Bruno Donini at Chromomanagement studio. The album heads in more of a commercial-sounding direction. Heavier drums guitar solos and more traditional rock arrangements make for a completely different mood this time around. I don't have too many complaints about this album. The percussion, at times, can sound a bit dated, and a couple of the instrumentals border on tii easy, but there are definitely some T21 classics on here. Tracks such as "The Golden Age", "Betrayed", and "The Missing Piece" helped me embrace the 'harder' sound of this CD, and the live version of "Joh'Burg" was a nice addition, though I'd rather T21 release the whole Official Bootleg recording on its own CD! Oh yeah, "War Outside" is an excellent instrumental. A must-buy for T21 fans, and a good chance to take for the casual listener.



Trisomie 21 - Works (flac  319mb)

01 The Golden Age 3:06
02 A Dirge For Love 4:26
03 Betrayed 3:49
04 The Missing Piece 4:43
05 Messenger 4:23
06 Harbours And Stations 4:28
07 Speak By The Cards 4:18
08 The Story So Far 1:21
09 The War Outside 3:37
10 West Wind 4:14
11 Another Move (Remix) 3:54
12 The War Outside (Instrumental) 3:41
13 Joh'Burg "Live" 5:59

Trisomie 21 - Works  (ogg   118mb)

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Goth experimental ambient excellence.... Contains more beautiful melodies and better musical ideas in one record than many groups ever generate in their entire careers. And still miles ahead of their time, as usual. Great for a soul searching walk or drive, or make out session, take your pick :)



 Trisomie 21 - Plays The Pictures (flac  306mb)

01 Paradise 2:36
02 My Year Is A Day 1:47
03 One Last Play 3:31
04 Right To Reply (1) 2:36
05 Moonlight (1) 3:02
06 At This Time Of Writing (2) 1:32
07 Jack In The Box 1:23
08 Bamboo (1) 4:48
09 W.S.W. (West-South-West) 2:39
10 Brewter's Millions 1:34
11 At This Time Of Writing (3) 1:27
12 Dolphin Bay 3:14
13 Into The Light Heart 2:08
14 Right To Reply (2) 2:35
15 The Secret Beyond The Door 2:04
16 Easy Touch 2:14
17 Remember Me 3:02
18 Bamboo (2) 1:30
19 Friday Report 1:43
20 Ceremony 1:40
21 Cinema Hall 1:45
22 Take The Shock Away 5:31
23 Weird New York 1:42

 Trisomie 21 - Plays The Pictures  (ogg   127mb)

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'Trisomy 21 recorded live April / May 1989', that's nothing else, no pictures or room information or any other ... 'Raw material' ... Cold wave aesthetics obliging, clinical purification of the container to focus on the  content, excellent sound content, let's say it all clean.  Apart from a certain sense of space, sound depth and the screams of the audience, one might think these recorded studio headlines;  each instrument stands out clearly in both the synthetic and electrical parts.  The guitar is besides the winner of this passage on stage;  she who is not always the striking element of the compositions of the balance group of her strength the electronic arsenal.  The song of Philippe Lomprez, half sad and half fragile, limited in the range, not always exact, paradoxically takes all its meaning, proving how much what seems a weakness to ears too professional can be changed into power as soon as the  emotion is at stake. The interpretation is impeccable, liberated from a certain beginner fragility that characterized the first recordings without questioning the beauty blurry, indecisive, which has always been the charm of Trisomie 21. The selection is a treat,  see it: 'It drowns', 'The sad day', 'The last song' or 'Some twenty one miles from the coasts' and the sound quality gives the listener the privilege of a form of intimacy with  the musicians as if he were not in the audience but on stage among them.  'Raw material' is justified by this look not new but oblique or complementary to the repertoire of the combo.  A last slow song whose recitation (samplée?) Feminine Anne Clark evokes, some applause, it's over.  Without ceremony.

If you are sick of all the bland pop and alternative music out there give this band a listen. It is unfair to categorize them - their music is completely different yet easy to listen to and it still sounds good after repeated listening. Get this album and listen to it at least a few times...one by one each song will begin to stand out as a superb musical nugget.



Trisomie 21 - Raw Material (flac  297mb)

01 Harbours And Stations 4:43
02 The Last Song 4:10
03 Waiting For 3:35
04 Sharing Sensation 4:25
05 Some Twenty One Miles From The Coast 5:15
06 La Fête Triste 4:27
07 Il Se Noie 5:10
08 A Dirge For Love 4:02
09 Another Move 4:00
10 West Wind 4:04

Trisomie 21 - Raw Material   (ogg  110mb)

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Dec 11, 2018

RhoDeo 1849 Supernatural 9

Hello, in accordance with these autumnal days when the light is fading, the supernatural manifest and us humans start to shiverrrr


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Nigel Kneale was a Manx television playwright who had first come to prominence in the 1950s thanks to his three Quatermass serials and his controversial adaptation of George Orwell's Nineteen Eighty-Four, all of which were produced by the BBC. Going freelance in the nineteen-sixties, Kneale had produced scripts for Associated Television and for Hammer Films. In the late nineteen-sixties and early nineteen-seventies, Kneale had been coaxed back to the BBC, writing such plays as The Year of the Sex Olympics, Wine of India and, for the anthology series Out of the Unknown, The Chopper.

In the middle of 1972, Christopher Morahan, who was Head of Drama at BBC2 and who had directed Kneale's 1963 play The Road and the 1965 remake of Kneale's adaptation of Nineteen Eighty-Four, approached Kneale asking him to write a play to be broadcast over the Christmas period. Accepting the commission, Kneale quickly decided that, in keeping with Christmas tradition, he would write a ghost story, but with a difference – ancient spirits would come into collision with modern science.. ...... N Joy

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The Stone Tape was written by Nigel Kneale, best known as the writer of Quatermass. Its juxtaposition of science and superstition is a frequent theme in Kneale's work; in particular, his 1952 radio play You Must Listen, about a haunted telephone line, is a notable antecedent of The Stone Tape.

In 1979, a team of scientists moves into a new laboratory in a Victorian mansion. When Jill Greely hears a strange disembodied scream, the team decides to analyse the phenomenon, which appears to be a psychic impression trapped in the wall. The scientists begin to realise that their work has disturbed something hidden beneath the stone, something ancient and malevolent.

The original 1972 TV movie is now a cult favourite. Written by the creator of the Quatermass series Nigel Kneale, it is known for its cutting edge sound effects from the BBC Radiophonic Workshop.

This remake has been conceived by Peter Strickland in collaboration with writer Matthew Graham (Life On Mars). It features new music from James Cargill (of the band Broadcast) and sound design from Andrew Liles (Current 93, Nurse With Wound). A stellar cast includes Romola Garai (The Hour, Atonement), Julian Rhind-Tutt (Green Wing), and Julian Barratt (The Mighty Boosh), with a special cameo by the star of the original version, Jane Asher.

A tale of the supernatural by Nigel Kneale.

Cast:
Jill Greely.............Romola Garai
Dr Leo Cripps......Julian Rhind-Tutt
Marvy Wade........Dean Andrews
Terry Briscoe.......Julian Barratt
Cleft....................Tom Bennett
Jill's mother.........Jane Asher
The scream.........Eugenia Caruso

Music and electronics: James Cargill
Vocal effects: Andrew Liles
Analogue effects: Steve Haywood and Raoul Brand
Sound mix: Eloise Whitmore

Written by Matthew Graham and Peter Strickland
Based on the original TV play by Nigel Kneale
Director: Peter Strickland
Producer: Russell Finch
Executive Producer: Polly Thomas


Nigel Kneale - The Stone Tape ( 56;30 min mp3  38mb)

In 1979, a team of scientists moves into a new laboratory in a Victorian mansion. When Jill Greely hears a strange disembodied scream, the team decides to analyse the phenomenon, which appears to be a psychic impression trapped in the wall. The scientists begin to realise that their work has disturbed something hidden beneath the stone, something ancient and malevolent.

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previously

Robert Westall - The Stones of Muncaster Cathedral ( 87min mp3  60mb)
Robert Westall - The Wheatstone Pond ( 60min mp3  39mb)
Victor Pemberton - Dark. ( 86min mp3  60mb)
Scott Cherry - The Book of Shadows ( 78min mp3  60mb)
Koji Suzuki - The Ring ( 78min mp3  60mb)
Wilkie Collins - The Haunted Hotel ( 60min mp3  38mb)
JCW Brook - Jonas ( 60min mp3  60mb)
Stephen Sheridan - The House at Worlds End   ( 44min mp3  30mb)

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Dec 10, 2018

RhoDeo 1849 Re-Up 167

Hello,


8 correct requests for this week, 1 outstanding , 2 too early, whatever another batch of 27 re-ups (9.8 gig)


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

Looka here , requests fulfilled up to December 8th... N'Joy

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4x Sundaze Back in Flac (Angelo Badalamenti - The Edge of Love, David Lynch - Inland Empire, David Lynch - Crazy Clown Time, Badalamenti & Lynch - Archive part 8)


4x Aetix Back In Flac (Adam & Ants ‎- Dirk Wears White Sox, Adam & Ants - Kings of the Wild Frontier, Adam And The Ants - Prince Charming, Adam Ant - Friend Or Foe)


3x Aetix Back in Flac (Die Krupps - Stahlwerksynfonie, Die Krupps - Volle Kraft Voraus,  Die Krupps - Volle Kraft Voraus rmxd, Die Krupps - Entering The Arena)


5x Sundaze NOW In Flac (VA - Dub Backups One, VA - Dub Backups Two-1, VA - Dub Backups Two-2 )


2x Beats NOW in Flac (Etienne De Crécy - Super Discount, Etienne De Crécy - Super Discount 2)


4x Sundaze Back In Flac (VA - Space Night Vol. 12 alpha, VA - Space Night Vol. 12 beta, Space Night - The Journey Continues 1, Space Night - The Journey Continues 2)


3x Sundaze Back in Flac (Field Rotation - Licht Und Schatten, Field Rotation - Acoustic Tales, Field Rotation - And Tomorrow I Will Sleep)


3x Aetix Back in Flac (Au Pairs - Playing With A Different Sex, Howard Jones - Human's Lib, The M Wah! - A Word To The Wise Guy)



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Dec 9, 2018

Sundaze 1849

Hello,


Today's Artist  is better known by his stage name μ-Ziq (pronounced "mu-sic" or mew-zeek), an English electronic musician from Wimbledon, London. He is one of the pioneering IDM electronic music acts during the 90's, alongside Aphex Twin, Autechre, and The Orb. He is also the founder of the record label Planet Mu. .......N'Joy

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One of the premier names in the field of electronic home-listening music, Mike Paradinas' recordings retain the abrasive flavor of early techno pioneers and explore the periphery of experimental electronica even while coddling to his unusual ear for melody, the occasional piece of vintage synthesizer gear, and distorted beatbox rhythms. While his side projects -- including Diesel M, Jake Slazenger, Gary Moscheles, Kid Spatula, and Tusken Raiders -- have often emphasized (or satirized) his debts to jazz, funk, and electro, Paradinas reserves his most original and exciting work for major album releases as µ-Ziq. Early µ-Ziq LPs were based around the most ear-splitting buzz-saw percussion ever heard (in a musical environment or otherwise), with fast-moving though deceptively fragile synthesizer melodies running over the top. As Paradinas began weaving his various influences into a convincing whole, his work became more fully developed, a fluid blend of breakbeat hip-hop and drum'n'bass with industrial effects and the same brittle melodies from his earlier work. Later works have reflected his interest in other forward-thinking electronic styles such Chicago's juke/footwork scene, while also looking back to his formative influences such as the British rave scene and Detroit techno.

Born in Wimbledon (though he grew up in several other spots around London), Paradinas began playing keyboards during the early '80s and listened to new wave bands like Human League and New Order. He joined a few bands in the mid-'80s, then spent eight years on keyboards for the group Blue Innocence. During that time, however, Paradinas had been recording on his own as well with synthesizers and a four-track recorder. When Blue Innocence disintegrated in 1992, he and bass player Francis Naughton bought sequencing software and re-recorded some of Paradinas' old material. After the material was played for Mark Pritchard and Tom Middleton -- the duo behind Global Communication and Reload as well as being the heads of Evolution Records -- they wanted to release it; recording commitments later forced Pritchard and Middleton to withdraw their agreement, though by that time Richard D. James (aka Aphex Twin) had also heard the tracks and agreed to release a double album for his label, Rephlex Records.

The debut album for µ-Ziq (paraphrased from the side of a blank tape and pronounced "mew-zeek") was 1993's Tango n' Vectif. The LP set the template for most of Paradinas' later work, with at times shattering metal-cage percussion underpinning a collection of rather beautiful melodies. The Rephlex label was just beginning to flourish, with added journalistic attention paid to Aphex Twin's recent Selected Ambient Works 85-92, and though James began to feature less in label doings than co-founder Grant Wilson Claridge, later Rephlex work by Cylob, Luke Vibert (aka Wagon Christ), Seefeel, and Squarepusher made it among the cream of electronic home-listening labels.

When Naughton began taking college more seriously (something Paradinas had attempted briefly, from 1990 through 1992), he officially bowed out of µ-Ziq. Second album Bluff Limbo was scheduled to be released in mid-1994, though only 1,000 copies made it out of the gate. (It was officially issued by Rephlex in 1996 after Paradinas served papers on the label.) Paradinas' first major-label release came later in 1994, after he undertook a remix project for Virgin Records. The EP µ-Ziq vs. the Auteurs was one of the most high-profile examples of the remix-by-obliteration movement, a burgeoning hobby for many electronica producers in which the reworking of a pop song would bear no resemblance to -- or trace of -- the original.

Though the EP was hardly a prime mover in the sales category, Virgin signed Paradinas to a hefty contract and gave him his own Planet Mu sublabel to release his own work as well as develop similar-minded artists. Written into his own contract was a provision for unlimited recording under different names, and during 1995 Paradinas definitely took it to task: he unveiled three aliases and released as many albums in less than a year's time. The nu-skool electro label Clear released his debut single as Tusken Raiders early in the year; it mined the fascination with Star Wars and electro music shared by producers like Global Communication, Aphex Twin, and James Lavelle, head of Mo' Wax Records. Clear also released the first Paradinas alias full-length, Jake Slazenger's MakesARacket, later in 1995. Although they were still audible, the LP downplayed his electro influences in favor of some rather cheesy synthesizer figures and a previously unheard debt to jazz-funk.

The distortion reappeared on Paradinas' second LP of the year, Spatula Freak by Kid Spatula. The first American-only release of a Paradinas album (it appeared on Jonah Sharp's San Francisco-based Reflective Records), its sound had the metallic feel of the first two µ-Ziq LPs but with a less-dense production job. Just one month after Spatula Freak, Paradinas released his first proper µ-Ziq LP for a major label, In Pine Effect. The album included tracks recorded from 1993 to 1995, and though it was quite a varied album, the distance appeared to give it quite a disjointed feel.

Paradinas spent 1996 releasing a second Jake Slazenger album (Das Ist Groovy Beat Ja? for Warp) and his first as Gary Moscheles (Shaped to Make Your Life Easier for Belgium's SSR/Crammed Discs). Both LPs journeyed further down the queasy-listening route of the first Slazenger record, with departures into '80s-style party funk and surprisingly straight-ahead soul-jazz. He also owned a half-share in the Rephlex-released Expert Knob Twiddlers (credited as Mike & Rich), the fruit of Paradinas' 1994 recordings with the Aphex Twin.

Paradinas entered 1997 ready to undertake the most ambitious style makeover in his career: the fusion of his home-listening techno with the hypertensive rhythms of street-level drum'n'bass. One year earlier, Aphex Twin had released a single of schizophrenic jungle noodlings ("Hangable Auto Bulb"), and Tom Jenkinson's Squarepusher project had provided the first convincing headphone drum'n'bass act. Paradinas waded into the pool with Urmur Bile Trax, Vols. 1-2, a double EP also released as one full-length compact disc. Though the changeover wasn't completely convincing, the next µ-Ziq full-length more than made up for expectations. Lunatic Harness presented a complete synthesis of the many elements in Paradinas' career, from synth-jazz-funk and beatbox electro through to ambient techno and jungle.

Paradinas and µ-Ziq were introduced to many rock fans after he toured America as the support act for Björk. This tour influenced 1999's Royal Astronomy, which focused on acid techno and hip-hop influences. Issued in 2003, Bilious Paths became the first µ-Ziq release to arrive on Paradinas' own Planet Mu label. The dissolution of his relationship inspired his unrelentingly dark 2007 album Duntisbourne Abbots Soulmate Devastation Technique. Paradinas' Planet Mu duties and his Heterotic project with wife Lara Rix-Martin -- whose debut album, Love & Devotion, arrived in early 2013 -- were among the reasons µ-Ziq took a break until the release of the juke-influenced XTEP and rave-inspired full-length Chewed Corners, both of which arrived in 2013. That year's Somerset Avenue Tracks (1992-1995) compilation celebrated µ-Ziq's 20 years of recording, and collected unreleased tracks from the beginning of his career. Rediffusion appeared in 2014, and XTLP, compiling both XTEP and Rediffusion, followed in 2015. Two digital collections of rare or unreleased recordings, RY30 Trax and Aberystwyth Marine, both appeared in 2016. Following in this vein, Challenge Me Foolish, a collection of tracks dating from the late '90s, was released in 2018, this time on CD and vinyl.


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Mike Paradinas combines two EPs for domestic re-release on Astralwerks and asks a lot from his listeners by being atypically scatterbrained. The title track sounds like an arm-wrestling match between Paradinas and Bogdan Raczynski (let's call it "Mu-zynski"); it's a cacophony of sound with those gratuitous James Brown vocal yelps, breakbeat drum loops, and punishing distortion. "Let Let" shows some playfulness, with a goofy riff of toy noise and a little hippity-hop drum funk, somewhat reminiscent of Luke Vibert's early Plug material. "M5 Saabtune" follows in much the same way, with a squeak toys segue to shuffling gurgles of percussion that finally give way to mere hints of melody and chord progression -- two sorely missed elements that keep more of these songs from succeeding. "Fine Tuning" unfolds in the spirit of his jazzier Gary Moschelles material, but it's either the song structure or the studio mix that keep the song from ever taking a stand. "The Hydrozone" ripples through the ear bones with a go-go dancer bassline, rhythm box hiccups, and ethereal clouds of ambience that vanish as quickly as they appear, setting the stage for a more promising second half. A couple surprises await listeners familiar with his first Rephlex release, Tango N. Vectiff. Here, µ-ziq remixes two tracks from that album, originally titled "The Sonic Fox" and "PHI* 1700 (U/V)," though in the process he ends up showing off his new studio computer equipment more than any newfound musicality. With "1 Hip 007*," he breaks the original piece apart so thoroughly as to leave nothing but shards in its wake; he explores the beauty and the ugliness of it for 13 fantastically uneven minutes. "The Phonic Sox" continues in the same exhaustive tradition; it's as if Paradinas spent too much time programming and not enough listening. "Hornet" flops around between hyperactive psychedelic hip-hop and drill'n'bass film noir raga. As mentioned before, this is part of the overall problem with Urmur Bile Trax: there are too many disparate elements and not enough musical glue to hold it together.



µ-Ziq - Urmur Bile Trax Vol 1+2 (flac  385mb)

Volume 1
01 Urmur Bile 9:07
02 Let Let 7:10
03 M5 Saabtone 10:09
04 Fine Tuning 6:12
Volume 2
05 The Hydrozone 6:18
06 1 Hip 007 12:53
07 Hornet 8:40
08 The Phonic Socks 7:07

µ-Ziq - Urmur Bile Trax Vol 1+2  (ogg  151mb)

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Mike Paradinas' first success story from the frontlines of ambient/electro/drum'n'bass experimentation comes via  Lunatic Harness. This album has some of the most accessible tracks by Mike. Many tracks contain very soothing synth work mixed with complex and varied drum patterns just using a bunch of samples. Still, they're very energetic and works good on the dancefloor as well, it felt like Paradinas really knew what he was doing here. It can be a difficult task to blend ambient elements with hyper and distorted drums at 150+ BPM but artists like µ-Ziq and Aphex Twin sure knows how to make it work.



µ-Ziq - Lunatic Harness (flac  432mb)

01 Brace Yourself Jason 6:22
02 Hasty Boom Alert 5:15
03 Mushroom Compost 3:19
04 Blainville 3:41
05 Lunatic Harness 6:05
06 Approaching Menace 7:01
07 My Little Beautiful 5:39
08 Secret Stair Pt. 1 4:16
09 Secret Stair Pt. 2 4:59
10 Wannabe 6:49
11 Catkin And Teasel 4:36
12 London 6:11
13 Midwinter Log 6:40

µ-Ziq - Lunatic Harness  (ogg  163mb)

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Riding the wave of success that followed his brilliant full-length Lunatic Harness from 1997, Mike Paradinas cranked out two follow-up singles from the album: "Brace Yourself" and the more independently released "My Little Beautiful," which seems like the weaker of the two. This quartet of tracks starts with the album version of the cut -- a jazzy, dreamy, hyperactive drill'n'bass production with melody lines that seem composed by the Milton Bradley game Simon. Next comes "Hanky Pokery," featuring an edgy buzzing funk bassline that carries listeners along through a heavily garnished rhythm track that never sits still for very long (much like Paradinas himself). Even more sputtering follows with "Jiggery Panky," a busy but slightly generic overkill that does break into a calmer theme near the end. Brace Yourself is full of the sounds, melodies and feeling of a beautiful sunny day, right from start to finish, all of the quirky unique melodies just seem to make sense, like they were always meant to be. Intellitag has to be one of the most gorgeous tracks ever, even the drums are nice to listen to.



µ-Ziq - Brace Yourself, My Little Beautiful  (flac 308mb)

01 Brace Yourself (Remix) 5:56
02 Kubba 4:38
03 Vaken Bolt 2:08
04 Losers March 4:42
05 Summer Living 2 4:03
06 Intellitag 3:43
07 Abmoit 4:48
08 Brace Yourself (Reprise) 3:18
My Little Beautiful
01 My Little Beautiful 4:05
02 Hanky Pokery 5:02
03 Jiggery Panky 5:22
04 Worcester 5:05

µ-Ziq - Brace Yourself, My Little Beautiful     (ogg  119mb)

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After the drum'n'bass updates on his previous full-length, Royal Astronomy in large part returns Mike Paradinas to the green pastures of his youth -- electro-slanted melodic techno and post-rave ambience with an eye on classics of his early career like Tango 'N Vectif. From the cinematic opener "Scaling" and the simple melodies of the single "The Fear" (with vocals by a Japanese-born, British-based author named Kazumi), Paradinas keeps it simple throughout. Indeed, the pendulum bass and synth-strings on "Gruber's Mandolin" could have been taken stock-and-barrel from either of his first two Rephlex albums. Still, there are breakbeats all over this record -- and on two of the best tracks, the gorgeous production titled "Carpet Muncher" and "Autumn Acid," a song slightly reminiscent of Aphex Twin's "Windowlicker." There's also plenty of hip-hop attitude on other tracks, from the Gang Starr sample on "The Motorbike Track" to the turntable spinbacks on "The Hwicci Song." For the most part, it's obvious that Paradinas' sampler has moved on and gained for it.



µ-Ziq - Royal Astronomy  (flac 369mb)

01 Scaling 4:13
02 The Hwicci Song 3:40
03 Autumn Acid 3:37
04 Slice 4:39
05 Carpet Muncher 2:59
06 The Motorbike Track 7:20
07 Mentim 4:27
08 The Fear 4:22
09 Gruber's Mandolin 2:37
10 World Of Leather 4:21
11 Scrape 1:41
12 56 3:46
13 Burst Your Arm 6:23
14 Goodbye, Goodbye 4:07

µ-Ziq - Royal Astronomy   (ogg  139mb)

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µ-Ziq's The Fear EP sees electronic musician Mike Paradinas in a relatively lighthearted mood. "The Fear" shows up in two forms. The first version is identical to the one that appears on his Royal Astronomy album. It's one of that album's more easygoing moments, combining a touching melody, sampled horns, and Kazumi's fragile, abstract vocals. "Houzz 8" is a jazzy, faster-paced B-side. It's fun background music, but it doesn't really stand out against Paradinas' more experimental, emotional back catalog. Comprising mostly high-pitched electronics, there's not really much to wrap one's mind around. "Morning Frolic" is perhaps slightly more interesting, if only because there's a bit of suspense built into its core; under swelling strings and synth textures, it appears the song will burst its seams and turn into a classical composition at any moment. The second appearance of the title track is sequenced last, as "the fear remix." The title of the track says it all; it's a more sprightly, less effective replay of the original. Where the album version hints at melancholy and sadness, the remix affects a stop-start shuffle, and Kazumi's vocals are distorted, making for a less compelling rendition. µ-Ziq is capable of creating deeply emotional music. When he's simply playing around in the studio, as he appears to be doing on this EP, his music is worthwhile, but not vital.



µ-Ziq - The Fear (flac  113mb)

01 The Fear (Voc Kazumi) 4:23
02 Houzz 8 4:29
03 Morning Frolic 4:13
04 The Fear (Remix) 4:58

 (ogg mb)

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Dec 7, 2018

RhoDeo 1848 Grooves

Hello, after the uber-cool acid jazz from the global city centers time for something completely different, in line with the season but don't worry no jinglebells.



Stax Records is an American record label, originally based in Memphis, Tennessee. Founded in 1957 as Satellite Records, the label changed its name to Stax Records in 1961. It was a major factor in the creation of Southern soul and Memphis soul music. Stax also released gospel, funk, and blues recordings. Renowned for its output of blues music, the label was founded by two siblings and business partners, Jim Stewart and his sister Estelle Axton (STewart/AXton = Stax). It featured several popular ethnically integrated bands (including the label's house band, Booker T. & the M.G.'s) and a racially integrated team of staff and artists unprecedented in that time of racial strife and tension in Memphis and the South.

According to ethnomusicologist Rob Bowman, the label's use of "one studio, one equipment set-up, the same set of musicians and a small group of songwriters led to a readily identifiable sound. It was a sound based in black gospel, blues, country, and earlier forms of rhythm and blues. It became known as southern soul music."

Following the death of Stax's biggest star, Otis Redding, in 1967, and the severance of the label's distribution deal with Atlantic Records in 1968, Stax continued primarily under the supervision of a new co-owner, Al Bell. Over the next five years, Bell expanded the label's operations significantly, in order to compete with Stax's main rival, Motown Records in Detroit. During the mid-1970s, a number of factors, including a problematic distribution deal with CBS Records, caused the label to slide into insolvency, resulting in its forced closure in late 1975.


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At nine discs and 244 tracks, The Complete Stax-Volt Singles: 1959-1968 is far too exhaustive for casual fans, but that's not who the set is designed for -- it's made for the collector. Featuring every A-side the label released during those nine years, as well as several B-sides, the set is a definitive portrait of gritty, deep Southern soul. Many of the genre's major names -- Otis Redding, Sam & Dave, Carla Thomas, Booker T. & the MG's, William Bell, Rufus Thomas, the Bar-Kays, Albert King -- plus many terrific one-shot wonders are showcased in terrific sound and augmented with an in-depth booklet. For any serious soul or rock collector, it's an essential set, since Stax-Volt was not only a musically revolutionary label, its roster was deep with talent, which means much of the music on this collection is first-rate. But if you only want the hits, you'll be better off with a smaller collection, since too much of this set will sound too similar, and sorting through the nine discs will be a monumental task if you only want to hear Otis, Rufus, Carla, and Sam & Dave.



VA - The Complete Stax-Volt Singles, Vol. 1   (flac  311mb)

101 Veltones - Fool In Love 1:59
102 Carla Thomas & Rufus Thomas - 'Cause I Love You 2:46
103 Carla Thomas - Gee Whiz 2:21
104 The Chips - You Make Me Feel So Good 2:14
105 Carla Thomas - A Love Of My Own 2:30
106 The Mar-Keys - Last Night 2:39
107 Rufus Thomas & Carla Thomas - I Didn't Believe 2:12
108 Prince Conley - I'm Going Home 2:51
109 Carla Thomas - (Mama, Mama) Wish Me Good Luck 2:25
110 The Mar-Keys - Morning After 2:15
111 Barbara Stephens - The Life I Live 2:26
112 The Mar-Keys - About Noon 2:33
113 The Triumphs - Burnt Biscuits 2:01
114 Carla Thomas - I Kinda Think He Does 2:38
115 The Mar-Keys - Foxy 2:17
116 William Bell - You Don't Miss Your Water 2:03
117 William Bell - Formula Of Love 2:08
118 Macy Skipper - Goofin' Off 3:01
119 Barbara Stephens - Wait A Minute 2:25
120 Nick Charles - Sunday Jealous 2:57
121 Barbara Stephens - That's The Way It Is With Me 2:27
122 The Tonettes - No Tears 2:34
123 The Mar-Keys - Pop-Eye Stroll 2:46
124 Nick Charles - The Three Dogwoods 2:29
125 The Canes - Why Should I Suffer With The Blues 2:53
126 The Mar-Keys - Whot's Happenin'! 2:30
127 The Del-Rios - Just Across The Street 2:23
128 The Del-Rios - There's A Love 2:20
129 Rufus Thomas - Can't Ever Let You Go 2:34

VA - The Complete Stax-Volt Singles, Vol. 1 (ogg   133mb)

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VA - The Complete Stax-Volt Singles, Vol. 2   (flac  298mb)

201 Booker T & The MG's - Green Onions 2:55
202 Booker T & The MG's - Behave Yourself 3:54
203 William Bell - Any Other Way 2:31
204 Carla Thomas - I'll Bring It Home To You 3:07
205 The Mar-Keys - Sack-O-Woe 2:33
206 Otis Redding - These Arms Of Mine 2:33
207 The Tonettes - Teardrop Sea 2:31
208 Rufus Thomas - The Dog 2:37
209 Booker T & The MG's - Jelly Bread 2:33
210 William Bell - I Told You So 2:32
211 The Mar-Keys - Bo-Time 2:45
212 Booker T & The MG's - Home Grown 3:15
213 Deanie Parker & The Valadors - My Imaginary Guy 2:43
214 William Bell - Just As I Thought 3:03
215 Carla Thomas - What A Fool I've Been 2:17
216 Eddie Kirk - The Hawg, Part One 2:53
217 Oscar Mack - Don't Be Afraid Of Love 2:33
218 Cheryl & Pam Johnson - That's My Guy 2:09
219 Booker T & The MG's - Chinese Checkers 2:29
220 William Bell - Somebody Mentioned Your Name 3:05
221 Bobby Marchan - What Can I Do 2:45
222 Otis Redding - That's What My Heart Needs 2:42
223 The Astors - What Can It Be 2:19
224 Billy & The King Bees - Bango 2:19
225 Eddie Kirk - Them Bones 2:23
226 Rufus Thomas - Walking The Dog 2:37
227 William Bell - I'll Show You 2:49

VA - The Complete Stax-Volt Singles, Vol. 2> (ogg   130mb)

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VA - The Complete Stax-Volt Singles, Vol. 3   (flac  287mb)

301 Otis Redding - Pain In My Heart 2:24
302 Carla Thomas - Gee Whiz, It's Christmas 2:47
303 Booker T & The MG's - Mo' Onions 2:35
304 Floyd Newman -Frog Stomp 2:14
305 Rufus Thomas - Can Your Monkey Do The Dog 2:28
306 Bobby Marchan - You Won't Do Right 2:34
307 The Drapels - Wondering (When My Love Is Coming Home) 2:18
308 Deanie Parker - Each Step I Take 2:51
309 The Van-Dells - The Honey Dripper 2:07
310 William Bell - Who Will It Be Tomorrow 2:25
311 Otis Redding - Come To Me 2:46
312 Otis Redding - Don't Leave Me This Way 2:58
313 Eddie Jefferson - I Don't Want You Anymore 3:00
314 The Cobras - Restless 2:26
315 Rufus Thomas - Somebody Stole My Dog 2:40
316 Barbara & The Browns - Big Party 2:42
317 Rufus Thomas & Carla Thomas - That's Really Some Good 1:57
318 Rufus Thomas & Carla Thomas - Night Time Is The Right Time 2:40
319 Otis Redding - Security 2:37
320 Oscar Mack - Dream Girl 3:01
321 Dorothy Williams - Closer To My Baby 2:28
322 Carla Thomas - I've Got No Time To Lose 3:01
323 The Drapels - Young Man 2:35
324 Booker T & The MG's - Soul Dressing 3:00
325 Wendy Rene - After Laughter (Comes Tears) 3:02
326 Ivory Joe Hunter - Can't Explain How It Happened 2:44
327 The Mar-Keys - Bush Bash 2:32
328 The Fleets - Please Return To Me 2:35

VA - The Complete Stax-Volt Singles, Vol. 3 (ogg   131mb)

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VA - The Complete Stax-Volt Singles, Vol. 4 (flac   277mb)

401 Rufus Thomas - Jump Back 2:22
402 Otis Redding - Chained And Bound 2:41
403 Barbara & The Browns - In My Heart 2:52
404 Johnny Jenkins - Spunky 2:21
405 Wendy Rene - Bar B-Q 2:32
406 The Mad Lads -The Sidewalk Surf 2:24
407 Booker T & The MG's - Can't Be Still 2:02
408 Carla Thomas - A Woman's Love 2:56
409 Baracudas - Yank Me (Doodle) 2:28
410 Otis Redding - That's How Strong My Love Is 2:24
411 Otis Redding - Mr Pitiful 2:43
412 Del-Rays - Don't Let Her Be Your Baby 2:37
413 David Porter - Can't See You When I Want To 2:55
414 Barbara & The Browns - My Lover 2:23
415 The Admirals - Got You On My Mind 2:38
416 Carla Thomas - How Do You Quit (Someone You Love) 2:55
417 Gorgeous George - Biggest Fool In Town 2:48
418 The Mar-Keys - Banana Juice 2:25
419 Rufus Thomas - Little Sally Walker 2:29
420 Sam & Dave - A Place Nobody Can Find 2:57
421 Sam & Dave - Goodnight Baby 2:48
422 Booker T & The MG's - Boot-Leg 2:06
423 Booker T & The MG's - Outrage 2:38
424 Otis Redding - I've Been Loving You Too Long (To Stop Now) 2:55
425 Otis Redding - I'm Depending On You 2:30
426 The Astors - Candy 3:02
427 Wendy Rene - Give You What I Got 2:49

VA - The Complete Stax-Volt Singles, Vol. 4 (ogg   123mb)

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Dec 6, 2018

RhoDeo 1848 Roots

Hello, .

Today's artists is a Cuban musician, composer and bandleader. He played the tres, as well as the tumbadora, and he specialized in son, rumba and other Afro-Cuban music styles. In the 1940s and 1950s Rodríguez established the conjunto format and contributed to the development the son montuno, the basic template of modern-day salsa. He claimed to be the true creator of the mambo and was an important as well as a prolific composer who wrote nearly two hundred songs.

Despite being blind since the age of seven, Rodríguez quickly managed to become one of Cuba's foremost treseros. Nonetheless his first hit, "Bruca maniguá" by Orquesta Casino de la Playa, came as a songwriter in 1937. For the following two years, Rodríguez worked as composer and guest guitarist for the Casino de la Playa, before forming his conjunto in 1940, one of the first of its kind. After recording over a hundred songs for RCA Victor over the course of twelve years, Rodríguez moved to New York in 1952, where he remained active, releasing several albums...   ......N'Joy

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 Arsenio Rodríguez, one of the most important figures in the history of Cuban music, was a prolific composer (he penned close to 200 songs), tresero, percussionist, and bandleader whose innovations changed the face of Latin dance music and paved the way for what would eventually become known as salsa. He is considered the father of the conjunto, an instrumental format that was revolutionary for its time because it introduced the conga drum, which had previously been considered taboo because of its African origin. His compositions, many of which became standards of the Cuban and New York salsa repertoires, frequently emphasized Afro-Cuban, particularly Congolese, elements in their subject matter.

A descendent of Congolese slaves, Rodríguez was born on August 31, 1911, in Guira de Macurije in Cuba's western province, Mantanzas. At age seven Rodríguez was blinded by a horse's kick; he would later become know as "El Ciego Maravilloso" (The Marvelous Blind One). As a child, he began playing a variety of instruments, including Afro-Cuban drums and percussion, bass, and tres, a Cuban six-string guitar that would become his primary instrument. Some important early influences on tres included Nene Malfugas, Isaac Oviedo, and Eliseo Silviera. He began composing in his teens and in the early '30s formed El Sexteto Boston. In 1937 he joined trumpeter José Interain's Septeto Bellamar. 1937 also saw the first recordings of Rodríguez's compositions; Miguelito Valdés sang "Bruca Manigua," "Ven Acá Tomas," and "Fuñfuñando" with Orquesta Casino de la Playa.

During this period, the standard format for playing son was the septeto, consisting of trumpet, guitar, tres, bongos, bass, maracas, and claves, with two or more bandmembers singing. The general trend in the 1930s had been for the son to stray somewhat from its African roots, adopting a more subdued sound. This would all change around 1940 when Rodríguez added conga drum, piano, and a second (and later third) trumpet to the typical son ensemble, giving birth to the conjunto. The conjunto format revolutionized the son with the added drive provided by the conga's deep tone and the trumpet section's power. Around this time, Rodríguez introduced the son montuno, a son with a montuno section featuring improvised vocals (soneos) by the lead singer (sonero) over a repeated chorus; trumpet, tres, and piano solos also occurred frequently. Rodríguez is also credited, along with bandleaders Antonio Arcaño and Pérez Prado, with developing the mambo rhythm during this period. Another key innovation was the band's adaptation of the guaguancó to the dance band/conjunto format. The guaguancó is an Afro-Cuban style traditionally performed by voices and percussion; Rodríguez mixed some of its melodic and formal elements with those of the son. These further "Afro-Cubanizations" of the son are among Rodríguez's most important and lasting contributions. The conjunto format, son montuno, and mambo are three essential elements of what would later be called salsa.

The 1940s were a classic period in Rodríguez's career and the history of the son. Many of his most famous compositions were recorded, including "A Belen Le Toca Ahora," "La Yuca de Catalina," "Juventud Amaliana," and perhaps his most famous work, the bolero "La Vida es un Sueño," which was written after an unsuccessful attempt to restore his sight in 1947. Among his bandmembers during the '40s were several key figures in the development of the son, namely vocalists Miguelito Cuní, Marcelino Guerra, and René Scull, trumpeters Felix Chappotin and Chocolate Armenteros, and pianist Lilí Martínez. This period is represented on several reissue CDs: Montuneando con Arsenio Rodríguez y Su Conjunto (Tumbao), Legendary Sessions: Chano Pozo and Arsenio Rodríguez (Tumbao), Dundunbanza (Tumbao), A Todos los Barrios (RCA), and Oye Como Dice (Cubanacan).

In 1953, Rodríguez moved to New York, leaving his conjunto in Cuba under the leadership of trumpeter Chappotin, who would become a legend in his own right. Compositions such as "La Gente del Bronx" and "Como se Goza en el Barrio" (both available on the Tumbao CD named after the latter) continued to reflect his gift for writing about his everyday surroundings. His popularity in New York, while strong, would never match what it had been in Cuba. The mid-'50s saw the release of a strong album, Sabroso y Caliente (reissued on CD on Antilla), which added flute and timbales to the conjunto setup. "El Ciego Maravilloso" would continue to experiment with different instrumentations for the rest of his career, at times adding one or more saxophones to his band.

Primitivo
In the late '50s, Rodríguez recorded Primitivo and appeared, under the leadership of conguero Sabu Martinez, on the Blue Note release Palo Congo, which featured his brothers and conjunto sidemen Quique and Caesar Rodríguez. This album includes chants from Palo Congo, an Afro-Cuban religion of Congolese origin. In the early '60s, Rodríguez recorded Quindembo/AfroMagic (Epic), an innovative experimental album on which he wrote and sang on all the tracks. Rodríguez called this style, which blends jazz influences with son and more earthy Afro-Cuban religious elements, "Quindembo," a Congolese word meaning a mixture of many things. Around this time he also recorded two very strong albums in the conjunto style, Arsenio Rodríguez y Su Conjunto, Vol. 1 and Vol. 2. In his final years he continued to experiment, developing a style he called "swing son." The last album Rodríguez recorded was Arsenio Dice, a 1968 Tico release. On December 30, 1970, "El Ciego Maravilloso" died of pneumonia in Los Angeles. As a composer, performer, and musical experimenter, Rodríguez was one of the undoubted giants of Cuban music. In the United States, he was a decisive influence in the '60s and '70s tipico movement, and his experimentation pointed to way to some of the developments made by the more adventurous architects of salsa, such as Willie Colón. His legacy is recognized on several tribute albums, including Larry Harlow's Tribute to Arsenio Rodríguez and Tico's all-star Recordando a Arsenio.

Arsenio Rodríguez's recorded material can be divided into two eras. The first era comprises all songs recorded in Havana between 1940 and 1956, which were released as 78 rpm (and also 45 rpm) singles by Victor/RCA Victor. All these tracks except one ("Me quedé sin ti", 23-7000 B) were re-released as a 6-CD boxset in 2008 by the Spanish record label Tumbao Cuban Classics, which had also issued several compilations of this material in the 1990s. The second era comprises all recordings made by Rodríguez in New York between 1950 and 1970, the year of his death.

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This new six-disc boxed set by the Cuban bandleader and guitarist Arsenio Rodríguez, is a G.T.O.: a Great Thing, Objectively. First, it gets the stuff out there, collecting in one place nearly every scrap of music Rodríguez made for RCA Victor between 1940 to 1956, before he left Cuba for good (for New York and Los Angeles). His music has not previously been so well documented, in a large-canvas, year-by-year sense, and RCA has been a poor custodian of it.

The appearance of Arsenio Rodríguez's ensemble in 1940 created a style that, because of its instrumental set-up and Arsenio's conception of harmony and rhythm, would change forever the path of popular Afro-Cuban music. Arsenio's deep knowledge of African culture and folklore, and the addition of a second trumpet, a piano and a tumbadora to the classic septet, converged in a new style of son, which became known as the son montuno. Later, Arsenio would adapt the traditional guaguancó to his son montuno, creating a new style of guaguancós, uniquely and characteristically his, that the dancers in the most humble quarters of La Habana soon made their own. This 6-CD collection (3 double digipacks) gathers, for the first time ever, all his recordings for RCA Victor (1940-1956). It also includes two booklets with photos, history, discography and anecdotes. The first one, written by the musicologist David Garcia, is a fine review of the life and works of "El Mago del Tres." The second one was written by Jordi Pujol, producer of this project. It includes a comprehensive discography of Arsenio's ensemble, and recounts some interesting anecdotes about the musicians and singers that were part of the group until 1956. We hope this project will help immortalize and spread the musical works of Arsenio Rodríguez, "El Alma de Cuba." -- "Featuring: Miguelito Cuní, "Lilí" Martínez, Felix Chappotín, "Chocolate" Alfonso, René Scull, Rubén González, "Papa Kila."



  Arsenio Rodríguez & Su Conjunto - El Alma De Cuba 1 ( flac  278mb)

101 El Pirulero No Vuelve Mas (3:17)
102 Yo 'Ta Namorá (3:19)
103 Corazón De Hielo (3:37)
104 Yo Tuve La Culpa (3:34)
105 No Hace Na' La Mujer (3:21)
106 Todos Seguimos La Conga (3:29)
107 Sediento De Amor (3:42)
108 Como Traigo La Yuca (3:40)
109 Con Un Solo Pie (3:08)
110 Intranquilidad (3:18)
111 Sin Tu Querer (3:14)
112 Sandunguera (3:01)
113 ¡So Caballo! (3:21)
114 Triste Lucha (3:10)
115 Ñaña Seré (3:05)
116 A Buscar Camarón (3:09)
117 Pilla Con Pilla (3:10)
118 Oye Como Dice (3:07)
119.Camina A Trabaja, Haragán (3:12)
120 ¿Quien Sera Mi Amor? (3:17)
121 Quien Ama No Traiciona (2:47)
122 Mi Chinita Me Boto (3:09)
123 Oye Mi Consejo (3:13)
124 Estas Equivocada (3:25)

 Arsenio Rodríguez & Su Conjunto - El Alma De Cuba 1 (ogg    120mb)

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Arsenio Rodríguez & Su Conjunto - El Alma De Cuba 2    (flac  327mb)

201 Mujeres, Enamórenme (Guaracha) (2:45)
202 Yo No Como Corazón De Chivo (Guaracha Son) (2:55)
203 Tu No Eres Culpable (Bolero) (3:16)
204 Mi Guane (Guajira) (3:20)
205 Nadie Mas Que Tu (Bolero Son) (3:04)
206 Timbilla (Rumba De Cajón) (3:02)
207 Agonía (Bolero) (3:17)
208 Yeyey (Pregón) (2:59)
209 Deuda (Bolero) (3:16)
210 No Hay Yaya Sin Guayacán (Son Montuno) (2:59)
211 Ya Lo Veras (Bolero) (3:19)
212 Canta, Montero (Guajira Son) (3:22)
213 Inspiración (Bolero) (3:06)
214 El Ultimo Amor (Bolero) (2:54)
215 Chicharronero (Son) (3:04)
216 Una Experiencia Mas (Bolero) (3:12)
217 Dame Un Cachito Pa Huele (Son Montuno) (2:49)
2218 El Reloj De Pastora (Son) (3:01)
219 Cero Guapos En Yateras (Son) (3:11)
220 Cangrejo Fue A Estudiar (Son) (3:00)
221 Tengo Que Olvidarte (Bolero Son) (3:14)
222 Celos De Mujer (Guaracha) (3:05)
223 Juventud Amaliana (Guaguancó) (3:16)
224 Semilla De Caña Brava (Guaracha) (3:11)
225 ¿Por Que La Trajiste? (Bolero Son) (3:21)

Arsenio Rodríguez & Su Conjunto - El Alma De Cuba 2   (ogg  137mb)

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Arsenio Rodríguez & Su Conjunto - El Alma De Cuba 3 (flac  297mb)

301 Mi Convicción (Bolero Son) (3:22)
302 Adivínalo (Guaracha) (3:11)
303 Soy El Terror (Son) (3:22)
304 Lo Dicen Todas (Guaracha) (3:13)
305 La Vida Es Un Sueno (Bolero) (3:31)
306 El Tabernero (Bolero) (3:14)
307 El Cerro Tiene La Llave (Guaracha) (3:17)
308 Te Esperaré (Bolero Son) (3:21)
309 No Vuelvo A Morón (Son Montuno) (3:16)
310 Esa China Tiene Coimbre (Son Montuno) (2:36)
311 Soy Tu Destino (Bolero) (2:54)
312 Sacando Candela (Guaracha) (3:14)
313 A Puerto Rico (Bolero) (3:08)
314 No Toque El Guao (Son Montuno) (3:04)
315 Me Siento Muy Solo (Bolero) (3:05)
316 A Belén Le Toca Ahora (Guaguancó) (3:07)
317 Los Tres Juanito (Bolero) (3:20)
318 Luna Al Amanecer (Bolero) (2:48)
319 Dame Un Besito (Son Montuno) (2:51)
320 Orgullo Inútil (Bolero) (3:04)
321 Lo Que Dice Usted (Son Montuno) (2:23)
322 No Me Llores Mas (Son Montuno) (3:18)
323 En Su Partir (Bolero) (2:56)
324 Pueblo Nuevo Se Paso (Guaguancó) (3:15)
325 Feliz Viaje (Bolero) (2:44)

 Arsenio Rodríguez & Su Conjunto - El Alma De Cuba 3  (ogg  138mb)

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 Arsenio Rodríguez & Su Conjunto - El Alma De Cuba 4 ( flac  283mb)

401 Llévatelo Todo (Son Montuno) (3:22)
402 Mírame Mas (Bolero) (3:02)
403 Flor Del Fango (Bolero) (3:14)
404 Que Cosas Tendrán Las Mujeres (Son Montuno) (3:11)
405 Me Bote De Guano (Montuno) (3:18)
406 Es Mejor Olvidarte (Bolero) (3:32)
407 El Palo Tiene Curujey (Son Montuno) (3:06)
408 Finaliza Un Amor (Bolero) (3:01)
409 Los Sitios Aceré (Guaguancó) (3:17)
410 Sagrado Amor (Bolero) (3:00)
411 Flor De Canela (Bolero) (3:17)
412 Dundunbanza (Son Montuno) (2:38)
413 Pero Yo No Sé (Bolero) (3:21)
414 Juventud De Colon (Guaguancó) (2:59)
415 Por Tu Bien (Bolero) (3:09)
416 No Puedo Comer Vistagacha (Guaracha) (2:55)
417 Kila, Quiqui Y Chocolate (Son Montuno) (2:46)
418 Vuelvo A La Vida (Bolero) (2:56)
419 El Rumbón De Luyano (Guaguancó) (3:20)
420 Recuerda Aquella Noche (Bolero) (3:19)
421 El Rincón Caliente (Son Montuno) (3:24)
422 ¡Que Susto! (Bolero) (3:15)
423 La Sandunga Del Son (Son) (3:15)
424 Con Reciprocidad (Bolero) (2:44)

  Arsenio Rodríguez & Su Conjunto - El Alma De Cuba 4 (ogg   115mb)

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Dec 5, 2018

RhoDeo 1848 Aetix

Hello,


Today's artists are a French cold wave group, formed in Denain, near Lille, France in 1980 by brothers Philippe and Hervé Lomprez. They are mainly active during the 1980s and 1990s.....N'Joy

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Centered around brothers Philippe and Hervé Lomprez, Trisomie 21 (often abbreviated to T21) are a French cold wave group who have endured since the early '80s, spanning styles such as brooding, experimental post-punk as well as a more danceable synth pop sound. The band formed in 1981, taking their name from trisomy 21, the medical term for the extra chromosome that causes Down syndrome. The two Lomprez brothers were initially joined by keyboard player Jean-Michel Matuszak (who also served as their manager) and bassist Pascal Tison, and their music was influenced by dark post-punk acts like Joy Division and the Cure as well as the experimentation of the Residents and Yello. Belgian label Stechak released T21's debut mini-album, Le Repos des Enfants Heureux, in 1983. Bassist Laurent Dagnicourt replaced Tison for the group's 1984 full-length Passions Divisées. Emphasizing the band's rhythm section while keeping their keyboard-heavy experimentation intact, the album included the haunting "La Fête Triste," which would emerge as one of their signature tunes.


Following two successful concerts in Belgium, T21 signed to Brussels-based industrial/goth label Play It Again Sam, greatly increasing their visibility. The 1985 EP Wait & Dance was issued by PIAS' short-lived Scarface imprint, followed by the 1986 full-length Chapter IV: Le Je-Ne-Sais-Quoi et le Presque Rien, which contained the group's biggest hit, "The Last Song." A re-recorded, remixed version of the album appeared in 1987, as did the full-length Million Lights, which appeared on PIAS proper following the Scarface sublabel's closure. The album was created solely by the Lomprez brothers, without a bass player, and was significantly more electronic than their past material. Arriving in 1988, Works marked the debut of guitarist Bruno Objoie, who also contributed to the more atmospheric Plays the Pictures (1989) and live album Raw Material (1990).


The 1992 full-length Distant Voices, which featured Tuxedomoon violinist Blaine Reininger and backing vocalist Lena Kane, found the group experimenting with jazz, pop, and cinematic textures, resulting in some of their strangest yet most accessible work. However, disputes with their label would delay their next album by several years. Following the release of three compilation CDs, 1987's ambient-influenced Gohohako would be T21's final album for PIAS.

The group went on hiatus for a while, but returned in 2003, when they were asked to remix the song "Le Grand Secret" by French pop/rock band Indochine. The comeback album Happy Mystery Child was released by Le Maquis in 2004, followed by a series of remix albums featuring producers from throughout the techno, electro, and EBM scenes. In 2007, the Belgian label Alfa Matrix released T21's live album Rendez-Vous en France, some copies of which included a CD of early rarities and demos. The group's final release on Le Maquis, 2009's Black Label, was one of their heavier, more driving releases.

The group embarked on what they assumed would be their final tour, playing one last gig in Brussels. However, the Lomprez brothers secretly returned to the studio in 2017, with early member Tison contributing to some of the sessions. The full-length Elegance Never Dies was released by the group's own Chromo Music Production by the end of the year, and the group toured throughout Europe in support of the album. Additionally, the American label Dark Entries released Chapter I-IV, a vinyl box set containing expanded editions of T21's first four records, which were also reissued individually. The group also released a three-CD box set of early material titled Originally in 2018.


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"Passions divisées" is a really interesting coldwave record. The Lomprez brothers apply their maximalist approach to minimal wave which results in fairly rich sound, with interesting drum patterns and synth arrangements. However, these 'brooding' attempts at gothic vocal delivery is really unfitting and even irritating at times. Unfortunately, this really takes away from the excellent composition. That said on Is Anybody Home ? Trisomie 21 created a track where vocals don't suck; they even made them fucking amazing.

Even though by 1983 the new-wave movement (and all it's subsidiaries) was a bit long in the tooth, Trisomie 21 delivered a charming EP with gusto and finesse. It contained ghostly waltzes ("Il Se Noie"), bass-laden (faux Western?) wave-themes with an abundance of sound-effects ("There Is Something Strange Tonight"), elegant -almost spectral- catatonic dark-wave ("Logical Animals"), plus wave serenades with fragmented arrangements - leading to a  spectacular display of ectoplasmic fireworks ("Coming From Darkness"). So the record ends and once the silence is back, one gets the impression that the Trisomies 21 could not have started their musical journey better.  In the future would be followed by many other jobs, but Le Repos des Enfants Heureux, is, and remains in effect still today, one of the leaders of their great and unfortunately too ignored career.



Trisomie 21 - The First Songs (flac  354mb)

Passions Divisées
01 See The Devil In Me 6:25
02 Relapse 6:50
03 Djakarta 3:50
04 Moving By You 1:50
05 Is Anybody Home ? (Part 1) 3:40
06 La Fête Triste 6:35
07 No Way 4:10
08 Love For A Life 5:20
Le Repos Des Enfants Heureux
09 Il Se Noie 4:25
10 There's Something Strange Tonight 4:45
11 Logical Animals 5:10
12 Coming From The Darkness 6:30
13 Breaking Down 4:20

Trisomie 21 - The First Songs  (ogg   154mb)

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For their fourth album the Lomprez brothers spent September and October of 1985 recording nine new compositions. In January 1986 Chapter IV, Le Je-ne-sais quoi et le presque-rien was released by PIAS sub-label Scarface. The title came from a 1957 book by French philosopher and musicologist Vladimir Jankélévitch. The songs on the album, including the emblematic The Last Song , were captivating, original and without concession. This record further opened the door to new opportunities, and the band's music spread further internationally. Sadly some of the songs had phase related problems and caused partial cancelation playing back monophonically, so the band remixed and re-recorded the songs and reissued them on CD only in 1987. Added here the remixes/re-recordings as bonus tracks. All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. . The album gives a so-strange feeling to the songs, the structures are unpredictable, the beats are syncoped, yet it is very emotional and powerful.



 Trisomie 21 - Chapter IV and Wait and Dance Remixes (flac  316mb)

01 The Last Song (Re-Recorded) 4:36
02 There's No Trouble There (Remixed) 4:42
03 Memories (Re-Recorded) 4:35
04 Pleasure (Remixed) 3:43
05 The Cave And The Light (Remixed) 2:18
06 Night Fly (Remixed + New Edit) 4:47
07 Is Anybody Home (Part 2) (Remixed + New Edit) 5:10
08 Is Anybody Home (Part 3) (Remixed) 2:52
09 Your Dream (Remixed) 4:10
10 Waiting For (Remixed + New Vocals) 3:35
11 Crying Wolf (Remixed) 3:59
12 Relapse II (Remixed) 3:19
13 Shadow Of Time (Remixed) 3:44
14 Son Of Time (Remixed + Some New Instruments) 3:21

Trisomie 21 - Chapter IV and Wait and Dance Remixes  (ogg   135mb)

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This is where Trisomie 21 became more solid. Their first records were great post-punk, great dark electro in a more naive way. With Million Lights, their musical and production skills shift up a good bit. But that's not good at all, at least in my book. Their unpredictable side and their musical limitations was their charm, IMHO. Since Million Lights, they never recaptured their previous freshness. That said Trisomie 21 do for synth based pop music what the likes of My Bloody Valentine and Slowdive did for guitar based alt-rock. Wonderful, expressive, existential French coldwave with the most beautiful lush atmospheres and textures. Perfect for a melancholic walk in the park.



Trisomie 21 - Million Lights (flac  255mb)

01 The Hazy Ridge 2:15
02 Sunken Lives 4:40
03 There's A Strange Way This Morning? 5:25
04 Sharing Sensation 5:00
05 The Rickshaw 6:00
06 The Fairylike Show 4:18
07 Some Twenty One Miles From The Coast 5:30
08 Magnified Section Of Dreams 2:00
09 The Clencher 4:54
10 Million Lights 6:30

Trisomie 21 - Million Lights   (ogg  100mb)

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Dec 4, 2018

RhoDeo 1848 Supernatural 8

Hello, in accordance with these autumnal days when the light is fading, the supernatural manifest and us humans start to shiverrrr


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Montague Rhodes James OM FBA (1 August 1862 – 12 June 1936), who published under the name M. R. James, was an English author, medievalist scholar and provost of King's College, Cambridge (1905–18), and of Eton College (1918–36). He was Vice-Chancellor of the University of Cambridge (1913–15).

Though James's work as a medievalist is still highly regarded, he is best remembered for his ghost stories, which are regarded as among the best in the genre. James redefined the ghost story for the new century by abandoning many of the formal Gothic clichés of his predecessors and using more realistic contemporary settings. However, James's protagonists and plots tend to reflect his own antiquarian interests. Accordingly, he is known as the originator of the "antiquarian ghost story".. . ...... N Joy

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Stephen Sheridan's drama has the master of the ghost story M.R. James describing an incident in his life 'far more substantial than a work of fiction.' James is taking a break at a remote house in Cornwall. But the owner is keeping a lamp burning all night and is obviously terrified. The moral of the tale was that we should be careful how we acquire secondhand books. (I know about this - they breed).

M.R.James, Provost of King's College Cambridge explains to a Christmas gathering of friends and undergraduates how he first became interested in the supernatural. He tells the tale of an ancient cabalistic text that dooms the family and associates of a Cornish bibliophile. With John Rowe, Jonathan Keeble, Charles Simpson, David Collings, John Eitts, Jean Trend, James Durrant, Alex Hutchinson and Trevor Nichols. Director David Blount.

The book in the story was a sixteenth-century tome called De Regni Umbrorum, or The Kingdom of Shadows, of which only one copy existed, and which was said to invoke the Devil.



A tale of the supernatural by Stephen Sheridan.

Cast:

John Rowe as MR James,
Jonathan Keeble as Young James
Charles Simpson as Henry Gilbert
David Collings as Dr De Lacey.
supported by
John Eitts, Jean Trend, James Durrant, Alex Hutchinson and Trevor Nichols

Director: David Blount
Studio Manager: Roy Fraser


Stephen Sheridan - The House at Worlds End   ( 44min mp3  30mb)

"M.R.James, Provost of King's College Cambridge explains to a Christmas gathering of friends and undergraduates how he first became interested in the supernatural. He tells the tale of an ancient cabalistic text that dooms the family and associates of a Cornish bibliophile. What terrible secret lies hidden in the library at Cranleigh Hall, and why is old Uncle Magnus so afraid of the night?.

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previously

Robert Westall - The Stones of Muncaster Cathedral ( 87min mp3  60mb)
Robert Westall - The Wheatstone Pond ( 60min mp3  39mb)
Victor Pemberton - Dark. ( 86min mp3  60mb)
Scott Cherry - The Book of Shadows ( 78min mp3  60mb)
Koji Suzuki - The Ring ( 78min mp3  60mb)
Wilkie Collins - The Haunted Hotel ( 60min mp3  38mb)
JCW Brook - Jonas ( 60min mp3  60mb)

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Dec 3, 2018

RhoDeo 1848 Re-Up 166

Hello, hardly surprising after last weeks lull in requests this week would see plenty. On a side note i got 2 requests for pages re-upped 3 months earlier. I'm sorry usually, there haven't been uploads the month before and that happens because, let's face it, this blog is extensive and the chance of dropping in on a random page is small and the number of my visitors limited hence pages get overseen for more than a month which is dropping time for many free hosts and thus no more downloads .



11 correct requests for this week, 1 outstanding , whatever another batch of 43 re-ups (12.5 gig)


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

Looka here , requests fulfilled up to December 1st... N'Joy

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6x Sweden NOW In Flac (Adam Beyer - Ignition key, Lucky People Center - Interspecies Communication , Garmarna - Vedergallningen,  DK7 - Disarmed, Twice A Man - Music For Girls, Stina Nordenstam - This Is )


3x Sundaze Back In Flac (Quantum Leap - Fotoplay, Quantum Leap - Redsun, Quantum Leap - Passion)


3x Sundaze Back in Flac (Harmonia - Musik Von Harmonia, Harmonia - Deluxe,  Eno-Moebius-Roedelius - After The Heat )


5x Sundaze NOW In Flac (Michael Rother- Flammende Herzen,  Phantom Band - I, Phantom Band - Freedom Of Speech, Czukay, Wobble, Liebezeit - Full Circle, Jah Wobble's Solaris - Live In Concert )


3x Beats NOW in Flac (808 State - Utd. State 90, The KLF - The White Room, VA - Ambient House)


4x Grooves Back In Flac (The Neville Brothers - Treacherous, The Neville Brothers - Treacherous 2, The Neville Brothers - Treacherous Too !, The Neville Brothers - Live at Tipitina's)


3x Sundaze Back in Flac (Angelo Badalamenti - OST Wicker Man, Angelo Badalamenti - OST Very Long Engagement, David Lynch - The Air Is On Fire, Badalamenti & Lynch Archive part 7)


4x Sundaze Back in Flac (VA - Space Night Vol. 05 alpha, VA - Space Night Vol. 05 beta, VA - Space Night Vol. 06 alpha, VA - Space Night Vol. 06 beta)

3x Grooves NOW in Flac (Complete Billie Holiday Lester Young 1, Complete Billie Holiday Lester Young 2+3, Billie Holiday - Stay With Me)


3x Grooves   Back in Flac (Booker T. & The MG's - Soul Limbo, Booker T. & The MG's - Uptight , Booker T. & The MG's - McLemore Avenue )


5x Aetix Back in Flac (Marc Almond ‎- Mother Fist And Her Five Daugthers, Marc Almond - The Stars We Are, Marc Almond - Jacques, Marc Almond - Enchanted, Soft Cell - Science Fiction Stories)

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Dec 2, 2018

Sundaze 1848

Hello, ok somehow i didn't get round posting work of today's artist earlier, the reason is simple with µ he drops to the absolute bottom, so my scrolling rarely reaches that deep. Then there is the schitzo nature of the artist releasing music under a great many alter ego's, what to post ? Luckily he has a main alter ego that's closest to his spirit. We'll be concentrating on that clever/not so clever µ-Ziq one the coming weeks.


Today's Artist  is better known by his stage name μ-Ziq (pronounced "mu-sic" or mew-zeek), an English electronic musician from Wimbledon, London. He is one of the pioneering IDM electronic music acts during the 90's, alongside Aphex Twin, Autechre, and The Orb. He is also the founder of the record label Planet Mu. .......N'Joy

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One of the premier names in the field of electronic home-listening music, Mike Paradinas' recordings retain the abrasive flavor of early techno pioneers and explore the periphery of experimental electronica even while coddling to his unusual ear for melody, the occasional piece of vintage synthesizer gear, and distorted beatbox rhythms. While his side projects -- including Diesel M, Jake Slazenger, Gary Moscheles, Kid Spatula, and Tusken Raiders -- have often emphasized (or satirized) his debts to jazz, funk, and electro, Paradinas reserves his most original and exciting work for major album releases as µ-Ziq. Early µ-Ziq LPs were based around the most ear-splitting buzz-saw percussion ever heard (in a musical environment or otherwise), with fast-moving though deceptively fragile synthesizer melodies running over the top. As Paradinas began weaving his various influences into a convincing whole, his work became more fully developed, a fluid blend of breakbeat hip-hop and drum'n'bass with industrial effects and the same brittle melodies from his earlier work. Later works have reflected his interest in other forward-thinking electronic styles such Chicago's juke/footwork scene, while also looking back to his formative influences such as the British rave scene and Detroit techno.

Born in Wimbledon (though he grew up in several other spots around London), Paradinas began playing keyboards during the early '80s and listened to new wave bands like Human League and New Order. He joined a few bands in the mid-'80s, then spent eight years on keyboards for the group Blue Innocence. During that time, however, Paradinas had been recording on his own as well with synthesizers and a four-track recorder. When Blue Innocence disintegrated in 1992, he and bass player Francis Naughton bought sequencing software and re-recorded some of Paradinas' old material. After the material was played for Mark Pritchard and Tom Middleton -- the duo behind Global Communication and Reload as well as being the heads of Evolution Records -- they wanted to release it; recording commitments later forced Pritchard and Middleton to withdraw their agreement, though by that time Richard D. James (aka Aphex Twin) had also heard the tracks and agreed to release a double album for his label, Rephlex Records.

The debut album for µ-Ziq (paraphrased from the side of a blank tape and pronounced "mew-zeek") was 1993's Tango n' Vectif. The LP set the template for most of Paradinas' later work, with at times shattering metal-cage percussion underpinning a collection of rather beautiful melodies. The Rephlex label was just beginning to flourish, with added journalistic attention paid to Aphex Twin's recent Selected Ambient Works 85-92, and though James began to feature less in label doings than co-founder Grant Wilson Claridge, later Rephlex work by Cylob, Luke Vibert (aka Wagon Christ), Seefeel, and Squarepusher made it among the cream of electronic home-listening labels.

When Naughton began taking college more seriously (something Paradinas had attempted briefly, from 1990 through 1992), he officially bowed out of µ-Ziq. Second album Bluff Limbo was scheduled to be released in mid-1994, though only 1,000 copies made it out of the gate. (It was officially issued by Rephlex in 1996 after Paradinas served papers on the label.) Paradinas' first major-label release came later in 1994, after he undertook a remix project for Virgin Records. The EP µ-Ziq vs. the Auteurs was one of the most high-profile examples of the remix-by-obliteration movement, a burgeoning hobby for many electronica producers in which the reworking of a pop song would bear no resemblance to -- or trace of -- the original.

Though the EP was hardly a prime mover in the sales category, Virgin signed Paradinas to a hefty contract and gave him his own Planet Mu sublabel to release his own work as well as develop similar-minded artists. Written into his own contract was a provision for unlimited recording under different names, and during 1995 Paradinas definitely took it to task: he unveiled three aliases and released as many albums in less than a year's time. The nu-skool electro label Clear released his debut single as Tusken Raiders early in the year; it mined the fascination with Star Wars and electro music shared by producers like Global Communication, Aphex Twin, and James Lavelle, head of Mo' Wax Records. Clear also released the first Paradinas alias full-length, Jake Slazenger's MakesARacket, later in 1995. Although they were still audible, the LP downplayed his electro influences in favor of some rather cheesy synthesizer figures and a previously unheard debt to jazz-funk.

The distortion reappeared on Paradinas' second LP of the year, Spatula Freak by Kid Spatula. The first American-only release of a Paradinas album (it appeared on Jonah Sharp's San Francisco-based Reflective Records), its sound had the metallic feel of the first two µ-Ziq LPs but with a less-dense production job. Just one month after Spatula Freak, Paradinas released his first proper µ-Ziq LP for a major label, In Pine Effect. The album included tracks recorded from 1993 to 1995, and though it was quite a varied album, the distance appeared to give it quite a disjointed feel.

Paradinas spent 1996 releasing a second Jake Slazenger album (Das Ist Groovy Beat Ja? for Warp) and his first as Gary Moscheles (Shaped to Make Your Life Easier for Belgium's SSR/Crammed Discs). Both LPs journeyed further down the queasy-listening route of the first Slazenger record, with departures into '80s-style party funk and surprisingly straight-ahead soul-jazz. He also owned a half-share in the Rephlex-released Expert Knob Twiddlers (credited as Mike & Rich), the fruit of Paradinas' 1994 recordings with the Aphex Twin.

Paradinas entered 1997 ready to undertake the most ambitious style makeover in his career: the fusion of his home-listening techno with the hypertensive rhythms of street-level drum'n'bass. One year earlier, Aphex Twin had released a single of schizophrenic jungle noodlings ("Hangable Auto Bulb"), and Tom Jenkinson's Squarepusher project had provided the first convincing headphone drum'n'bass act. Paradinas waded into the pool with Urmur Bile Trax, Vols. 1-2, a double EP also released as one full-length compact disc. Though the changeover wasn't completely convincing, the next µ-Ziq full-length more than made up for expectations. Lunatic Harness presented a complete synthesis of the many elements in Paradinas' career, from synth-jazz-funk and beatbox electro through to ambient techno and jungle.

Paradinas and µ-Ziq were introduced to many rock fans after he toured America as the support act for Björk. This tour influenced 1999's Royal Astronomy, which focused on acid techno and hip-hop influences. Issued in 2003, Bilious Paths became the first µ-Ziq release to arrive on Paradinas' own Planet Mu label. The dissolution of his relationship inspired his unrelentingly dark 2007 album Duntisbourne Abbots Soulmate Devastation Technique. Paradinas' Planet Mu duties and his Heterotic project with wife Lara Rix-Martin -- whose debut album, Love & Devotion, arrived in early 2013 -- were among the reasons µ-Ziq took a break until the release of the juke-influenced XTEP and rave-inspired full-length Chewed Corners, both of which arrived in 2013. That year's Somerset Avenue Tracks (1992-1995) compilation celebrated µ-Ziq's 20 years of recording, and collected unreleased tracks from the beginning of his career. Rediffusion appeared in 2014, and XTLP, compiling both XTEP and Rediffusion, followed in 2015. Two digital collections of rare or unreleased recordings, RY30 Trax and Aberystwyth Marine, both appeared in 2016. Following in this vein, Challenge Me Foolish, a collection of tracks dating from the late '90s, was released in 2018, this time on CD and vinyl.


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Back in 1993 this was a welcome addition to the electronic world and really got the ball rolling for µ-Ziq. This was instantly hailed as a classic and rightfully so. Some even see it as Mike Paradinas' best album. The time period is pretty representative of where µ-Ziq was in the world of all his other comparing artists. Aphex Twin had only released Selected Ambient Works 85-92 and Squarepusher hadn't started for two more years. So that in itself should say where Tango N' Vectif lies in the spectrum of things. I still think it sounds fresh to this day. Songs are all particularly enjoyable to listen to and have a going on, not to mention the diversity on this album is stunning. From the beauty of Burnt Sienna to the fast pace of µ-Ziq Theme to the crazy sound of Caesium to the inviting metal sounds that are later accompanied by beautiful keyboard playing in Phi* 1700 (u/v). Really, this album has it all. It's definitely one to explore and give a lot of time to, but it's definitely worth it to unlock all the goodies Tango N' Vectif has to offer.



µ-Ziq - Tango N' Vectif (flac  417mb)

01 Tango N' Vectif 4:10
02 Swan Vesta 6:09
03 Burnt Sienna 8:06
04 Iesope 5:56
05 µ-Ziq Theme 4:36
06 Auqeam 3:58
07 Vibes 3:54
08 Ad Misericordiam 3:29
09 Beatnik #2 5:36
10 Die Zweite Heimat 5:31
11 The Sonic Fox 5:33
12 Caesium 5:39
13 Phi*1700 [u/v] 8:10

µ-Ziq - Tango N' Vectif  (ogg  160mb)

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µ-Ziq - Tango N' Vectif 2 (flac  433mb)

14 4 Time Egg 5:51
15 Phragmal Synthesis Pt. 1 5:32
16 Phragmal Synthesis Pt. 2 6:04
17 Phragmal Synthesis Pt. 3 4:51
18 Xenith Filigree Anus 7:45
19 Whale Soup 3:21
20 Amenida 2 5:34
21 Paco 4:03
22 Crosstown Traffic 6:04
23 Xolbe 2 7:14
24 Driving Is Easy 5:01
25 Methyl Albion 3:35
26 Glink 7:21

µ-Ziq - Tango N' Vectif 2  (ogg  166mb)


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Historically interesting from the standpoint of µ-Ziq's later work, shades of Jake Slazenger and Kid Spatula can be heard on Bluff Limbo. This is a cutting release even to the present date. Not a single sour track. Of course some songs are better than others. But don't let that deter you from checking this out since it holds a ton of strong material that I can't complain about. Gob Bots should be heard by everybody, I can't begin to tell the countless times I've blasted that song while cruising around at night. The Wheel is so chill, so so chill. Metal Thing #3 is truly embraceable underneath that metallic exterior. Every new element added in Zombies changes the entire dynamics of the song; it's so ace. And Riostand? Man, Riostand has to be my favorite on all of Bluff Limbo. Those enticing melodies that build it up and form the song along with the brilliant percussion, the unique emotion that is present throughout... like the undertaking of man's journey condensed into 6 minutes. It's exhilarating at times. Ethereal Murmurings is an introspective journey through peaceful and emotional soundwaves and a beautiful way to end the album.



µ-Ziq - Bluff Limbo  (flac 563mb)

01 Hector's House 4:26
02 Commemorative Pasta 4:37
03 Gob Bots 4:50
04 The Wheel 6:15
05 27 1:18
06 Metal Thing # 3 5:51
07 Twangle Frent 7:06
08 Make It Funky 4:38
09 Zombies 5:17
10 Riostand 6:18
11 Organic Tomato Yoghurt 3:58
12 Sick porter 5:15
13 Sick Porter 7:38
14 Dance 2 5:46
15 Nettle + Pralines 6:29
16 Ethereal Murmurings 10:20

µ-Ziq - Bluff Limbo     (ogg  203mb)

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In Pine Effect is the most stylistically developed album under the µ-Ziq name to date. Mike Paradinas was riding the peak of creativity sky high and released a fantastic album right here. There is tons of personality etched on In Pine Effect, an organic take meshing the past with the future. It makes me wonder why there's so few ratings for it at this point. Right from the beginning with the jaw dropping Roy Castle (a dedication to the man himself), you are automatically hooked in to the world of µ-Ziq. I think repeated listens is the way to go with this one, because at first a few tracks really stuck out to me, like Roy Castle and Phiesope. Then upon further listens the wondrous melodies and clever design that never gets old starts to pop out. Iced Jem and Pine Effect in general are two of my favorite songs around. This only goes farther to cement µ-Ziq in an even harder encasement of electronic mastery. Styles are changed up every album and In Pine Effect is just another example of that. Who knew pipecleaners could get so damn funky and fresh?



µ-Ziq - In Pine Effect  (flac 459mb)

01 Roy Castle 6:41
02 Within A Sound 6:03
03 Old Fun # 1 7:04
04 Dauphine 6:36
05 Funky Pipecleaner 6:48
06 Iced Gem 6:00
07 Phiesope 6:01
08 Mr. Angry 5:33
09 Melancho 5:18
10 Pine Effect 4:49
11 Problematic 6:10
12 Green Crumble 3:56

µ-Ziq - In Pine Effect   (ogg  160mb)

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µ-Ziq peeks his head into the U.S. with this first Astralwerks-associated release, and with mixed results. The opening title track showcases ear-splitting atonal keyboard stabs and Kabuki vocal samples that finally give way to Mike Paradinas' trademark of over-distorted drum machines. "Happi" comes next, bouncing sweetly like some reworked Esquivel song with half the compositional value and twice the redundancy. Just as monotonous comes the simplicity and forward-thinking club-dub of "Loam" that, at best, has a good build to it. "Reflectiv" follows, sounding like the closing theme to a high-school-in-space, made-for-TV movie. Light at the end of the tunnel comes in the form of "Leonard," like a red-headed stepchild who surprises the listener with some engaging melodies amidst the crunchy diet of drums. But then something completely unexpected happens -- not since his mesmerizing "On (µ-Ziq Mix)" for Aphex Twin has Paradinas tapped into such brilliance -- this time for his own composition, "Balsa Lightning." Acoustic piano basslines give way to chewing-gum keyboard riffs and soaring counter melodies before a single burst of percussion ever comes through the door, and when it does there's no question that this is one of those "best of the artist" moments -- a great build with a great pay-off -- and it's easily overlooked because the rest of the disc seems to fall so short of the same caliber. A alter ego remix follows in its wake, "Balsa Lightening (Jake Slazenger Mix)," that puts the tempo at half-speed with funkier drums and thematic rock star keyboard solos that reveal his alter ego having a playful time. Simply by association, this is the second best track of the EP. It's hard to know how to rate a recording like this: it's a single diamond surrounded by so much rough. In the case of this release, "Balsa Lightening" only strikes once, but with such a crackle that it just about splits the sky in half. .



µ-Ziq - Salsa with Mesquite   (flac  269mb)

01 Salsa With Mesquite 7:26
02 Happi 6:31
03 Loam 6:08
04 Reflectiv 6:52
05 Leonard 6:05
06 Balsa Lightning 6:49
07 Balsa Lightning (Jake Slazenger Remix) 6:42

µ-Ziq - Salsa with Mesquite  (ogg 102mb)

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