Oct 19, 2018

RhoDeo 1841 Grooves


Tonight's Artists are an Italian acid jazz musical group, formed in 1992 by DJ MozArt (Claudio Rispoli) and DJ Blade. They collaborated with American musician CeCe Rogers on their 1995 début album, Love in a Black Dimension, as well as later projects. .....N'Joy

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The project Jestofunk born in 1990 founded by Alessandro Staderini aka “Blade From Jestofunk, “Francesco Farias” and “Claudio Mozart Rispoli”. Together they realesed several hits “I’m Gonna Love You” (1991) which at the time was a sort of revolution in Dance Music for the first time funk was incorporated with house in a perfect fusion. The first single was followed by “Say It Again”(1993), these contained in the first album “Love In A Black Dimension”, which also includes the great worldwide success,“Can We Live”(1994), skillfully interpreted by CeCe Rogers. This kept them busy for many years with the production of music and albums like “Love In A Black Dimension” (1995), “Universal Mother” (1998) includ the hits single “Special Love” feat Jocelyn Brown lucky single that was later extracted and remixed by “Steve Silk Harley”and “Seventy Miles From Philadelphia” (2003) which involved many artists such as CeCe Rogers, Jocelyn Brown, Freddy McGregor, Cinda Ramseu, Robert Lopez, Eric Marienthal, Fred Wesley and many more, whilst maintaining a heavy worldwide touring schedule with bands such as, War, Massive Attack, Gran Mother’s Funk, Jovanotti, Candy Dulfer, Fred Wesley’s Jazz Funk, Al Jarreau, David Sanborn, 4 Hero, Asian Dub Foundation, Freak Power, Fun Loving Criminals, Morcheeba, Steve Coleman, James Taylor Quartett, Temptation, Tito Puente, Courtney Pine, Marla Glen, Earth Wind & Fire and many more…

Jestofunk began a world tour starting from Italy and moving throughout Europe, in Austria, Switzerland and Liechtenstein finally arriving in Australia, where the group played to crowds in Sydney, Melbourne, Adelaide and Brisbane. Two years of contentment followed in which time the group received a Gold Record and their music became appreciated all over the world. In 1998, Jestofunk released a new double single titled “Stellar Funk” and in 1999 they released the CD “Live Jestofunk” album, which was recorded during their concerts and for which they received a Platinum Record In Austria and Switzerland. The latest release Jestofunk “The Anthology” (2006) cointaining all Jestofunk’s hits, and the most important rmx’s like “Happy” Bob Sinclair Rmx, “Big Lover” Planet Funk Rmx “Mama Blues” At Jazz Rmx, “Disco Queen” Full Intention Rmx,”Can We Live” Murk Boys and Farley & Heller Rmx, “Special Love” Joey Negro and Jazz ’N’ Groove Rmx. Totally, Jestofunk’s project have sold 1,000,000 of copies around the world, and they won a Gold Award for the career.

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Jestofunk's debut album 'Love In A Black Dimension' is one of those that have inspired many people in general and a lot of dj's and producers in particular. Outstanding Italian jazzdance-deephouse-reggea-dub-funk without any pretention. Many tracks of this album have been heard on different kinds of dancefloors, bars and garden parties all over the world. 'Can We Live' is pure (dancefloor) madness and the 'The Ghetto' cover belongs to one of the better reinterpretations of this classic song. No coincidence that both tracks were produced in collaboration with living legend and vocalist Ce Ce Rogers. From uplifting booty shakin' tracks to smoked out downtempo lovesongs: This album has it all, very special guests: vocalist Ce Ce Rogers and trombonist Fred Wesley.

A word on those "Moai" what those socalled archaeologists don't tell you is these Moai are found in 9 meters of undisturbed sediment, impossible for such a small island to lay down so much sediment in a 1000 years more like 10,000 years when the island was bigger. What is the meaning of it all ? For me it is clear they are standing in remembrance, commemorating a terrible disaster that befell their world, there would be no more survivors, they had to move on into an uncertain future, sadness. It would be more apt to call these 'Moai' what they are... Atlanteans

Jestofunk - Love In A Black Dimension   (flac  368mb)

01 Intro 0:58
02 Can We Live 6:21
03 Fluid 7:18
04 Find Your State Of Mind 5:48
05 Say It Again 6:48
06 Straight To You 6:01
07 Fly Love Song 5:26
08 For Your Precious Love 5:37
09 Moai Message 6:56
10 The Ghetto 7:04
11 Dance To The Music 5:31
12 I'm Gonna Love You 5:45
13 Theme From JFK 6:14

Jestofunk - Love In A Black Dimension (ogg   150mb)

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Moz-Art, Blade and Farias, the three producers behind the Jestofunk project, for this second album decided to recreate the same workshop atmosphere of the previous one, involving even more special guests: vocalist Jocelyn Brown, Reggae legend Freddy Mc Gregor and once again trombonist Fred Wesley and singer CeCe Rogers.

Jestofunk - Universal Mother (flac  406mb)

01 Universal Mother :47
02 Be A Warrior 5:25
03 Colour 5:50
04 Universal Love 5:31
05 If You've Got It, You'll Get It 6:17
06 Special Love 5:04
07 Happy 5:23
08 Jestofunk, Jestofunk 3:45
09 Try My Love 5:58
10 We Are 0:43
11 Nel Nome Del Suono 6:35
12 Why? 5:53
13 PFunk Station 5:08
14 Earthquake 4:50
15 Reflexion 0:57

Jestofunk - Universal Mother (ogg  140mb)

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Third studio album from Jestofunk. With special guest Hubert Tubbs, lead singer with 70’s band Tower of Power. Probably Jestofunk’s most complete work to date. It includes a cover of Stevie Wonder’s ‘Have A Talk With God’.

Jestofunk - Seventy Miles From Philadelphia (flac  381mb)

01 Shake 'Em On Down 5:44
02 Disco Queen 3:21
03 Original Vibe 5:41
04 Mama Blues 5:15
05 Smokin Plant 4:57
06 Walk Like A Baby 5:13
07 Big Lover 4:35
08 Close To My Heart 4:44
09 Dubb Of Gaetan 5:59
10 Have A Talk With God 4:29
11 Believe In Music 4:57
12 Mondo Negro 5:01

Jestofunk - Seventy Miles From Philadelphia (ogg  128mb)

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  Jestofunk - 3 EP's   (flac  448mb)

Jestofunk With Ce Ce Rogers - Can We Live
01 Can We Live (Radio Cut) 3:59
02 Can We Live (Club Mix) 6:20
03 Confine Instrumental 6:30
04 Mandrillapella 5:20
Jestofunk Feat Jocelyn Brown - Special Love
01 Special Love (Silk Special House Mix Radio Edit) 4:20
02 Special Love (Jazz N Groove Club Mix) 7:08
03 Special Love (Joey Negros Disco Fusion Mix) 8:20
04 Special Love (Silk Special House Mix) 8:48
05 Special Love (Album Version) 5:06
Jestofunk Feat Ce Ce Rogers - Happy
01 Happy (Radio Edit) 3:44
02 Happy (House-O-Matic Radio Edit) 3:30
03 Happy (House-O-Matic Remix) 5:37
04 Happy (Extended Mix) 5:28
05 Happy (Album Mix) 5:15

Jestofunk - 3 EP's (ogg   164mb)

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Oct 18, 2018

RhoDeo 1841 Roots


Today's artist is a Mexican female multi-instrumentalist and vocalist with a background in electronic and classical music. Her vocal style combines elements of avantgarde, ethnic, medieval, classical and improvised music. Her scores border on ambient, world and psychedelic music.. .  .....N'Joy

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Alquimia was born in Mexico and developed an early love of music and singing, partly from her mother, a classical opera singer. She went on to study in France and Canada, before making her permanent home in England. However, although she has often been far from home, her interest in the ethnic musical styles of her home country, made her learn various pre-Columbian percussion instruments and flutes, while her search for new sounds inspired her use of modern music technology. She has developed some revolutionary singing techniques (some of them involving electronic processors), opening up for her a whole range of electronic and natural new sounds to experiment and compose with.

Creator of enigmatic, sonic vistas, explorer of the ancient legends of the Aztecs and Mayans, weaver of multi-faceted choral soundscapes... Alquimia (pronounced: al-key-meea) is all of these and more. Singing in languages such as Spanish, English, French and her native idiom Nahuatl, she uses her voice to create multilayered choirs and electronically altered vocal soundscapes, fusing Pre-Hispanic world music with futuristic electronics. While her basic tracks feature vocals and piano, Alquima enhances her recordings with layers of looped vocals, electronic processors, sound effects, samples, synthesizers, gongs and bells. The result is a sound that combines the musical traditions of Latin America with influences of rock, pop, avant-garde, classical and improvisational music. Described as "an ethereal chorale of great beauty" …. "Alquima aims to dazzle, entrance , relax and excite, and, does so on all counts," by Audion (UK.), "….her ethereal vocal technique and her sensuous sonic palette are, at once, exotically seductive and disarmingly eerie."

 Alquimia has recorded many albums, both as a solo artist and with writers and musicians such as H.J Roedelius, R. Gleisberg, Peter Mergener, Zinkl, Mark Powell, Art of Infinity, and others. She is also busy with her other project "Maggie-Beth Sand and Serpentyne”, which, explores the world of mediaeval world music: mystic chants and entrancing harmonies.

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Alquimia is a vocalist, composer and multi-instrumentalist who has three previous albums to her credit in the pre-hispanic/new electronic music area, while Fernandez Ledesma is the de-facto leader of the progressive folk-rock band Nirgal Vallis. This collaboration is a bold step forward into new directions for both. For this album, they play all manner of keyboards, samplers, percussion and flutes, as well as vocals, with guests providing bass, violin, percussion and saxes where needed. Their music explores a dark and slightly avant-garde symphonic world, with liberal use of tape loops and other effects to achieve an almost soundtrack-like quality that beckons for repeated listens. Many of the voices are spoken bits of poetry, while other parts are wordless ethereal flights, or multi-part harmonized parts that may remind of the work of artists like Dead Can Dance or 3rd And The Mortal. And like Dead Can Dance, the music here is not really rock, but often rises to an equivalent energy level. There are many mystical moments herein that I'm certain will appeal to the senses of many progressive fans, a music that moves the artform forward into some new and uncharted territory. An outstanding release.

Alquimia & Ledesma - Dead Tongues    (flac  291mb)
01 Little Man 3:47
02 Ojo De Culebra 4:04
03 Minimum Wage 4:08
04 Perro Negro 3:02
05 Yo Envidio El Viento (I Envy The Wind) 3:44
06 Skeleton 3:02
07 Black Magic Woman 3:12
08 I Would Never 4:44
09 Justicia 3:51
10 Taco De Palabras 3:05
11 Los Pollos 3:17
12 Tierra De Luz 3:41
13 Silent Thunder 4:44
14 Shake Away 3:45
15 I Envy The Wind 3:45
16 Nothing But The Truth 3:53

Alquimia & Ledesma - Dead Tongues (ogg  116mb)

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Alquima's "A Separate Reality" was inspired, by what she told an interviewer, "my experiences in the Yucatan region of Mexico, the mysticism of the ancient temples and my reading of the works of Carlos Castaneda. "Awe-inspiring" might be the best description of this new album by Mexican vocalist, composer and synthesist Alquimia- often described as a cross between Enya and Tangerine Dream... a trek into exotic electronic soundscapes and world music realism. Alquimia is a beguiling musician, sure to send a haunting jolt up your spine." - Progression, USA. "Pretty darn close to being staggeringly, mind-blowingly, the best thing you've ever heard from female vocals and synths. The dynamics of the tracks are just amazing- the first three parts are a wonder to behold, textures that will have you in awe of the depth, emotion and beauty of the dark, yet soaring, slowly flowing music. A remarkable album, and one which you will take to your heart and treasure for a very long time."

  Alquimia - A Separate Reality ( flac  274mb)

01 First Light 2:22
02 Reflection 4:00
03 Fleeting Worlds 4:30
04 A Separate Reality 8:00
05 Reflection (Reprise) 2:20
06 Night Of The Alebrijes 15:00
07 Solar Quest 5:00
08 Encinerada (Alfa Centauri Version) 10:23

  Alquimia - A Separate Reality (ogg   121mb)

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Jaramar Soto (Mexico City, Mexico, August 3, 1954) is a renowned Mexican singer, composer and painter.
From the age of 10 years he studied singing music with various teachers, in 1966 he entered the Mexican-American Cultural Exchange Institute in San Antonio, Texas. Upon her return to Mexico she entered the Mexican Dance Academy of the INBA, and also studied dance at the Coyoacán Academy.

Between 1972 and 1976 she studied Textile and Clothing Design in Rome at the "Academia di Costume e di Moda" and in Paris at "Écoles de la Chambre Syndicale de la Couture Parisienne".  From his return to Mexico and until 1983 she worked in the area of clothing design and textiles.

Her professional activity is divided between his performance as a singer and the work he does in drawing, painting and sculpture. Since 1978 she lives in the city of Guadalajara

She was part of the groups Escalon and Ars Antiqua, with which she recorded the following albums: "Brother of death", Grupo Escalón (1982, Discos Pueblo) "Escalón", Grupo Escalón (1985, Discos Alebrije) "Songs and dances of  the middle age and the Renaissance ", Grupo Ars Antiqua (1988, S & M Records)" Tempus est iocundum ", Grupo Ars Antiqua (1991, Prod. Ars Antiqua)

In 1990 she started a project as a soloist of recreation and musical search based on the medieval, Renaissance popular lyric, particularly of the Spain of the time of Christopher Columbus, and also poetic texts from the same period and viceregal Mexico, which has  presented in different Mexican forums and other countries.

The fourteen love songs that make up this album come mostly from the Sephardic tradition and from the colonial poetry of Mexico. As in love, these songs from sorrow to joy, hence the album’s title.

 Jaramar - Entre La Pena Y El Gozo (between grief and joy)     (flac  251mb)

01 Liras De Nezehualcóyotl 2:30
02 A La Una Yo Nazí 2:59
03 Puncha Puncha 3:45
04 Novia De La Cara Blanca 5:19
05 El Sol, La Luna, El Alba Y El Lucero 3:35
06 Por Amar Una Donzella 4:46
07 Una Pastora Yo Ami 3:01
08 Lloraba La Nina 6:28
09 Ay Un Galán 4:07
10 La Vida Es Un Pasaje 3:27
11 Ay Linda Amiga 2:17
12 La Novia Entre Flores 3:03
13 No La Puso Su Madre 1:59
14 Nana Andaluza 4:00

 Jaramar - Entre La Pena Y El Gozo (between grief and joy)   (ogg 110mb)

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Those who are interested in ancient music, without a doubt have heard it; who attend festivals where proposals are presented far from the mainstream circuit, too. Jaramar Soto has a long career, which includes other disciplines, such as painting and dance, and is one of the indispensable names of current Mexican music. Making this record has been one of the most intense experiences. At the end of the experience you are no longer the same as at the beginning. I discovered things about myself, about my abilities.

 Jaramar - Si Yo Nunca Muriera (If I Never Die)   (flac  223mb)

01 Ponte En Pie 3:10
02 Como Una Pintura 5:35
03 No Acabaran Mis Flores 5:22
04 Monologo 5:00
05 Cantos 3:44
06 Jade Y Oro 5:06
07 El Arbol Florido 4:43
08 Flor Y Canto 3:04
09 Filo De Obsidiana 3:35
10 Si Yo Nunca Muriera 3:33

 Jaramar - Si Yo Nunca Muriera (If I Never Die) (ogg  89mb)

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Oct 17, 2018

RhoDeo 1841 Aetix


Today's artists are an Amsterdam rock band, active between 1984 and 1990. They were seen as one of the best Dutch bands of the 1980s. The use of blues and rock riffs set them apart from the punk and new wave bands of the time... ......N'Joy

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Fatal Flowers is a must hear for music fans who are even slightly interested in Nederbeat (or Dutch rock music from the late '60s). Since Rhino included some of these gems on their More Nuggets, Vol. 2, people outside the Netherlands should be aware of the existence of bands like the Outsiders, the Motions, and Golden Earring. To a certain extent, they proved an influence on the ambitious and short-lived Fatal Flowers. At first it seemed Dutch critics had difficulty reaching a unanimous verdict, but by the time the band split they had to agree: Fatal Flowers were in fact the country's most important band of the '80s.

One of the first bands to evolve from the Dutch punk scene, together with likewise legendary and still existing Claw Boys Claw, Fatal Flowers belonged to what was then called the "Amsterdam school of guitar". Core members Richard Janssen and Henk Jonkers formed the band in 1984, after recruiting bass player Marco Braam and Erwin Wolters on guitar. The latter remained only temporarily, and was soon replaced by Dirk Heuff. Shortly thereafter, the band got signed by major Warner, and in the summer of 1985, released their mini-album Fatal Flowers. On account of Heuff's exceptional guitar playing and the punk-inspired rhythm section of Jonkers and Braam, the debut earned them some fair reviews. Together with Braam, Wolters was credited for "Crying over Sin," arguably the best song on the album, and the one which earned them a contract in the first place.

After releasing the second album, Younger Days, the band's popularity grew on a national scale. Especially live, Fatal Flowers were practically invincible and made endless appearances on Dutch radio broadcasts. In 1987, they were the opening act of the renowned Pinkpop Festival and received an Edison (Dutch equivalent to a Grammy Award) for their second album. Although their full-time commitment to touring and practicing bettered their skills, in the end it would also kill the initial enthusiasm of some of the members. Braam was the second to leave, shortly after the title track "Younger Days" hit the Dutch singles chart in early February 1987.

After replacing Braam for Geert de Groot, Fatal Flowers left for Woodstock to record with admirer Mick Ronson. The outcome, Johnny D. Is Back!, was the first record to capture some of the energy of their live performances. A little help from John Sebastian (adding acoustic guitar and harmonica on a couple of tracks) and the backing vocals of Ann Lang helped Fatal Flowers to enlarge their reputation as the best Dutch band of the moment. Critics and music fans alike called 1988's Johnny D. Is Back! a Dutch classic. Sadly though, upon returning to the Netherlands, Heuff quit the band. René van Barneveld of Urban Dance Squad filled in for him at the remaining Dutch gigs.

Near the end of 1988, a more permanent replacement for Heuff was found in the promising, young, self-taught guitar player Robin Berlijn. His contribution made the fourth Fatal Flowers album their ultimate statement. Again with Mick Ronson in the producer's seat, elements of the new wave like Younger Days and the soulful Johnny D. Is Back! were combined with a more aggressive playing style. Through 1990's Pleasure Ground, Fatal Flowers had plans to make it outside of the Netherlands as well. Unfortunately, singer Janssen left the band in the summer of 1990, disillusioned about their new label Phonogram's neglect in properly promoting the band abroad. One of the most promising Dutch bands of the era fell apart. Separate members remained active within the music business, with Janssen forming Shine in mid-‘90s.

Not much was heard of Fatal Flowers until July 2002, when the band re-formed for the first time in 12 years to promote a greatest-hits album Younger Days: The Definitive Fatal Flowers. There appeared to be no upcoming reunion plans.

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Around the release of Younger Days, Dutch music critics were arguing whether Fatal Flowers or Claw Boys Claw were Holland's hottest band of the moment. In doing so, they ignored each band's distinctiveness. Although both evolved from the local punk scene of Amsterdam (known as "Amsterdam School of Guitar"), their musical approach sounded very different. Beside that, they went along fine and respected each other's work. Competition probably only existed in the heads of self-consumed journalists. On Fatal Flowers' second album the lineup consisted of Richard Janssen, Marco Braam, Henk Jonkers, and Dirk Heuff, who had just replaced Erwin Wolters on guitar. Upon entering the music scene, they all had agreed to put all of their time and effort exclusively into the band, something which was not regarded as common practice by most of their colleagues. Their iron discipline resulted in a repertoire of catchy rock songs and an exciting live performance. With Younger Days they did more than improve upon their debut mini-album, Fatal Flowers. Although the sound is at times a little over-produced -- Vic Maile wasn't able to catch their energetic live appearance -- it still offers the blueprint for the band's creativity. Part of Younger Days reminds of the Dutch "Nederbiet" movement. However, the influence of the '60s shouldn't be overexaggerated, for their sound showed just as much familiarity with the '80s. For instance, the classic rock of the title track (a minor hit in the Netherlands) is placed beside the new wave bliss of "Ballroom." The latter is among the best tracks on this album, which further includes the desperate plea of "Nowhere to Lay My Head" and the "murder-ballad" "Well Baby, Pts. 1 & 2," a second single drawn from Younger Days which failed to make the charts. Much like Daryll-Ann during the '90s, Fatal Flowers made Dutch rock music exciting and most relevant outside the Netherlands.

 Fatal Flowers - Younger Days (Definitive Fatal Flowers Studio Tracks) (flac  489mb)

01 Fatal Flower 3:05
02 Billy 3:15
03 Deep Inside 3:09
04 Good Enough 3:46
05 Well Baby - Part 1 & 2 4:36
06 Nowhere To Lay My Head 4:45
07 Younger Days 3:07
08 Johnny D. Is Back! 3:11
09 Moving Target 4:38
10 Rock 'N Roll Star 4:46
11 There Were Times 6:28
12 How Many Years 4:16
13 Some Day 3:19
14 Better Times 5:15
15 She's Doin' Fine 3:11
16 Pleasure Ground 4:11
17 Speed Of Life 5:22

Fatal Flowers - Younger Days (Definitive Fatal Flowers Studio Tracks)   (ogg  174mb)


 Fatal Flowers - Sessions & Demo's  (flac  348mb)
01 Moving Target 4:59
02 Tell Me That It Isn't True 2:56
03 How Many Years 3:14
04 Funky Street 3:25
05 Mmm Mm (Demo) 3:59
06 6th And Main (Demo) 3:12
07 Burning 2:02
08 Little Drummer Boy 2:59
09 Halfway (Demo) 2:55
10 Pleasure Ground 3:34
11 Just A Girl (Demo) 3:37
12 Sweet Virginia 3:28
13 Better Times 4:15
14 Garden Party 4:33
15 Speed Of Life (Demo) 1:48
16 Heroes 4:49

Fatal Flowers - Sessions & Demo'     (ogg  144mb)

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No expense was spared for the third Fatal Flowers album. Under the leadership of Mick Ronson, Johnny D. was recorded in Woodstock. The result sounds extremely professional and confirms the not insignificant qualities with which the team from Amsterdam acquired a prime spot in the Dutch music scene. The rock and pop songs and the rhythm & blues-like songs have beautiful melodies and are performed with verve (guitarist Heuff!), Where guest musicians create atmospheric accents. Good old John Sebastian, not to be burned out of Woodstock, was taken out of the stable for a single guitar part. But especially to play the harmonica in the title track and Second Chance, which, like Too Free, has swirling choirs. Unfortunately, the song material is not always consistent. The difference between a notorious stamper like Johnny D. Is Back! and There Were Times is the difference between good time music and absolute world class. In There Were Times, which is as retrospective as Flowers' only Top forty-hit Younger Days, the band experiments with atmosphere for six and a half minutes. The wistful sax of guest Howie Brownie, the inspired singing of Richard Janssen and sensitive strings lead to broken hearts. Another highlight is the bluesy Too Free, which has the lyricism of Roy Buchanan. The texts are still meager. Rock & roll star Johnny D. runs through the songs like a worn-out thread, struggles with rock & roll clichés and only becomes stingy on Dear Friends, in which he adds the visitors of his funeral: I'm sure that my funeral is going to get a bad review. A paranoid sneer to the hell that broke loose among journalists as a result of Younger Days. Everything else seems like hunky and dory, because this picture, their best so far, shows that these Flowers also love people.

 Fatal Flowers - Johnny D. Is Back!   (flac  246mb)

01 Johnny D. Is Back! 3:19
02 Round And Round 4:52
03 Second Change 4:35
04 Moving Target 6:25
05 There Were Times 3:18
06 The Dance 3:41
07 Rock And Roll Star 4:52
08 Too Free 5:09
09 Dear Friends 4:52

 Fatal Flowers - Johnny D. Is Back!  (ogg   100mb)

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After the unanimously hailed Johnny D. Is Back! from 1988 it took Fatal Flowers awhile to record a follow-up. First of all, the Dutch division of their record company closed down. Secondly, upon completing Johnny D. Is Back! they were faced with the departure of distressed guitar player Dirk Heuff. The latter was solved at the end of 1988 when 19-year-old Robin Berlijn joined the band. Without a contract, the new lineup started working on a new album in Switzerland. Again, Mick Ronson was asked to oversee production, since Richard Janssen wanted to improve the sound of Johnny D. Is Back! Eventually, a new recording contract was secured with Mercury. The release of Pleasure Ground was eagerly awaited by the music press. The album showed a more direct and aggressive approach and was regarded as a definitive Fatal Flowers statement. Among others, it featured a cover version of soul legend Arthur Conley's "Funky Street" on which René van Barneveld appeared on slide guitar. In 1989 he was already a member of equally promising Urban Dance Squad. Earlier, Barneveld had helped Fatal Flowers by replacing Heuff during the 1988 tour. The first single to be drawn from Pleasure Ground was a breathtaking version of Roxy Music's "Both Ends Burning" which rendered the original superfluous. On Pleasure Ground Janssen's vocal performance was at its peak, carefully balancing on the verge of sheer madness and rock & roll cliché. The critics loved it and nobody doubted the band's chances of making it big internationally. It therefore came as a complete surprise when in the summer of 1990 the singer announced he would leave Fatal Flowers. The many changes in the lineup had finally taken their toll on the unity of the band. Janssen thought it best to quit at the top of their career. A closer inspection of the lyrics to "Speed of Life," Pleasure Ground's (near) closing piece could have provided an omen: "I'm no fool/I know where I'm going/I'm just bad company sometimes/But if you think you got me all figured out/Well, I guess you're in for a surprise/Time takes a toll on me sometimes/And I know all the reasons/But I just can't make it rhyme/My time runs out/And I could scream and shout/I'm getting strangled by the speed of life."

 Fatal Flowers - Pleasure Ground (flac  298mb)

01 How Many Years 4:15
02 Some Day 3:19
03 Funky Street 2:45
04 Better Times 5:13
05 Pleasure Ground 4:09
06 A Real Good Life 2:43
07 She's Doin' Fine 3:11
08 Rage Out 3:42
09 Burning 3:57
10 Speed Of Life 5:19
11 Both Ends Burning 5:47

 Fatal Flowers - Pleasure Ground  (ogg   103mb)

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Oct 16, 2018

RhoDeo 1841 Supernatural

Hello, we leave the Mexican desert now and the coming weeks, in accordance with the upcoming autumnal days when the light is fading, the supernatural manifest and us humans start to shiverrrr

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Robert Westall (1929-1993) is one of the best modern writers of ghost stories in the tradition of the great M.R. James, and The Stones of Muncaster Cathedral, which won the Dracula Society’s Children of the Night Award, is one of his finest. Originally published back in 1991, the novella is one creepy story about a steeplejack working on the towers and steeple of Muncaster Cathedral. Joe Clarke wondered why he had the fortune to get this good paying job, (the repairs to the cathedral). How could everyone else not be available? But as so many of us do, he set aside his questions and set to work. Get 'er done, right? As it turns out though, those other steeplejacks turned down this job for a good reason-one that Joe is soon to discover. ...... N Joy

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“The Stones of Muncaster Cathedral” is about Joe Clarke Steeplejack extraordinaire who together with his work mate Billy Simpson is prepared to scale any building to carry out all necessary repairs and maintenance. The trouble however begins when they are given a job of cleaning the South West tower at Muncaster Cathedral “There was something funny about the thing, something nobody wanted to talk about. Maybe my dream was a warning that there was something wrong with the tower: some steeplejack’s instinct that I couldn’t plumb. Something in the stone.”

Joe has dreams of his son being trapped on the tower.. ”And our Kevin was up there on top, in the dark, and screaming as if some wild beast was eating him. And the door to the tower was locked and I didn’t have the key. I remember that I was so desperate that I tried to climb up the outside of the tower, up the buttress. Bu I knew I’d never get there in time to save Kevin.”... He learns of its unusual background and the mysterious figures of John of Salisbury, the Devil and the mythical master mason when the original south tower was erected, Jacopo Mancini of Milan.

This is a superb setting for a horror story. The idea of performing such dangerous work and relying not only on such basic equipment but also the presence and help of your colleague, knowing that one mistake could be your last, is in itself chilling. Robert Westall really makes the reader feel a sense of space and height as the work proceeds with his descriptive prose..”Up there Kevin an’ I get real close to each other, as my dad and me did long before he was born...the safe careful way he climbs, as fearless of heights as a cat.”...  Then when we interweave an evil presence that spans hundreds of years the tension is both frightening and unbearable.

The story evolves around Joe his wife Barbara and son Kevin

a BBC Radio adaptation

Robert Westall - The Stones of Muncaster Cathedral ( 87min mp3  60mb)

Steeplejack Joe Clarke is hired to do some work on the spire of Muncaster Cathedral, but in the tower a malevolent gargoyle wields its evil power over the fate of Joe and his family.

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Carlos Castaneda - The Teachings of Don Juan 1 (mp3  46mb)
Carlos Castaneda - The Teachings of Don Juan 2 (mp3  55mb)
Carlos Castaneda - The Teachings of Don Juan 3 (mp3  55mb)

Carlos Castaneda - A Separate Reality 1 (mp3  42mb)
Carlos Castaneda - A Separate Reality 2 (mp3  57mb)
Carlos Castaneda - A Separate Reality 3 (mp3  40mb)

Carlos Castaneda - Journey To Ixtlan 1 (mp3  58mb)
Carlos Castaneda - Journey To Ixtlan 2 (mp3  59mb)
Carlos Castaneda - Journey To Ixtlan 3 (mp3  51mb)
Carlos Castaneda - Journey To Ixtlan 4 (mp3  58mb)
Carlos Castaneda - Journey To Ixtlan 5 (mp3  62mb)
Carlos Castaneda - Journey To Ixtlan 6 (mp3  80mb)
Carlos Castaneda - Journey To Ixtlan 7 (mp3  51mb)
Carlos Castaneda - Journey To Ixtlan 8 (mp3  66mb)

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Oct 15, 2018

RhoDeo 1841 Re-Up 159


6 correct requests for this week, and 2 too early, whatever another batch of 21 re-ups (7. 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 October 14th... N'Joy

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4x Beats Back In Flac ( Plastikman - Rekonstruktions I, Plastikman - Rekonstruktions II, Plastikman - Replikants I, Plastikman - Replikants II)

2x Sundaze Back In Flac (Flying Saucer Attack - Chorus, still in ogg VA - Unidentified Floating Ambience)

4x Beats NOW in Flac (VA - Artcore 3-1, VA - Artcore 3-2, VA - Artcore 4 (DnB Beat Tech)-1, VA - Artcore 4 (DnB Beat Tech)-2)

3x Aetix Back In Flac (Fad Gadget - Fireside Favourites, Fad Gadget - Incontinent, Fad Gadget - Under The Flag)

3x Sundaze Back in Flac (Terre Thaemlitz - Soil, Pan•American - 360 Business, Bypass,  Theorem - Ion )

4x Sundaze Back In Flac (Susumo Yokota - Cat, Mouse And Me, Susumu Yokota - Magic Thread, Susumu Yokota - Sakura, Susumu Yokota - Symbol )

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Oct 14, 2018

Sundaze 1841


Today's Artist is  an English guitarist and singer, originally from Bristol, England and now based in France, who plays dark folk music. He also produced and recorded electronic music under the name The Third Eye Foundation.  .....N'Joy

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Matt Elliott's work as the Third Eye Foundation melds layers of droning noise with clattering drums and harrowing samples, resulting in disturbing yet captivating reflections of a life plagued by fear and hopelessness. Elliott originated from Bristol, England, and his work has combined influences from the city's space rock, drum'n'bass, and trip-hop scenes. He'll often combine supremely fast, chopped-to-smithereens breaks with other drums or samples that are heavily slowed down or stretched out, producing an extremely disorienting effect. Following a burst of activity resulting in several acclaimed albums, singles, and remixes from 1996 to the beginning of the 21st century, Elliott put the Foundation on hold and focused on writing downcast, experimental folk-influenced songs under his own name, but he's revived the project on occasion.

During the early '90s, Elliott played in a group called the Secret Garden along with Richard Walker, who left in 1992 and founded the experimental group Amp. Elliott contributed to early releases by Amp and Flying Saucer Attack, two groups from Bristol that blended harsh noise with ethereal elements, and were often referred to as space rock. Semtex, the Third Eye Foundation's debut full-length, appeared on Linda's Strange Vacation in 1996, and pushed these elements further, with vocals and guitars by Debbie Parsons (aka Foehn) trapped under a maelstrom of relentless distorted drums. Three other singles appeared during the same year, including an unrelated EP on Domino that also bore the title Semtex, and featured overdriven breakbeats similar to the work Alec Empire was producing at the time. Another release, In Version, featured remixes of tracks by Amp, Flying Saucer Attack, and Crescent.

In 1997, 3EF shared a split 12" with V/Vm, kicking off FatCat Records' split series. The Foundation remained with Domino in the U.K., while signing to Merge in the United States for second full-length Ghost, which appeared in 1997, as did the Sound of Violence EP. Pan Odyssey, a collaborative EP with Bump & Grind, was released by Sub Rosa in 1998. Shortly following the Fear of a Wack Planet single, the full-length You Guys Kill Me appeared by the end of the year. Little Lost Soul, a slightly more restrained full-length, was released in 2000, and 3EF's remixes for artists including Yann Tiersen, Tarwater, and Blonde Redhead were rounded up on 2001's I Poo Poo on Your Juju.

In 2003, Elliott began releasing music under his own name, drifting away from electronic music and closer to dark, dreamlike experimental indie folk. The Mess We Made, Elliott's debut solo album under his own name, was released in 2003. The name change also marked the shift in his work from electronic music to dark, dreamlike experimental folk. Following the album, he moved to France and signed with French label Ici D'Ailleurs. His subsequent albums were far more influenced by chansons and Eastern European music, but they continued the dark themes of his previous work, as evidenced by titles such as Drinking Songs and Failing Songs. In 2009, Elliott participated in This Immortal Coil, a tribute to Coil's Jhonn Balance that also included contributions from Tiersen, DAAU, and Bonnie "Prince" Billy. The project's full-length The Dark Age of Love was issued by Ici D'Ailleurs. Elliott also toured with Yann Tiersen that year, opening for the composer as well as playing in his band. In 2010, Elliott made a surprising return to the Third Eye Foundation moniker for the release of the politically motivated The Dark. He returned to his given name in 2012 for The Broken Man. Only Myocardial Infarction Can Break Your Heart followed in 2013, and The Calm Before arrived three years later.  The Third Eye Foundation returned in 2018 with the dub-influenced full-length Wake the Dead.

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Former Third Eye Foundation principal Matt Elliott has spent most of his recording career as a modish UK hipster in a dark disguise: thus, the leap from "Third Eye Foundation" to "Matt Elliott" should involve a nice dose of lurid confessionalism, some newfound honesty, a running-around-naked-in-daylight reinvention of self. Right?

Overarching artistic sensibilities endure, and name-altering is about as thematically relevant as changing your clothes. Technically, though, there are loads of notable switches here that indicate an immediate (if not sweeping) content transformation to accompany Elliott's bright new cover text. Mostly beat/percussionless, and sprinkled with muted, heavily layered vocals, The Mess We Made is full of peculiar, often-inaudible chants, lots of piano, horns, strings, chimes, and the vocal prowess of something called "The Drunk Ensemble of Chancelade".

Disturbing, complicated, and enthrallingly strange, The Mess We Made requires patience, and, ideally, an already established taste for Elliott's previous ambient output. For the uninitiated, this is a record that will open up more and more with each subsequent listen; it's like giving blinking eyes a chance to adjust to a dark room-- shapes emerge slowly, breaking up and coalescing as your vision adjusts, realigns, modifies. Schedule some time for this record's somber, protracted payoff, and loosen your grip on that stereo remote, friends: The Mess We Made is a gradual realization.

Matt Elliott - The Mess We Made (flac  239mb)

01 Let Us Break 7:00
02 Also Ran 6:25
03 The Dog Beneath The Skin 7:50
04 The Mess We Made 5:26
05 Cotard's Syndrome 8:43
06 The Sinking Ship Song 7:20
07 End 2:52
08 Forty Days 7:11

Matt Elliott - The Mess We Made  (ogg 113mb)

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Matt Elliott's second solo CD, even more than his first, finds him moving further away from the feedback-and-beats trademarks of the Third Eye Foundation, though to be sure his path was already marked out by the concluding years of that incarnation. Living up to not only the title but the striking cover image -- a drawing of Elliott as a louche 19th century barfly, cigarette in hand -- Drinking Songs is not far removed from the kind of musical and psychic landscapes of early the Black Heart Procession or the Tindersticks at its most restrained. Guitars are either acoustic or, if anything, barely electric; instead piano and keyboards, for the most part, take the melodic fore, while drums as such aren't audible at all. But like Elliott's work in general the emphasis is not on lyrics for the most part -- what songs have them, like "The Guilty Party," feature them as distanced, very softly sung chorales, the type of drinking singalong when all at the bar are at their most reflective and melancholic. "What's Wrong" features slightly louder singing at points, but again compared to most they're barely there. If nothing else Elliott's gift for unusual but memorable song titles remains strong -- there's the closing "The Maid We Messed," a nod back to his first solo album (in a possibly related note, it's also the only song that sounds entirely like his previous work), but even better is "What the Fuck Am I Doing on This Battlefield?" Yet perhaps the most striking, heartbreaking song is "The Kursk," named after the Russian submarine that suffered a tragic accident, killing all onboard. The musique concrete rush of claustrophobic sound which starts the song -- grinding mechanisms, dank metallic noises -- serves as backdrop for guitar and strings, plus, as the song continues, an increasingly chilling, wordless mass chorus, portraits of souls going to an early grave.

Matt Elliott - Drinking Songs  (flac 320mb)

01 C.F. Bundy 9:21
02 Trying To Explain 2:40
03 The Guilty Party 7:15
04 Whats Wrong 4:08
05 The Kursk 11:35
06 What The Fuck Am I Doing On This Battlefield? 5:16
07 A Waste Of Blood 5:51
08 The Maid We Messed 20:24

Matt Elliott - Drinking Songs   (ogg  139mb)

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Eventually We Will Be Gone
“And the world was lost some years ago when the tyrants upped and seized control and we lost our lives to worthless toil and we're worth less than our weight in oil.” Failing Songs comprises all tinges of melancholia – from despondency to gloom and from blues to depression and from misery to darkness. “We're falling asleep at the wheel, fellow slaves, we must rise from this bed that we've made and never forget that we're all on our way to the grave, to the grave, to the grave.” But a lamenting guitar and bawling violins make the album enjoyably bittersweet.

Matt Elliott - Failing Songs  (flac 257mb)

01 Our Weight In Oil 3:37
02 Chains 5:09
03 The Seance 4:26
04 The Failing Song 4:13
05 Broken Bones 4:47
06 Desamparado 5:14
07 Lone Gunman Required 3:41
08 Good Pawn 1:53
09 Compassion Fatigue 2:08
10 The Ghost Of Maria Callas 4:11
11 Gone 3:27
12 Planting Seeds 6:38

Matt Elliott - Failing Songs   (ogg  95mb)

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Howling Songs is like a pale black and white photo of a man that begins to fade away into smoke, only to reveal another picture, a self-portrait of the same person, painted with a giant brush and with flashy colors. The painting seems to express a hypnotized state of mind, it reveals a shade of melancholy that flirts with insanity in a manner that's breathless and almost daring. This man is all alone, out in the dark, exposed to his own essence, bleeding, full of doubt and full of fear, the fear of having lost everything he can remember, and the fear of losing even his memories.

Loss seems to be a dominant theme here, whether it's about losing your health, losing your loved one, losing your mind, or all of that at once. These songs begin slowly, almost shyly, only to grow, then suddenly explode into an intensity that seems earth-shattering. It's the thoughts of a broken man, stranded on the coast of regret, watching a sinking ship, and all of a sudden realizing he's not on that ship, he has solid ground under his feet. Because in the end, there's a new day, and there is hope again.

Matt Elliott - Howling Songs (flac  255mb)

01 The Kübler-Ross Model 11:32
02 Something About Ghosts 6:54
03 How Much In Blood ? 1:47
04 A Broken Flamenco 5:17
05 Berlin & Bisenthal 3:00
06 I Name This Ship The Tragedy, Bless Her & All Who Sail With Her 6:32
07 The Howling Song 4:43
08 Song For A Failed Relationship 2:17
09 Bomb The Stock Exchange 4:22

Matt Elliott - Howling Songs  (ogg 114mb)

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The Broken Man is a brawny, robust album, the type of record that carries an uncommon weight and honesty. When Elliott darkly intones, "this is how it feels to be alone," on "Dust, Flesh and Bones", there's complete conviction in his dead-eyed delivery, conveying an unwavering faith in his emotional regression. In lesser hands it's a line that could read as trite; with Elliott it feels well-worn, as though it's been churning around his head for years, gathering emotional baggage with the passing of time. But this isn't just a highly crafted plummet to the depths. There's an eerie, unearthly sense of displacement to much of the material, such as the spindly cries of bowed saw (or something simulating the sound of one) on "How to Kill a Rose". Those atmospheric touches make this feel like Elliott's most complete work to date, forming a vital link between his sunless balladry and the shattered electronica of Third Eye Foundation.

Matt Elliott - The Broken Man (flac  265mb)

01 Oh How We Fell 11:49
02 Please Please Please 2:34
03 Dust Flesh And Bones 9:16
04 How To Kill A Rose 1:59
05 If Anyone Tells Me "It's Better To Have Loved And Lost Than To Never Have Loved At All"................ .....I Will Stab Them In The Face 13:23
06 This Is For 3:51
07 The Pain That's Yet To Come 3:41
08 Impro 3 3:07
09 Christ In Everything 1:42

Matt Elliott - The Broken Man  (ogg  120mb)

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Oct 12, 2018

RhoDeo 1840 Grooves


Tonight's Artists are an eight-piece, Chicago-based brass ensemble consisting of eight sons of the jazz trumpeter Phil Cohran. Their musical style ranges from hip hop to jazz to funk and rock, including calypso and gypsy music.
 They call their eclectic blend of sound "now music", or "Hypnotic".  ....N'Joy

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Hypnotic Brass Ensemble -- an eight-strong cohort of horn-playing brothers (plus one unrelated drummer) who take their stylistic cues from jazz, funk, hip-hop, and various strains of world music -- started out playing on the streets of Chicago, New York, and elsewhere, selling their self-released CDs and gradually building a loyal following and an international profile. The youngest of some 23 children -- the offspring of different mothers, but all sons of jazz trumpeter and composer Kelan Phil Cohran (a member of Sun Ra's Arkestra and co-founder of the Association for the Advancement of Creative Musicians) -- Gabriel Hubert (trumpet), Tycho Cohran (sousaphone), Amal Hubert (trumpet), Uttama Hubert (euphonium), Saiph Graves (trombone), Jafar Graves (trumpet), Seba Graves (trombone), and Tarik Graves (trumpet) all grew up together in Chicago, watching their father rehearse with his band Circle of Sound, playing together in the Phil Cohran Youth Ensemble, and later writing rhymes as the rap group Wolf Pak.

Following the 1996 death of one of their older brothers, which shook up the family and prompted some of its farther-flung members to return to their hometown, the brothers, then mostly in their teens, began to coalesce into a more focused and business-oriented group. They started setting up around Chicago's streets and El stations to perform their original, collectively developed compositions, which call to mind the sound of traditional New Orleans big-band jazz and nod to the avant-garde angularity of their father and his contemporaries, but are equally informed by the rhythmic drive and accessible simplicity of hip-hop. Later they began recording and self-releasing CD-Rs, beginning with 2004's Flipside (aka Orange) and 2005's Jupiter (Green) -- the band's early releases all feature the same cover photograph and eponymous title, so they're referred to by the color of their sleeves and the names of key tracks -- which eventually sold hundreds of thousands of copies entirely through self-promotion.

After relocating to New York City, touring worldwide, and gigging with the likes of Mos Def and Erykah Badu, they caught the ear of Honest Jon's Records' Alan Scholefield while playing on the street in London, thereby initiating a fruitful partnership that resulted in several single releases and a handful of live and recorded collaborations (including a session with Afro-beat legend Tony Allen and dates supporting Blur). In 2009 Honest Jon's issued their first widely available full-length: yet another self-titled album, primarily featuring re-recordings of their earlier material, along with renditions of Moondog's "Rabbit Hop" and their father's "Alyo." Although the group has played with several different regular drummers over the years, including Christopher Anderson and Gabriel Wallace, most of the rhythm duties on this release were handled by likeminded British hired guns Sola Akingbola (Jamiroquai) and Malcolm Catto (Heliocentrics.)

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Hypnotic Brass Ensemble started by setting up around Chicago's streets and El stations to perform their original, collectively developed compositions, which call to mind the sound of traditional New Orleans big-band jazz and nod to the avant-garde angularity of their father and his contemporaries, but are equally informed by the rhythmic drive and accessible simplicity of hip-hop. Later they began recording and self-releasing CD-Rs, beginning with 2004's Flipside (aka Orange) and 2005's Jupiter (Green) -- the band's early releases all feature the same cover photograph and eponymous title, so they're referred to by the color of their sleeves and the names of key tracks -- which eventually sold hundreds of thousands of copies entirely through self-promotion.

Hypnotic Brass Ensemble - Green   (flac  222mb)

01 Jupiter 6:16
02 Pops Riff 3:34
03 Birthday 5:00
04 Frankincense 4:36
05 New Earth 6:57
06 Paradise 4:04
07 Randolph St. Swing 4:19
08 Emmet Till 6:24
09 Balicky Bon 6:22

 Hypnotic Brass Ensemble - Green (ogg   87mb)

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After relocating to New York City, touring worldwide, and gigging with the likes of Mos Def and Erykah Badu, Hypnotic Brass Ensemble caught the ear of Honest Jon's Records' Alan Scholefield while playing on the street in London, thereby initiating a fruitful partnership that resulted in several single releases and a handful of live and recorded collaborations. The ensemble really explored the meaning of its name, revealing how effectively multi-layered groove music can grab an audience when it is being played on traditional instruments, and live. There was little in this music for fans of the standout improv solo, of course (though the trumpeters did occasionally soar out over the melee), but the group's raw power, enthusiastic attack and the flexibility with which they push and pull the riffs against the beat were all improvisatory qualities, too. They also inventively explored one of the earliest traditions of early 20th century Southlands pre-jazz: the animated art of call-and-response. Huffing euphonium riffs would set the crowd jumping, before the garrulous trumpeters began swapping and spinning phrases like a group of jugglers. It was like the very earliest jazz, joined to the very latest hip-hop vocabulary

Hypnotic Brass Ensemble - New York City Live (flac  309mb)

01 Mushallah 3:09
02 Tarik 3:28
03 Jukebox 4:38
04 Hypnotic 3:00
05 War 2:58
06 Sri Nerodi 5:11
07 Marcus Garvey 3:38
08 Alyo 3:13
09 Mercury 3:45
10 Untitled 1 3:57
11 Untitled 2 2:28
12 Untitled 3 5:08

Hypnotic Brass Ensemble - New York City Live (ogg  115mb)

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"Hypnotic" may be somewhat misleading: the word suggests something lulling and gently soothing, but the music made by this band of brothers is fiery and dynamic, anything but sleepy. While occasionally reminiscent of more established brass band traditions (Balkan, New Orleans), with a hint of soul and a dash of Afro-beat's frenzied intensity, their music is best described as jazzy instrumental funk: compositionally sophisticated, highly contrapuntal, and infused with thorny harmonics undoubtedly picked up from their father -- avant-jazz notable Kelan Phil Cohran -- but always rhythmically direct and unfailingly tight. Anchored by sturdy, simple drum parts and Tycho Cohran's supple, syncopated sousaphone basslines, the Hypnotic Brass Ensemble blow dense chord clusters, indelibly soulful unison melodies, and tuneful interlocking counterlines, with only occasional focused soloing and emphasis on accessibility and groove. The album -- their first widely released full-length, which features re-recordings of many selections from their earlier self-released CD-Rs -- is consistently strong though fairly stylistically homogenous, containing mostly upbeat, party-ready tunes with either straight-ahead funk or Afro-inflected grooves, but there are a couple of curve balls in the lush, languorous (and yes, plausibly hypnotic) "Jupiter" and the especially manic, Balkan-esque Moondog cover "Rabbit Hop" (which reappears at the end with the addition of some spacy, wobbly electronic sounds). The only notable flaw in the flow comes toward the end of "Party Started," with some crowd-hyping chants that come off as moronically fratty -- though the group shouldn't necessarily avoid vocals altogether. As a whole, it makes for an exceedingly spirited and largely unique listening experience.

Hypnotic Brass Ensemble - Hypnotic Brass Ensemble (flac  335mb)

01 Alyo 3:03
02 Gibbous 3:01
03 War 2:51
04 Ballicki Bone 5:27
05 Flipside 4:50
06 Marcus Garvey 3:45
07 Jupiter 6:21
08 Party Started 6:03
09 Rabbit Hop 3:57
10 Sankofa 3:36
11 Hypnotic 2:51
12 Satin Sheets 3:50
13 Rabbit Hop (Version) 2:23

Hypnotic Brass Ensemble - Hypnotic Brass Ensemble (ogg  121mb)

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Hypnotic Brass Ensemble is one of the most creative brass outfits out there today. They seem to become more and more experimental with each proceeding album, and they do not disappoint on FLY, moving further away from traditional big brass jazz and further into the realms of hip-hop, soul and funk. Check out "All In" or the title track (or "Exchange Rate" for a great instrumental) to hear what I'm talking about, highly recommend. This album is awesome.

  Hypnotic Brass Ensemble - Fly The Customs Prelude   (flac  261mb)

01 P.O.T.A.
02 Rebel Rousin
03 Fly
04 Baggage Claim
05 City Livin
06 Navigator
07 Exchange Rate
08 Favela Funk
09 Saiko Shibuya Nights
10 All In
11 Hornets Nest
12 All In (Instrumental)
13 Navigator (Instrumental)
14 Saiko (Instrumental)
15 Fly (Instrumental)

  Hypnotic Brass Ensemble - Fly The Customs Prelude (ogg   124mb)

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Oct 11, 2018

RhoDeo 1840 Roots


Today's artist is a Mexican singer-songwriter. She performs her own compositions and the works of others in multiple genres, as well as tapping into Mexican traditional and popular music. She also incorporates indigenous Mexican influences and has recorded songs in many indigenous languages such as Mixtec, Zapotec, Mayan, Nahuatl and Purépecha. Born and raised in Oaxaca, she primarily studied at the Institute of Arts by Oaxaca and briefly attended University of Minnesota, before withdrawing to focus on her musical career. She soon began performing in the traditional music scene of Oaxaca City. .  .....N'Joy

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continued from last week

Lila Downs took approximately one and a half years to prepare La Cantina, which was released in April 2006. It draws on Mexican ranchero songs and merges sounds such as pop, rock, northern, cumbia and hip-hop. In 2007, Downs published an album with the greatest success in Spanish to date, containing songs from her previous albums La Sandunga, Tree of Life, Border/The Line, One Blood and La Cantina It was entitled simply The Very Best of Lila Downs; was accompanied with a DVD containing thirteen tracks recorded live at a concert in Madrid, Spain.
2008–2009: Shake Away/Ojo de Culebra

Two years after the release of La Cantina, in September 2008 Downs launched Shake Away/Ojo de Culebra in Europe, North America, Australia and Latin America. The album reached sixth place in sales in Mexico, Colombia, Argentina, Spain and several Latin American countries. The first single is titled "Ojo de Culebra" was at the top of the charts of world music in several countries. In October 2009 Lila Downs was honored by a plaque at the outskirts of her hometown and birthplace, Tlaxiaco, Mexico, and also was awarded the keys the city for her work preserving the language of Mixtec

"Lila Downs y la Misteriosa en Paris - Live à FIP" is the second live album by Downs, released on April 13, 2010, in Spain and France, the album was recorded in 2009 in Radio France studio 105 in Paris, France. The album was released in May 2010 in the United States and in July in most other countries. It received positive feedback from critics. Lila Downs y la Misteriosa en Paris was released in Mexico with an edited version of the live concert on DVD
Pecados y Milagros (Sins and Miracles) was the seventh studio album by Mexican singer-songwriter Lila Downs, released on October 18, 2011. The album debuted at number fifty two on the Billboard 200 becoming her fourth-highest peak on the chart. It also debuted at number one on the Billboard Top Latin Albums Chart and stayed there for over 3 consecutive weeks. This album has sold over 60.000 copies in the US and over 290.000 copies worldwide. The album was recorded in the Mexico City, and New York. Downs describes the album musically as having "a strong rock side" along with "traditional" and "Latino" songs. Celso Duarte is one of several collaborators to appear on the album, featuring on the first single "Palomo del comalito". Other collaborations include songs with rappers Illya Kuryaki and the Valderramas, Celso Piña and Totó la Momposina.

Lila Downs released Salón Lágrimas y Deseo May 26, 2017, under Sony Music Mexico/Latin. The first single of the album was "Peligrosa", followed over the summer by "Urge". Her next international tour started at the end of March 2017 on the West Coast of the US, followed by a series of performances in Mexico, Europe and Latin America. The album was awarded the Latin Grammy for Best Traditional Pop Vocal at the Latin Grammys in Las Vegas in November 2017.

In 2001, Downs was invited to participate in the soundtrack of the Mexican film Piedras Verdes where she performed "Cancion mixteca", in 2002 she participated in the soundtrack for the film Frida singing the song "Burn It Blue" which was nominated in the 75th Academy Awards in the category of Best Original Song. In 2005 she participated in the soundtrack for the film The Three Burials of Melquiades Estrada with the song "Dónde estás papá". Downs has also participated in other soundtracks for films such as Real Women Have Curves and Tortilla Soup. In the film by Carlos Saura, Fados (2007), she sings an unforgettable version of "Foi na Travessa da Palha" in Portuguese.

Downs has been a social activist throughout her entire career and works to maintain her cultural identity in the eye of social distress. For example, she sings with passion, and admiration for her home in Oaxaca, Mexico. Her music draws out many socially significant issues particularly with issues pertaining to the Indigenous, such as the mistreatment and misunderstanding of indigenous peoples of Oaxaca, by celebrating her Mixtec heritage through song. Her albums are socially significant, especially her album, One Blood, or Una Sangre, which includes songs such as "Dignificada," which is a song about Digna Ochoa's assassination. Digna Ochoa was a social activist, and Downs featured her story on her album One Blood.

When asked if she is a politician, Downs said that she does not want to be a politician because she is not interested in power, instead she wants to support and change society through music. On Friday, October 9, 2009 Downs, along with actress Salma Hayek represented Mexico participated in an event for the worldwide campaign of the One Drop foundation, to preserve water. They performed together with the founder of Cirque du Soleil, Shakira, U2, former Vice President Al Gore and other personalities.

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Lila Downs' Shake Away is easily the most polished and refined release since she released Ofrenda in 1994. By turns, it is also the most ambitious. Co-produced by Downs, longtime collaborators Paul Cohen, Brian Lynch, and Aneiro Taño, these 16 songs (13 plus three bonus cuts) are a wild mix of cumbias, folks songs, rancheras, blues, and rock tunes that are originals and covers. The latter include an excellent and wildly unusual reading of "Black Magic Woman" with songwriter/guitarist Raul Midón. There is a fine version of Paul Buchanan's (of Blue Nile fame) "I Would Never," and a stunning version of Lucinda Williams' "I Envy the Wind" (offered twice -- in Spanish and in English) with a fine muted trumpet solo by Brian Lynch. Her jumping take on the traditional "Los Pollos" is sung with Mono Blanco's Gilberto Guiterrez, and on "Justicia," Downs is joined by Spanish rocker Enrique Bunbury. The great Israeli-American jazz clarinetist Anat Cohen also helps out on three cuts. Rubén Isaac Albarrán Ortega (also known as "Ixaya Mazatzin Tleytól" of Café Tacuba) helps out on her original "Perro Negro" ("Black Dog"), a mystical, folk-drenched polka that references corrupt leaders in Latin America -- but could stand in for them anywhere. That said, the most rewarding collaborative effort on the set is the duet between Downs and the great Mercedes Sosa on Downs' "Tierra de Luz." But duets and collaboration aren't the only focus of this album; in fact, it's a sprawling set of tunes whose reach is almost limitless: "Silent Thunder" employs both reggae and funk but combines them with traditionally informed Mixtec chants. The skittering, scattershot blues of "Minimum Wage" offers a new element in Downs' recorded vocabulary -- with great guitar work by Ken Basman and Juancho Herrera. Downs' band, a sextet that includes Paul Cohen on saxophones and clarinet, the great Mexican multi-instrumentalist Celso Duarte, Rob Curto on accordion, Herrera on guitars, bassist Booker King, Chilean drummer/percussionist Yayo, and Colombian percussionist Samuel Torres prove an international cast of players who all speak Downs' ambitious multi-textural, trans-genre brand of music that, at this messy juncture in history, blurs all the lines to offer a massively appealing aural entity. Despite her wide-reaching compositions, and the referencing of American and British pop artists, Downs is no less political, and makes no compromises. One listen to her originals confirms and underscores this. This is the record we've been waiting for from Downs; it succeeds on all fronts and deepens her canon immeasurably.

Lila Downs - Shake Away/Ojo De Culebra   (flac  410mb)
01 Little Man 3:47
02 Ojo De Culebra 4:04
03 Minimum Wage 4:08
04 Perro Negro 3:02
05 Yo Envidio El Viento (I Envy The Wind) 3:44
06 Skeleton 3:02
07 Black Magic Woman 3:12
08 I Would Never 4:44
09 Justicia 3:51
10 Taco De Palabras 3:05
11 Los Pollos 3:17
12 Tierra De Luz 3:41
13 Silent Thunder 4:44
14 Shake Away 3:45
15 I Envy The Wind 3:45
16 Nothing But The Truth 3:53

Lila Downs - Shake Away (ogg  143mb)

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Given the experience of seeing Lila Downs y la Misteriosa in concert, it’s a wonder it took almost a decade for Anglos to hear her that way on record (thanks to World Village). This offering, recorded at Radio France’s FIP station, features her full international octet: Paul Cohen (her husband) on clarinet and saxophone; drummer Yayo Serka from Chile; Venezuelan guitarist Juancho Herrera; Paraguayan harpist, violinist, and charango player Celso Duarte; bassist Carlos Henderson from St. Louis; Colombian percussionist Samuel Torres; and New Yorkers Rob Curto on accordion and Dana Leong on trombone (the latter is also an accomplished cellist and producer). The essence of Downs' wondrously diverse, mind-blowing show is captured here in brilliant audio. Though she was touring in support of 2008’s Ojo de Culebra -- four of these tracks appeared there -- she performs music from six different albums reaching back to 1999's Sandunga. Whether it’s the conjunto/norteño-infused “El Relampago” or the Spanish-flavored dub of “La Linea” or “La Cumbia del Mole," the energy is the same: focused, spontaneous, and explosive. The lilting traditional ballad “La Llorna” is a standout, as is Chuy Rasgado's ranchera “Naila.” While Downs is a versatile vocalist and a true stylist as well as a dynamic performer, la Misteriosa cannot be overlooked for the sheer force and flow they provide in her live show; they are a sophisticated, forward-thinking ensemble of seasoned players who have been together for years, and now play instinctively with one another, adding an unmistakable dynamic. This one is all killer, no filler.

   Lila Downs Y La Misteriosa - En Paris (Live) ( flac  492mb)

01 El Relámpago 3:57
02 La Linea 4:47
03 La Martiniana 4:30
04 La Cumbia Del Mole 4:08
05 Paloma Negra 4:32
06 Minimum Wage 4:27
07 Justica 5:14
08 Yo Envidio El Viento 4:06
09 La Cucaracha 4:58
10 Los Pollos 3:48
11 Naila 3:32
12 Arenita Azul 3:25
13 La Iguana 4:31
14 La Llorona 5:47
15 Perro Negro 7:00

  Lila Downs Y La Misteriosa - En Paris (ogg   198mb)

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Continuing to exhibit the creative flair that has seen her become one of the most intriguing figures on the Mexican pop scene, Lila Downs breathes new life into some of her homeland's most cherished "canciones" for her seventh studio album, Pecados y Milagros. Produced by husband Paul Cohen, the follow-up to 2008's Ojo de Culebra sees the Latin star pay respect to her heritage with an emotive rendition of her home state Oaxaca's official anthem, "Dios Nunca Muere," and traditional wedding song "Xochipitzahua," transform Marco Antonio Solís' "Tu Carcel" and Juán Zaizar's "Cruz de Olvido" into stripped-back flamenco ballads, and showcase her impressive operatic tendencies on an inventive percussive reworking of Caetano Veloso's "Cucurrucucu Paloma" and a mournful take on Cuco Sánchez's ranchera classic "Fallaste Corazon." But it's the six original compositions that best display her talents for merging authentic regional sounds with more contemporary influences, whether it's the ska-tinged collaborations with Colombian folksinger Totó La Momposina ("Zapata Se Queda") and hip-hop outfit Illya Kuryaki & the Valderramas ("Pecadora"), the toe-tapping mariachi-led rockabilly of "La Reyna del Inframundo," or the cumbia-inspired celebration of her country's corn-grinders, "Palomo del Comalito." A vibrant and affectionate tribute to her culture, Pecados y Milagros proves that Downs' reputation as an artistic visionary is entirely justified.

 Lila Downs - Pecados y Milagros     (flac  382mb)

01 Mezcalito 4:28
02 Tu Cárcel 3:43
03 Zapata Se Queda 4:24
04 Vámonos 3:31
05 Cucurrucucú 4:50
06 La Reyna Del Inframundo 3:11
07 Fallaste Corazón 4:44
08 Solamente Un Día 3:42
09 Xochipitzahua 1:12
10 Palomo Del Comalito 4:08
11 Dios Nunca Muere 4:55
12 Pecadora 4:07
13 Cruz De Olvido 4:48
14 Misa Oaxaqueña 3:23

Lila Downs - Pecados y Milagros   (ogg 140mb)

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Balas y Chocolate, Lila Downs' 11th album, is easily her most personal. She and her longstanding musical and life partner Paul Cohen focus squarely on the current condition of Mexico, and the turmoil that rages within it: the violence of the drug war, the disappearance of students, the migration of children, rampant international greed, and unrestricted capitalism played out on its soil are destroying a large, varied ecosystem and indigenous cultures. In originals and a canny choice of covers, Downs juxtaposes folk and popular styles from mariachi and cumbia to hip-hop, pop, son, ranchera, and even klezmer. "Humito de Copal" is a rumbling cumbia. Amid guitars, horns, and layers of percussion, she sings (in Spanish), "...I am the person who disappeared/I am the woman who fought for her life/I am the student who is changing the rules/I am the one who demonstrates...I am nature's witness/I speak the word that the earth cries…." "Mano Negra" weaves klezmer and cumbia on pre-Colombian instruments and mariachi horns. Lyrically, it juxtaposes Mexico's violence with the beauty of its landscape. The title track addresses the plight of children who migrate across borders while their remaining families stay as it weaves funky, danceable pop adorned with swirling synth presets, accordions, horns, fat basslines, wah-wah guitars, and a hip-hop breakdown. Single "La Patria Madrina" is a killer duet with Colombian singer Juanes. The pair bridge the distance between Latin American struggles in the lyrics: "Saw hell, saw the news/Graves, the dead, destruction of Mother Nature…." Rock & roll, cumbia, mariachi, and bachata come together seamlessly in a militant statement of a truth that refuses to surrender: "You are the country of all my dreams/He who disrespects, I will cut his heart in two...Today I woke up and my sight was clear/Today I planted a seed of corn in an old tire in my barrio…."

The covers here edify the originals. Juan Gabriel's mariachi classic "La Farsante" is sequenced before a burning arrangement of Jesús Rosas Marcano's "La Burra." Downs and Cohen don't forget the importance of love, either (there can be no revolution without love songs). "Cuando Me Tocas Tu" is a simmering ranchera with saxophones, nylon-string guitars, hand percussion, and lithe horns that illustrate longing, commitment, and desire. The closer, "Viene La Muerte Echandro Rasero" ("Death Is the Great Equalizer") is a poem by Asunción Aguilar set to music. It is a celebration of death as a natural extension of life reflected in the celebration of Mexico's Day of the Dead. Martial snares, horns, pulsing guitars, bajo sextos, and chanted choruses detail resolute determination, the hope in the moment. It, and Balas y Chocolate as a whole, express that as long as one breathes, change is possible. Everything is on the line on this album. Though it reflects the dire present, it is also a statement of profound faith in humanity's future and an act of resistance against the powers of darkness.

 Lila Downs - Balas y Chocolate   (flac  400mb)

01 Humito de Copal 3:52
02 Mano Negra 4:33
03 Balas y Chocolate 3:31
04 Una Cruz de Madera 3:10
05 La Farsante 4:17
06 La Burra 3:19
07 Cuando Me Tocas Tú 4:36
08 La Patria Madrina 4:18
09 Las Casas de Madera 4:09
10 La Promesa 5:25
11 Son de Difuntos 3:37
12 Dulce Veneno 3:43
13 Viene la Muerte Echando Rasero 3:59

 Lila Downs - Balas y Chocolate (ogg  134mb)

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Oct 10, 2018

RhoDeo 1840 Aetix


In the years before Lego existed, Meccano was very popular amongst parents, as they believed that Meccano was not just a toy, but an educative tool for schoolboys with technical abilities. An average box consisted of iron strips, wheels and plates with holes in it, based upon half an inch distance in between. It was designed “for the engineer of tomorrow” and patented in 1901 by Frank Hornby, who advertised it in the swollen tone that colored the first decades of the century and promised membership of “the Meccano Guild” and “unlimited possibilities as the system itself”.  .. ......N'Joy

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The story of Mecano starts with a painting, made in 1977 by founder Dirk Polak after finding an old booklet belonging to a Meccano construction box, as fabricated and sold in the thirties.While scanning the booklet, Dirk was struck by a vision of a world built out of Meccano, in painting, sculpture and even lyrics and music.

The examples in the instruction booklet set Dirk to paint his Meccano figures, surrounded by surrealistic landscapes and interiors. In those days punk was booming and Dirk thought it was time to start a band and together with Pieter Kooyman and a few hired guns he recorded Face Cover Face, b/w Fools as Mecano Ltd. for the “No Fun” label. But Dirk wanted a real band and so he asked Paradiso bouncer Ton Lebbink to be the drummer. Ton, immediately introduced the brothers Tejo and Cor Bolten, who also worked at Paradiso, Tejo as floor-manager and Cor, the band was formed in the blink of an eye. Another advantage of Ton and the Bolten brothers, beside their musical abilities, was that they had unlimited acces to Paradiso, the best rehearsing place a band could think of and they started experimenting and putting the music together, mainly based on the ideas of Dirk and the Bolten brothers.

Emerging from the punk-era, Mecano is best described as new wave, adding poetry and remarkable arrangements, colored with unusual guitar harmonies, converting into an ashtonishing eclectric blend. Early 1980 newly founded Torso Records had released the mini-lp Untitled and in that same year Subtitled (see Eurotour-stage 12), both nowadays reaching high prices amongst collectors . After that the band split up, to be reunited in 1982 without Ton Lebbink and Pieter Kooyman and a smaller size Mecano started recording Autoportrait, which came out early ‘83 and on which Pieter Kooyman is present on Suggestive Sleep and To Life's Reunion.

Mecano released, The Half Inch Universe, a double cd containing their remastered eighties work with some unreleased (live) material in 2002. But then after 22 years of comparative silence Mecano released 'Snake Tales for Dragon 'in 2005 . For a long time, Tejo Bolten had felt the will to start Mecano again… there was a mission to fulfill and it was unfinished. Sadly, it was the murder of the Dutch film director Theo van Gogh in 2004 by a radical Islamist who had felt offended by the artist’s stance. This loss triggered singer Dirk Polak a promise upon his dead body that he would sing again. In January 2005 Tejo Bolten and Dirk Polak, brought their music and lyrics to another level with the release of the album 'Snake Tales for Dragon'. As a metaphore of the Meccano toy found years ago “for the engineer of tomorrow”, Tejo and Dirk reassembled the parts of the original structure and began to build a whole new story for Mecano. They presented it along with older material in Athens, Greece where they are rather popular, the following year at the capital’s long-running annual Rockwave Festival.

Fall 2007 Mecano released “Those Revolutionary Days”, a continuation of the album Autoportrait. According to the band, its new album was conceived as “the scenario for nostalgia enlightened with a modern vision.” Mecano shares with the audience a reacting to society instead of assuming a passive attitude towards it. The extraordinary voice of their music communicate many important messages for all to listen. A voice that comes through the ages, to speak of truth and justice, and hope. There will be repeated performances and exhibitions will be given abroad, in Greece and France, among others.

An invitation to play in Tel Aviv in 2013 brought the third incarnation of Mecano, from now on called.Mecano Un-Ltd.    Polak, Ritsema, Karucci and Rozenblum were accompanied by Peter Jessen (bass) and Sin (drums).  An international company, with Dutch, Israeli, half-Danish and Croatian members.

 Another album came when Polak and Ness joined together.  The result, Mecano Unlimited, took them a year and a half.  Mick mainly played, produced and mixed, while Dirk wrote, sang and engaged in the appearance of the LP.  Reinier Rietvelt did the sound and Charles Beterams of Tonefloat released it, along with Mecano's Out of Print Records and some help from fans and friends. This led to a fourth incarnation, with almost the same band as in Tel Aviv;  Rozenblum left the band.  In addition to several visits to Dutch stages, in 2017 they played again for the fans in Tel Aviv.  In 2018 they performed in a sold out pop venue in Athens, they are preparing for a continuation of this world tour.

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The Dutch band Mecano existed from 1978 to 1983. It was not a pop group in the usual sense of the word, but rather a 'collective' that also focused on painting and literature.  In the early years, their new wave music was still strongly influenced by English bands, later the band got a more European sound.  The double-cd The Half Inch Universe contains all the studio tracks that the band has ever recorded, supplemented with a few previously unreleased live versions. Remastered Completed Works 1978-1982 a unique 2,5 hours long document !

 Mecano - The 1/2" Universe 1 (flac  537mb)

01 Meccano 5:47
02 Permanent Revolt 4:06
03 Note Of A Stroll In Spring 5:13
04 In Still Life 4:25
05 Links 6:02
06 Escape The Human Myth 3:31
07 History Landmarked 4:57
08 Dissident Lament 4:33
09 Untitled 5:06
10 Posterity Chant 2:58
11 The Chassis Force 2:45
12 Robespierre's Remarks 3:56
13 Iron I An Eye 3:13
14 Killroy's Tango 2:34
15 State Of Apprehension 2:57
16 Dissident Lament (Live) 4:33
17 Posterity Chant (Live) 3:12
18 To Life's Re-union (Live) 2:33
19 In The Wake Of The Cold (Live) 6:28

Mecano - The 1/2" Universe 1   (ogg  201mb)


 Mecano - The 1/2" Universe  2  (flac  533mb)
01 Robespierre's Remarks II 2:27
02 Room For Two 5:40
Autoportrait (03-10)
03 Profile 6:01
04 The Suggestive Sleep 8:31
05 Entr'Acte 3:59
06 Besprizorni 5:08
07 Autumnmatic Play 5:36
08 The Mutant Jasz 5:33
09 The March Of The Iron Workers 4:36
10 To Life's Re-Union 2:42
11 Face Cover Face 2:25
12 Fools 2:16
13 Save Machmen From Instinct (Live) 2:50
14 Necropspy Proves The Pagan (Live) 3:03
15 Gossip's A Gap (Live) 4:19
16 Note Of A Stroll In Spring (Live) 5:21
17 Links (Live) 6:19

Mecano - The 1/2" Universe  2     (ogg  193mb)

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Often stern, occasionally humorous, sometimes both at once, Dutch post-punk experimentalists Minny Pops formed in Amsterdam in 1978. They made their recorded debut the following year on Plurex, a label operated by band vocalist Wally Van Middendorp. The three-track 7" single contained "Kojak," on which Van Middendorp impersonated Telly Savalas' TV character of the same name with lines like "If you make more money, you make fewer friends." Drastic Measures, Drastic Movement, the band's debut album, followed later in the year, and offered more lean, mechanical sketches and abrasive noise diversions.

After a handful of gigs in support of Joy Division and the release of a live EP, Minny Pops joined the Factory roster and, during 1981 and 1982, bounced between Factory proper and Factory's secondary Benelux division. A re-recording of "Dolphin's Spurt," produced by Martin Hannett and engineered by Chris Nagle, appeared in 1981, while the relatively slicker album Sparks in a Dark Room came the following year. Two more albums, Poste Restante and 4th Floor, were released on Plurex and Prime prior to the band's 1985 dissolution. The band, still led by Van Middendorp, reconvened in 2012 for several gigs, as well as a single recorded by fan Tim Burgess (of the Charlatans). Archival releases and reissues of the band's '70s and '80s output appeared on LTM and Factory Benelux.

 Minny Pops ‎- Sparks In A Dark Room (flac  410mb)

01 A Feeling 3:19
02 Tracking 2:47
03 Crack 2:24
04 Vital 2:37
05 Blue Roses 2:33
06 Mountain 3:15
07 Black Eye 3:19
08 Wong 3:56
09 Experience 3:29
10 Dream 2:06
11 Night Visit 3:02
12 Trance 1:52
13 Time 3:44
14 Lights 3:29
15 Een Kus 3:56
16 Son 2:53
17 Secret Story (Demo) 3:12
18 Schitterende Ogen (Demo) 2:44
19 Time (Demo) 4:28
20 Werktitel # 7 2:21
21 Werktitel # 5 3:33
22 Werktitel # 1 5:57
23 Werktitel # 8 2:09

 Minny Pops ‎- Sparks In A Dark Room    (ogg   159mb)

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