Nov 30, 2018

RhoDeo 1847 Grooves

Hello,

Tonight's Artists are an acid jazz and funk group formed in 1990 in Tokyo. the trio quickly emerged as a leading force on the Tokyo underground club scene, making their recorded debut the next year, becoming a cult favorite on club circuits ranging from London to Hamburg to New York City.. . .....N'Joy

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United Future Organization's biography google-translated from their website

In 1990, formed by Naobu Yabe, Rafael Severg and Toshio Matsuura.  Establish the cornerstone of the creation period of club culture in Tokyo.  We will try not only to act as a DJ but also actively and multilayered development.  Since announcing the 1st single in 1991, its momentum spreads globally and 5 original albums are released in 32 countries, winning high trust and appreciation both in Japan and abroad.  In 2002, although Toshio Matsuura withdrew, activities diversified further, and its trend has been drawing attention.  (jun./2005)

1991 - 1st single "I LOVE MY BABY (MY BABY LOVES JAZZ)" announced, chart in English UK music magazine Starting the event "JAZZIN '" in Shibaura's now now  About 11 years in Nishi Azabu moved to Aoyama ~ Shibuya from the 12th year of 2003, and still boasts high popularity and attracting customers for 15 years as a regular event hosted by UFO  )
1992 - 2nd Single "Loud Minority" announced Paul Bradshaw who gets tremendous support and trust among music people all over the world, becoming a topic in the top of the chart with FM RADIO music magazines from around Europe  Awards "planet · jazz · award" of "STRAIGHT NO CHASER" magazine serving as editor in chief

1993 - Togin 'Loud label presided over by Giles ___ Peterson with a contract with a label (now Universal Music) and making a major expansion in the world wide with a hand with the contract with the label "DJ selection"  Home prize "" Best Club Award "double winning, the first album" United Future Organization "decorating the cover of Billboard magazine, will be released in 29 countries worldwide (ex: David Burn of Talking Heads"  In 1993, he selected the same album as "Album Best 10", announced the workshop album "MULTI DIRECTION" that produced the same year, Kyoto Jazz Massive, Nobukazu Takehura, Cool Spoon, Soul Bossa Trio etc.  The album is also a dance chart in the UK 's "NME" magazine that gets a high reputation as a producer  Produce open the Minami-Aoyama "blue" as a resident DJ plays the first chart in as Npi Configuration album

1994 - 2nd album "NO SOUND IS TOO TABOO" announced Former invitation from US prestigious label and Contract NY to New Music · Seminar Participate in major European cities such as UK, France, Germany and Austria  In the same year, participating in a campaign album "RED HOT + COOL" with the message of eradicating AIDS the same year, the same year, "STOLEN MOMENTS" of the same album recorded will be appointed for album titles as well, get a high reputation

 1995 - Single "COSMIC GYPSY" announced Australia, after going through the United States ~ Canada and finishing a tour with the final tour in London In the final London, playing with MINISTRY OF SOUND which is the largest club in Europe at that time Play MILO (ex:  Workshop album "MULTI DIRECTION" which produced many newcomers together with Takemura Yamato, Audio Active and etc. Produced the second volume for the first time in 2 years from the first announcement in 1993 In the same year, video clip  Collection "THE SCENE" announced
 1996 - The single "THE PLANET PLAN" was announced at the coupling with the movie music "MISSION IMPOSSIBLE", the same song is also used for commercials such as Durban (1999) in Japan, Harpy (1998) overseas, Ridge Racer 4 (1999)  Furthermore, a remix board of "LOUD MINORITY" (announced in 1992) was announced in the UK, Japan, and it was used also for the CM of Ford Company in Europe, etc. and got a topic, 3rd album "THE 3rd  PERSPECTIVE "announced

1997 - Announced remix album "SPICY RIMIX" (Carl Craig / JAZZANOVA / DJ DAI / DIMITRI etc. appointed as a remixer) Following the release in Europe and the United States, it has drawn 40 world tours world tour there,  We added a variety of remixes by Fila Brazilia, King Brit, Tanaka Fumiya, Ken Ishii and others including the Jazz Festival (Montreux / NORTH SEA / Montreal etc) and the Glastonbury Rock Festival, and the best record "Now and Then"  Presentation

1998 - Naobi Yabe announced MIX CD "CITY LIGHTS" Participated in opening ABSOLUT VODKA's website, which is responsible for music supervision with DJ SPOOKY and COLD CUT at the same time Portable CD player <  LOOPMASTER UFO Model> (PIONEER) produced By this time, collaboration with Simon · Taylor (TOMATO / London), CASIO to present a digital watch of UFO model from CASIO, such as presenting creative talent in various fields beyond music  , Other CASIO mobile personal computer CASSIOPEIA "FIVO" produced a CM song

1999 - 4th album "Bon Voyage" announced Single cut "Flying Saucer (Featuring Dee Dee Bridgewater)" also actively develops as a hit remixer mainly in NY club scene Incognito (Mercury - Japan, Talkin 'Loud -  While working on artists such as Jackson 5 (Motown, Kitty Japan), SNOWBOY (UBIQUITY - San Francisco), Small Circle Of Freinds (Kitty Japan), M - Flo (Avex - Japan), Sagawa Express CM song production  And SEGA DREAM CAST "Space Channel 5" Sound Track remix etc.

2000 - Playing on large scale events such as Spain , Los Angeles , Czech Republic etc. which launches a monthly event in the large club in London also gained popularity.
2001 - Single "Listen Love" is announced (Jeffery Smith is a vocal and it becomes a topic) Also as a remixer - Art Konik (COMET RECORDS, FRANCE), Dzihan and Kamien (Couch Records, Austria), Stratospheric (Internal Bass,  UK), domestic artists AKIKO, Hirai Ken etc remix
2002 - Announcing the long-awaited 5th album 'V (Five)', taking a European tour over Britain, Denmark, Sweden and Germany, who receive high praise at home and abroad NHK hosted, full-scale jazz by Herbie Hancock General Producer  Naohi Yabe appears as the only DJ in the first memorable tournament of the Festival (Urawa International Stadium)

2003 - Participated in the Paris collection of Yohji Yamamoto / Y's, and with this, Porsche Design sponsored party, which will serve as music director for men's / women's show in Florence in Paris, 2005
2004 - Start monthly party at Hong Kong 'kee club' Roppongi Hills 52F Organized Lounge by J - WAVE Award ceremony music award ceremony of the Roofong Hills Poolside party of the awards ceremony of hotel · New Otani

2005 - FM Tokyo 35th Anniversary Party (Takanawa Prince · Hotel) Released "UFO LOUNGE" from Rambling Record At the film festival held in Portugal, he was highly acclaimed to command the cinema concert playing music in silent movies in real time  .  The movie chosen here was Yosunari Kawabata 's first screening in the world and was a "crazy one term" (a work of Taisho in 15 years) that wrote the scenario, at the end of the year, the 15 th anniversary of UFO formation together with DJ KRUSH Tokyo /  Celebrating big in Kyoto / Osaka tour

2006 - Produced "TIGHT" (VOL.14) for the first time from a different genre in popular MIX - CD series of hip - hop series Preliminary invitation from Poland (Warsaw) Omotesando Hills Official sessions organized by VOGUE magazine &  Party "UFOs for REAL" (SCENE 1 - 3) entitled Released all the songs of the past work releasing the best of 3 simultaneous releases

Currently,
Regular party "JAZZIN '" celebrating 15 years as a resident DJ in Japan, SHIBUYA FM (78.4 MH), YOKOHAMA FM SALUS (84.1 MH), FUKUOKA TENJIN FM (77.7 MH) as a regular radio program, weekly on the United Future  Organization presents Rolling around the RADIO "Lush Hour" etc. and other major parties, acting actively, etc., the offer from overseas has been growing year by year, and not only London, but also Milan, Stockholm, Helsinki, Los Angeles,  Make full-fledged overseas activities such as Toronto. I am producing music for Venezuela's high-end rum sake




Pioneers of the Japanese acid-jazz sound, the United Future Organization comprised Tokyo club DJs Tadashi Yabe, Toshio Matsuura and French expatriate Raphael Sebbag. Joining forces in 1990, the trio quickly emerged as a leading force on the Tokyo underground club scene, making their recorded debut the next year with the 12-inch "I Love My Baby (My Baby Loves Jazz); " "Loud Minority/Moon Dance" followed in mid-1992, becoming a cult favorite on club circuits ranging from London to Hamburg to New York City. UFO's debut LP Jazzin' 91-93 appeared that September, the same month the trio made their triumphant British debut at London's Fridge club; an American record deal was not forthcoming until 1994, however, with a self-titled collection appearing on Verve Forecast. No Sound Is Too Taboo followed in 1995, with United Future Organization resurfacing in 1997 with 3rd Perspective. In 2000 the trio returned with the album, Bon Voyage on Instinct.

One of the three original founding members, Toshio Matsuura, left the group in 2002 to work with Universal Japan on a remix album project.

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On UFO's fourth album, the Japanese producers consolidate the world-spanning vision inherent in the title of their previous album, No Sound Is Too Taboo. Most of the styles on 3rd Perspective are French in persuasion, from accordion waltzes to spy-soundtrack grooves. That doesn't make for a bad album, just one which seems to harp on one style when UFO has been known for using the whole world as their palette.



United Future Organization - 3rd Perspective   (flac  329mb)

01 His Name Is... 5:08
02 The Planet Plan 4:26
03 Friends - We'll Be 4:49
04 Spy's Spice (Mon Espionne) 4:51
05 Fool's Paradise 4:55
06 Waltz (Le Serpent Rouge) 4:29
07 Picaresque Eye 5:42
08 Nica's Dream 4:11
09 Cosmic Gypsy 4:07
10 Dice For A Chance 4:44
11 The Moving Shadows 5:01

United Future Organization - 3rd Perspective (ogg   127mb)

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The marriage of jazz and electronica has, too often, produced bland and lackadaisical offspring. But the United Future Organization manages to bring together elements of both, along with traces of club music and "rare groove," and create something that is both elegant and rhythmically propulsive, not to mention structurally interesting. Their latest album is an excellent example of what they can do at their best. On "Tres Amigos" Cuban percussion, horns, and piano are goosed along by a thick, bouncy bassline; "Flying Saucer" blends disco rhythm guitar with jazzy horns and a gorgeous vocal courtesy of Dee Dee Bridgewater; "Dans Ce Desert" is a surprisingly funky 6/8 workout with flamenco castanets, electric piano, and French vocals. In less gifted hands, this sort of shameless mix-and-match could dissolve into mere cleverness or self-conscious eclecticism. But these guys keep tight control over their sources and play the various elements off each other so skillfully that the result is an impressively organic and unified whole. Highly recommended.



United Future Organisation - Bon Voyage   (flac  318mb)

01 Flying Saucer 4:40
02 Happy Birthday 4:43
03 Niji 6:37
04 Good Luck Shore 5:27
05 Pilgrims 6:41
06 Dans Ce Desert 5:06
07 Somewhere 6:58
08 Tres Amigos 6:00
09 Labyrinth - Enter At Own Risk 5:12

United Future Organisation - Bon Voyage (ogg   121mb)

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United Future Organization - V     (flac  384mb)

01 Intro 0:53
02 Esperanza 7:18
03 Everyday Routine 7:23
04 No Problem 7:36
05 Microcosmo 4:22
06 World Thing 8:02
07 Lunar Enfant 7:22
08 Por Do Sol 5:55
09 Listen Love 8:51
10 Transworld 6:25
11 Suite Espagnole 7:33

United Future Organization - V (ogg   166mb)

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Nov 29, 2018

RhoDeo 1847 Roots

Hello, .

Today's artists are a Mexican classical guitar duo whose music is influenced by a number of genres including nuevo flamenco, rock, and heavy metal. The duo's recordings consist largely of instrumental duets on the flamenco guitar. Currently residing in Mexico City, they began their career in Dublin, Ireland, during an eight-year stay. They have released five studio albums, three live albums and one EP..   ......N'Joy

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Rodrigo Sánchez (born 1974) and Gabriela Quintero (born 1973) grew up in middle-class families in Mexico City. Their parents listened to flamenco, jazz, and rock music, but they were both exposed to heavy metal, like Metallica, which proved influential to Rodrigo and Gabriela. Rodrigo and Gabriela met at the age of 15, at 'la casa de la cultura' (House of Culture) in Mexico City, where Rodrigo's brother was the director. Quintero was in a drama class and at the suggestion of his brother, Rodrigo met up with her. She remembers "this 15-year-old boy there, dressed in a black ... with messy hair. Yet he was different to the other metal-heads his age: he seemed very serious and didn't drink or smoke". The two bonded over their interest in music and they soon became a couple.

Before they became the most visible flamenco duo of the early 2000s, guitarists Rodrigo Sanchez and Gabriela Quintero had bonded over heavy metal while growing up in Mexico City. They combined their talents for a time in the metal group Tierra Acida, playing around D.F. in the roughest clubs the city had to offer. Though they recorded some material, Tierra Acida never hit it big, and an album was never released. Instead, Sanchez and Quintero concentrated on learning more guitar styles, teaching lessons during the day and playing bossa novas in hotel bars at night. Bored and frustrated with their chances in the Americas, the two decided to try their luck in Europe instead.

Rodrigo y Gabriela traveled to Dublin, where a friend had offered them a place to stay. The musicians spoke no English, carried little money, and upon their arrival found that their offer of European hospitality had vanished. The pair soon turned toward busking on the streets of Dublin, a move that enhanced their reputation and helped land them several contacts. Among their newfound friends was fellow busker Damien Rice, who soon asked them to accompany him on tour. He also introduced the duo to Niall Muckian, who became their manager. In the first half of 2001 they recorded a 9-track demo called Foc of their own material supplemented by some covers, also featuring an appearance by Zoe Conway.

As interest in the band grew, it was decided to re-record the songs on the demo as re-Foc in 2002 with a number of friends, including Lisa Hannigan who provided vocal stylings and Conway, who by now also was a feature of the live set-up of the duo. The album appeared on Muckian's own Rubyworks Records as he found that "because it is all instrumental, we found it hard to get major-label interest or any radio-play, so I put it out myself". As interest grew, the duo were offered further support-slots, which resulted in an eight-track live-album recorded in Dublin and Manchester, released in 2004

Rodrigo y Gabriela became the newest fixture of the world music circuit, known for their nimble-fingered guitar work and diverse background (few flamenco guitarists could boast a background in metal music). Their third album, Rodrigo y Gabriela, was released in 2006 and debuted atop the Irish charts, beating out Arctic Monkeys for the number one spot. The album was produced by John Leckie, includes covers of Led Zeppelin's "Stairway to Heaven" and Metallica's "Orion". The duo lists Metallica as being among their key influences, alongside other heavy metal bands, the other tracks are original works inspired by the places they have been and the people they have met.

The duo had their national American TV debut on Late Show with David Letterman on December 18, 2006, performing "Diablo Rojo". Their song "Tamacun" featured in the pilot episode of AMC's Breaking Bad in January 2008. They continued to tour, making their way through Japan (as evidenced by their second live album, Live in Japan) and America. Their feature on MTV gave them a huge boost in popularity in the United States. This led to a feature on Nightmare Revisited, a tribute album to Danny Elfman's music from Tim Burton's The Nightmare Before Christmas. The duo performed an instrumental version of "Oogie Boogie's Song."

They released a new album, 11:11, in September, 2009. Alex Skolnick of Testament guests on the album, as do Strunz & Farah. Upon the release of the new album, they received much mainstream American popularity and were the featured music on Monday Night Football on October 12, 2009, as they celebrated Latino Heritage Month. Their song "Santo Domingo" was chosen as the Starbucks iTunes Pick of the Week for November 10, 2009.

On January 20, 2011, Rodrigo y Gabriela entered the studio with Hans Zimmer to write and record sessions of the score from Pirates of the Caribbean: On Stranger Tides. The soundtrack was released on May 17, 2011, three days before the film's general release.On July 25, 2011, Rodrigo y Gabriela released another live album entitled Live in France, a document from the 11:11 tour that, like the studio album, mixed Rodrigo y Gabriela's dazzling nylon-string guitar chops with electric six-strings for a dueling shredfest.

Since their inception, the pair had always envisioned working in Cuba. They recruited pianist and arranger Alex Wilson to come up with charts for a new set of songs. Wilson and the duo worked out a set of tunes, rhythms, and charts in three days in Mexico City, then Wilson went on to Cuba to hire a band. From June through September, the duo recorded with Wilson and C.U.B.A. (Collective Universal Band Association) in Havana, with producer Peter Asher. A number of special guests joined the proceedings as well, including Anoushka Shankar, flamenco and jazz bass legend Carlos Benavent, former Testament and White Zombie drummer John Tempesta, Le Trio Joubran, and Los Van Van drummer Samuel Formell Alfonso. The resulting album, Area 52, was released in January of 2012, and the duo toured the globe in support. They were the subject of an Alejandro Franco documentary film on their formation and early years entitled For Those About to Rock: The Story of Rodrigo y Gabriela, which debuted at SXSW in March of 2014, just in time for their next studio album, 9 Dead Alive, which appeared in April.

Both Rodrigo and Gabriela play Yamaha NX series electro nylon string guitars exclusively. Rodrigo plays the slimmer neck NTX1200 and Gabriela plays the more traditional sized NCX2000 and NCX1200.

The pair dated for many years before ending their relationship (but not their musical partnership) in 2012. "We're now better friends by far," said Quintero. "We no longer behave like 15-year-olds and it's allowed us to grow up." They both live a vegan lifestyle and support animal rights


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The very first moments of Rodrigo y Gabriela's sophomore effort, 11:11, hit the listener cold in the face, and not just because of the amazing guitar playing. Sure, it's there, but it's what anyone who heard the duo's astonishing debut would expect. No, it's the sound of the record: immediate, forceful, crystalline; it's in-your-face compelling and impossible to ignore. 11:11 features 11 new compositions, dedicated to 11 musical artists (not all guitarists, either) who have had an influence on the duo. Recorded in Ixtapa, Mexico, the set was self-produced with the exception of two cuts, which were co-produced with John Leckie. The set was mixed in Wales and London by Colin Richardson, who has worked with metal bands Trivium and Slipknot. The set opens with the striking, rhythmically complex "Hanuman," dedicated to Carlos Santana. While it doesn't work so much on the level of Santana's soaring solos, what it does do is capture the dramatic, rhythmically complex elements of his trademark style and roots him directly inside the entire lineage of great Latin guitarists. Next up is "Buster Voodoo," dedicated to Jimi Hendrix. The late guitarist's original nickname was Buster, and he wrote "Voodoo Chile," hence the title. This track is far afield from the preceding one in that it lifts elements of the Hendrix tune, and moves into a solid meld of heavy metal dynamics and contemporary Latin style -- there's even the use of a wah-wah pedal on a nylon-string guitar to excellent effect. The fuzzed-out intro to "Santo Domingo" is a rather jarring effect for a tune that is dedicated to Latin jazz pianist and composer Michel Camilo, but it's named for the city of his birth and therefore captures in sound the splendor and color of the city. The Afro-Cuban, Spanish, and Mexican rhythmic complexities shown by Gabriela Quintero are perhaps more astonishing than the stellar, even dazzling single-string work by Rodrigo Sanchez.

"Atman," dedicated to the late Dimebag Darrell of Pantera and Damageplan, features a searing guest appearance by Testament guitarist Alex Skolnick and is truly one of the high points on the recording. It is also a terrific reminder that Rodrigo y Gabriela began their musical careers as electric guitarists in heavy metal bands. Other standout tracks include "Master Maqui," with acoustic solos by Strunz & Farah; "Hora Zero," inspired by -- and dedicated to -- Argentinean composer Astor Piazzolla; and "Savitri," dedicated to the John McLaughlin-led acoustic trio Shakti. The set whispers to a close -- in sharp contrast to its beginning -- with the title track, dedicated to Pink Floyd and featuring the piano work of Edgardo Pineda Sanchez. Throughout, Rodrigo y Gabriela showcase their metal chops as part and parcel of their Mexican guitar heritage. They've not simply melded the two, but have created an entirely different form of music for the acoustic guitar in the process. It's also important to note that while their technical facility is indeed dazzling, this is not the reason to sit down and dig into this record; it's the music itself. It's infectious and accessible, full of pathos, intensity, passion, and color. It's dazzling because the compositions are so imaginative and tight -- a light year's growth from their debut. This music is arranged with flair, soul, intelligence, and economy; as busy and full as it sounds, there isn't an extra note anywhere here. 11:11 reveals a true musical and sonic expansion without Rodrigo y Gabriela losing sight of their strength as an acoustic duo. Awesome.



  Rodrigo y Gabriela - 11-11   ( flac  412mb)

01 Hanuman 3:43
02 Buster Voodoo 4:24
03 Triveni 3:56
04 Logos 2:51
05 Santa Domingo 4:03
06 Master Maqui 5:06
07 Savitri 3:47
08 Hora Zero 5:25
09 Chac Mool 1:51
10 Atman 5:51
11 11:11 4:50


Bonus from Pirates Of The Caribbean
12 Angelica 4:17
13 The Pirate That Shoul Not Be 3:55
14 South Of Heaven's Chanting Mermaids 5:48
15 Palm Tree Escape 3:06
16 Angry And Dead Again 5:33



 Rodrigo y Gabriela - 11-11 (ogg    194mb)

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Given the sheer excitement and fiery acoustic guitar pyrotechnics that Rodrigo y Gabriela generated with their first two studio albums, what transpires on Live in France may not only dazzle, but astonish. Recorded in five cities during their tour supporting 11:11, this 11-song set features nine performances of cuts from that album, and a solo improvisation each. The wah-wah pedal introduced on 11:11 is plentifully present here, used most effectively by Gabriela as a powerful rhythmic element on "Hora Zero" (written for Astor Piazzolla) and as a gnarly lead instrument on "Santo Domingo" by Rodrigo (written for Michel Camilo). "Gabriela Solo" begins with an intro to Jimi Hendrix's "Voodoo Chile," and indeed serves as an intro to the duo's beautiful performance of the tune dedicated to him, "Buster Voodoo." Hearing her percussive style, where intense polyrhythms are played on the wood of the instrument as much as on the strings themselves, is a mindblower. When Gabriela kicks the wah-wah pedal on, the entire track hits stun. "Savitri" (inspired by John McLaughlin and Shakti) combines tango, flamenco, and even Indian classical themes in a slightly different arrangement than the studio version. Rodrigo's fluidity is matched modally by Gabriela's seamless rhythmic interplay; she accents the ends of his lines with the beginnings of new ones. Here too, the wah-wah pedal makes a necessary appearance -- from both guitarists. Rodrigo's lead lines in the middle eight are as hefty as they are hypnotic. The reading of "Hanuman" (dedicated to Carlos Santana) highlights -- even more so than the studio version -- the deep commitment of its subject to Afro-Cuban music in his own approach to the guitar; knotty montunos and rumbas are sharply articulated in both the front line and in the rhythmic pulse. If you already have the studio recording and wonder whether purchasing this is necessary, the answer is simply "yes." The spontaneity, improvisation, and interaction between the audience and Rodrigo y Gabriela make Live in France a musical document that exists on an entirely different level than its studio companion.



Rodrigo y Gabriela - Live In France    (flac  347mb)

01 Hanuman 4:48
02 Triveni 4:29
03 Chac Mool 1:11
04 Hora Zero 5:52
05 Santo Domingo 5:56
06 Gabriela Solo 4:11
07 Buster Voodoo 5:26
08 11:11 5:16
09 Rodrigo Solo 6:32
10 Savitri 4:02
11 Tamacun 6:02

Rodrigo y Gabriela - Live In France   (ogg  170mb)

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From Re-Foc, their very first release in 2002, post-nuevo flamenco guitar duo Rodrigo Sanchez and Gabriela Quintero thumbed their noses at purist notions of flamenco. Having initially come from heavy metal, they wedded their new music to metal's pyrotechnics and the various folk styles of their native Mexico, creating a new genre in acoustic music. That said, Area 52 is unlike anything they have recorded before. The album began as simply an orchestral overview of tunes from their catalog to issue while they wrote new material, but it became something wholly other. Along with producer Peter Asher and arranger Alex Wilson (whose charts here are almost too fantastic to believe), they employed C.U.B.A., a 13-piece Cuban orchestra, and the diverse talents of several guests. Recording mainly in Havana, the duo, with C.U.B.A., set about completely reinventing RyG's songs. Take opener "Santo Domingo," with Los Van Van's Samuel Formell in the drum chair. Here, those acoustic guitars are augmented by strings, a whomping funky electric bassline, a full brass section, saxophone, and flute. They travel through fiery Afro-Cuban montunos and charging descargas wed seamlessly to their brand of flamenco. "Hanuman" features metal drummer John Tempesta in a frenetic son layered over flamenco before Santana-esque lead guitars and a full-fledged timba take the lead. Sitar great Anoushka Shankar helps out on "Ixtapa" by playing an illuminating solo amid the acoustic guitars and percussion section, before they force her to up the ante and improvise Latin style, touching on guaguanco. She responds fluidly and imaginatively; eventually, flamenco gets moved all the way over into salsa and Afro-Cuban jazz à la Machito! "11:11" highlights the gorgeous upright bass playing of guest Carlos Benavent (formerly of Paco de Lucía's group) and the chanted vocals of Carlota Teresa Noriega in call and response with the band. Sanchez's acoustic steel-string and electric lap steel guitar solos are delicious, too. The oud playing of Palestinian Le Trio Joubran on "Master Maqui" stands in contrast to Wilson's big horn charts (which are a dead cross between Gerald Wilson's and Tito Puente's). The ouds and guitars exchange fours and eights, getting kissed by a flute. Before things get too sweet, the horns blast in, ushering in a duel between ouds and guitars melding Middle Eastern and Latin musics. "Tamacun" reprises Tempesta on drums. It commences as a frenetic big-band flamenco with guitars, drums, and flute up front before things get whompy, and danzon and rumba make entrances and exits. While it would seem that nothing on Area 52 should work, it all does. What started out as simply an orchestral retrospective has become an entirely new Rodrigo y Gabriela album, one that showcases an even more startling range of musicianship. In sum, this album expands the very definition of musical collaboration.



Rodrigo y Gabriela y C.U.B.A. - Area 52 (flac  379mb)

01 Santo Domingo 6:31
02 Hanuman 5:33
03 Ixtapa 8:11
04 11:11 7:31
05 Master Maqui 5:13
06 Diablo Rojo 5:10
07 Logos 4:46
08 Juan Loco 4:09
09 Tamacun 6:55

Rodrigo y Gabriela y C.U.B.A. - Area 52  (ogg  151mb)

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Rodrigo y Gabriela's 9 Dead Alive is their first album of new material in five years. Written, arranged, and co-produced by the pair, they deliberately attempt to forgo the Latin influence in their music in favor of an all-rock (albeit still acoustic) approach -- which marks a return to their pre-recording roots in heavy metal. (That they don't entirely succeed is part of what makes 9 Dead Alive so compelling.) Each tune was composed for a different inspiration: authors, philosophers, activists, scientists, and a queen. The set was exquisitely recorded in Mexico by Fermin Vasquez Llera. There isn't a dull moment in these 41 minutes. "The Soundmaker," for 19th century luthier and guitarist Antonio de Torres Jurado, commences with Rodrigo's knotty riff and Gabriela's chugging rhythmic vamp. Two things are immediately apparent: that their collective playing style owes much to heavy metal -- where they came from before studying flamenco -- and, divorced from its bombast, metal is steeped in lyricism. "Torito," with its careening interscalar soloing and riffs, possesses some of Gabriela's most inventive rhythmic technique, slapping and frenetically strumming her guitar with controlled, yet passionate, aggression in dialogue and argument with his leads. Her cross-cut syncopations drive Rodrigo's attack and melodic inventions in "Misty Moses" (for Harriet Tubman), a tune that changes directions several times and shifts its central harmonic focus with dazzling clarity. "Somnium" (inspired by 17th century writer, feminist, and nun Sor Juana Inés de la Cruz) employs twinned, stacked melodies that move from allegrissimo to presto, and employ reverse arpeggiato, all the while overflowing with emotional resonance. On "The Russian Messenger," Gabriela creates a menacing rhythmic attack of palm slaps on the wood of her instrument, interspersed with slashing minor sevenths; Rodrigo counters with delicacy in a flurry of lithe single notes. On "Megalopolis" (for poet Gabriela Mistral), Spanish music comes shining through in gloriously articulated fingerpicking, doubled melody lines, and a narrative structure that recalls Spanish folk music. "La Salle des Pas Perdus (for Eleanor of Aquitaine) articulates musical themes from her "art of courtly love" era in the melody. The two guitars fluidly exchange tightly woven lines in nearly songlike interplay (here too, Anglo and Spanish lyricism entwine) before tempo and tension briefly increase, then dissipate elegantly. The dialogue that transpires throughout 9 Dead Alive is lively, eloquent, and actively intellectual, but it is also intimate. Between them, Rodrigo y Gabriela engage in musical and even cultural queries, and sometimes -- provocatively -- leave them wide open. This album evidences an expanded creative reach for the pair, even as it re-engages the sharp edges they displayed on earlier recordings.



 Rodrigo y Gabriela - 9 Dead Alive ( flac  246mb)

01 The Soundmaker 4:53
02 Torito 5:03
03 Sunday Neurosis 5:16
04 Misty Moses 4:39
05 Somnium 3:43
06 Fram 4:31
07 Megalopolis 5:01
08 The Russian Messenger 4:53
09 La Salle Des Pas Perdus 3:02

  Rodrigo y Gabriela - 9 Dead Alive (ogg   115mb)

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Nov 28, 2018

RhoDeo 1847 Aetix

Hello, let's face it if 'god' hadn't made such a mess of Adam and Eve the human race wouldn't be such a genetic mess, 5,000 genetic faults--you won't find such in nature, in short 'god' made a mess of it. Ironically you never hear the scientific establishment about this, but now one of their own decided to start to do something about it, all hell breaks loose. Prof Jiankui is ostracized for daring to take the first step, but let me tell you crispr-cas-tech will be in full use soon and it won't make headlines anymore......


Last weeks new beats found plenty of interest, reason to dedicate another full posting on the genre that gave rise to the xtc fuelled dance culture of the nineties...and onwards.


Today's artists are responsible for a style of Belgian underground music and subculture that fused techno and acid genres and flourished in Western Europe during the late-1980s. It is a type of electronic dance music and electronic body music that was played at a slower speed and influenced the evolution of industrial dance music. ......N'Joy

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New Beat is the music that ruled the dancefloors of Belgium during the period of 1988-89, and produced a number of classic tracks which reached alternative dance clubs world wide. New Beat is unquestionably one of the most exciting developments in the history of electronic dance music; however, aside from certain DJ's and die-hard followers, most of this music remains totally unknown. This is a situation we would very much like to change, for when it comes to originality, atmosphere, and just plain butt-kicking impact, this stuff blows away a lot of the other music of that time.....

The European new beat sound originated in Belgium in the late 1980s, especially in 1987 and 1988. It was an underground danceable music style, well known at clubs and discos in Western Europe. It is a crossover of electronic body music (EBM, which also developed in Belgium) with the nascent Chicago-originated acid and house music. new beat is the immediate precursor of hardcore electronic dance music (at the time known as rave), which developed in Belgium, the Netherlands, Germany and elsewhere around 1990.

The genre was "accidentally invented" in the nightclub Ancienne Belgique (AB) in Antwerp when DJ Dikke Ronny (literally "Fat Ronny") played the 45 rpm EBM record "Flesh" by A Split-Second at 33 rpm, with the pitch control set to +8. In addition to A Split-Second, the genre was also heavily influenced by other industrial and EBM acts such as Front 242 and The Neon Judgement, as well as new wave and dark wave acts such as Fad Gadget, New Order, Liasons Dangereux and Anne Clark. Mega-nightclubs such as the Boccaccio soon made the genre a major underground success, that and the fact Vlamish clubs all night/early morning Beat parties, frontrunning what would become raves The enormous success caused a flood of New Beat samplers deep into the nineties.

Part of what makes New Beat so interesting is that it has no one distinct style, except where the beat itself is concerned. The predominant feature of New Beat is the slow, heavy, mechanical beat which averages about 110 beats-per-minute and often is much slower, especially in the early days of New Beat. This effect was often achieved by taking normally fast 45 RPM records and slowing them way down on the turntable. The content of the music varied wildly between different New Beat artists, but most tracks feature at least minimal vocals or vocal samples, which usually tended to be rather odd or tongue-in-cheek, sometimes even downright silly (although the purists among New Beat DJ's would play only the instrumental tracks).

The New Beat sound fuses together influences from many other types of music over its rhythms, including '80's technopop and cold wave, industrial, disco, world music, and later adding acid house and rave as well. As one might imagine this resulted in quite a variety of unique records. Some tracks could be very moody and dark, and many could also take a very playful and trippy approach to it. At its best, New Beat will hit you with a combination of solid, chugging beats and powerful (if somewhat strange) hooks that can become addictive, and also radiate a feeling of cold sensuality which in itself is very appealing.

The most commercially successful new beat groups were Confetti's and The Lords of Acid, which received heavy airplay on the MTV Europe show Party Zone. MTV Europe's VJ Steve Blame was a great fan of new beat, and through his position on MTV News, he promoted Belgium's new beat sound via his reports. A memorable novelty song was Qui...? (1989) by Brussels Sound Revolution, which sampled parts of a press conference speech by former Prime Minister Paul Vanden Boeynants after his kidnapping by the gang of Patrick Haemers.

Most of the early New Beat, and much of the best material that followed, came from two different threesomes of Belgian producer/artists on two separate (but connected) record labels -- the MSB (Morton-Sherman-Bellucci) team on Subway Records (which later became Subway Dance and then Dance Opera) and the trio of Praga Khan, Chris Inger (later replaced by Oliver Adams) and the very lovely and talented Jade 4U, who were responsible for much of the output on Kaos Records (also Beat Box International). Tracing the entire recording history of these people would be quite a chore however, since New Beat artists recorded their projects under a large array of different names. (synthesis may attempt this task someday, but anyone who feels equipped to undertake this mission on our behalf is more than encouraged to do so! In the meantime, don't worry because we've still got a lot of info for you in this file...)

The first significant spin-off genre of New Beat was a phenomenon known as Acid New Beat, a peculiar variation of the acid house sound in which the squiggly sounds and house beats were mutated into a harder, crunchier acid noise over a tough, cold New Beat rhythm. This was the domain of the Kaos label. As the hardness of the music increased and the acid content started to decrease it came to be known by a new name - Hardbeat. Another hybrid form emerged as rave music came to have an influence on the scene, turning it much further away from its roots with faster tempos and a more fluid techno sound. This collision of rave and New Beat was given the name Skizzo (a pun on the word "schizoid"!).

At this time New Beat was moving back into the underground in Belgium, and people in the scene stopped using the term altogether as rave-oriented sounds became the new frontier to explore. As it began to fall by the wayside New Beat was declared dead, and Belgian Rave was born. The overwhelming majority of New Beat products received little or no marketing in other countries, but carried along by the media juggernaut of rave culture Belgian techno finally made a huge impact on the dance scene all over the world, even though most people hearing it had no idea where it actually came from or of the interesting legacy of music that came before it. The Khan-Adams-Jade 4U axis have continued to be a dominating force, including further work with their pioneering New Beat project Lords Of Acid (whose second album bears an uncanny resemblance to My Life With The Thrill Kill Kult!). The once prolific MSB seem sadly to have disappeared from the music scene completely, however. Belgian techno definitely still rules(!) but it's unfortunate that things have gone so wholeheartedly in this one direction, for they really had something unique and important in the dance scene with New Beat. Due to its eclectic and sometimes unserious nature, and the fickle trendiness that afflicts rave and club culture in general, it's unlikely that these sounds will be making a big comeback; however, all you "alternative" DJ's out there should still be taking note of this stuff -- it's up to you to keep the underground alive!

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Old school Belgian Acid House from the late 80s. The beats are slow by modern standards and the music sounds dated but it is academically interesting. On musical terms, this blended into a music that had the dark beats & bass of the electronic body music (as was pioneered by front 242, a split second e.a.) and the playfullness and trance of early acid. With this renewed acquaintance with the genre, it struck me that new beat was much darker and "alternative" than I could remember. Moreover, it turns out that there was quite a bit of diversity within the genre : there is even little in common between included tracks. If you are a fan of electronic music or dance music, then the AB Sounds 'New Beat' CDs (Take 1, 2, 3, 4, and 5) are good to have.



  Various ‎– New Beat - Take 3 (flac  406mb)

01 101 - Rock To The Beat 5:32
02 Space Opera - Mandate My Ass 5:38
03 Miss Nicky Trax - Acid In The House 5:25
04 Spectrum - Total Recall 4:46
05 Zsa Zsa Laboum - Something Scary 5:04
06 The Project - Move It Baby 5:50
07 Mac Sample - House Inspector 5:56
08 New Beat Generation - Suck The Beat 3:18
09 Public Relations - New Beat Mind 5:16
10 Beat Professor - Beat Professor 3:36
11 T 99 - Slidy 5:12
12 HNO3 - Doughnut Dollies 5:04

 Various ‎– New Beat - Take 3    (ogg   152mb)

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 Various ‎– New Beat - Take 5 (flac  425mb)

01 Technotronic - Pump Up The Jam 5:21
02 Edwards And Armani - Acid Drill 5:26
03 Tragic Error - Klatsche In Die Hände 4:35
04 Major Problem - I Still Have A Dream 6:08
05 B-Art - Streetwise 5:05
06 Jade 4 U -  Rock It To The Bone 5:30
07 DNM - French Kiss 6:30
08 Cold Sensation - Ghostdance 5:28
09 101 - Move Your Body 5:11
10 Matt's Phantasy Club - Big T 5:33
11 Carol - Breakdown (Snowy Red 84 Version) 4:06
12 Mister Mixi & Skinny Scotty - I Can Handle It 5:25

 Various ‎– New Beat - Take 5  (ogg   156mb)

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This is a very nice collection of New Beat tracks. Some of the samples used here come from a British advertisement for condoms (at the end of "What's The Name"), from Janet Jackson (Gimme a beat! in "Take Her Down") and also from the 1974 cult movie, "Phantom of the Paradise" (It tells the story of a young man who sells his soul to the devil in "Vachillia").



VA - The New Beat Connection (flac  317mb)

01 The Maxx - Your Highness 6:00
02 Mistix - What's The Name 5:25
03 JC's Project - Andromedia 5:30
04 The Maxx - Cocaine 4:54
05 Cavemen - Boccasourus 5:37
06 Gang Of V.D.P. - Body Heat 5:25
07 Dr. Phibes - Acid Story 4:40
08 Basic Two - Face To Mecca 5:13
09 War People - Take Her Down 4:27
10 Dr. Phibes - Vachillia 5:36

VA - The New Beat Connection   (ogg  133mb)

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 VA - The New Beat Connection - The Second Album    (flac  290mb)
 
01 The Maxx - Techno Time 4:20
02 Highstreet - Revolution 4:07
03 Export - Action In Paradise 3:06
04 Ivan Markewitch - Stalingrad 4:55
05 The Flash - Master Flash 4:31
06 Export - Pearl Harbour 4:40
07 The Maxx - The Party Is Over 5:02
08 Cheick Madani - Laya Habibi 4:45
09 Ballroom Bits - Orient Express 3:22
10 Pino D'Angio - Ma Quale Idea (Sample Version) 4:12

 VA - The New Beat Connection - The Second Album     (ogg  114mb)

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Nov 27, 2018

RhoDeo 1847 Supernatural 7

Hello, 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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James Brook taught for a while, then became a commercial rep selling building fixing devices, and then decided to try writing, supporting himself with any old job going. Taxi driver, burger bar, digging gardens, labourer - did quite well with that: ended up in charge of the dumpy level. Finally had a breakthrough into radio with 'Cerdic and the outside world,' a comedy. For the next ten years or so there was a steady stream of plays, all for the radio, ranging from comedy to serious drama to supernatural thrillers, finishing with 'the hitman', a comedy, which was actually taken up by French's acting editions; so a couple of times he's had the pleasure of seeing his work on the stage. There was one TV play, a 'second city first' which sank without trace. Having given writing a good bash and not making it out of bedsitter land, James went into IT, finding it a much more comfortable, logical world, with way better money. Married, three kids, has recently become interested in gardening, whatever that implies.  .   . . ...... N Joy

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Max comes across an old Ouija board in a junk shop, He and his wife Julie decide to invite their friends Hugo and Pat to see it; it is not long before they decide to hold a seance. and they find themselves drawn into an unnerving relationship with Jonas, who has been dead for nearly a hundred years. The board spells out a message that one of them will die in the following week.

The next day, an Indian calls on Julie, and tells her a strange story about a malevolent spirit - Jonas.

Wait for the last twist in the final minute.



Cast:

Julian Holloway as Max Brown
Anna Cropper as Julie Brown
John Rye as Hugo Stevens
Prunella Scales as Pat Stevens.
and David March, Mohammet Asif and Carole Boyd

Director and producer Ian Cotterell


JCW Brook - Jonas ( 60min mp3  60mb)

Two couples innocently toy with a ouija board and find themselves drawn into an unnerving relationship with the spirit of Jonas, who died a century before. Ah yes toying innocently with a Quija board what could go wrong....

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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)

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Nov 26, 2018

RhoDeo 1847 Re-Up 165

Hello, hardly any requests this week but that's ok

2 correct requests for this week, and 1 outstanding , whatever another batch of 13 re-ups (4,2 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 November 24th... N'Joy

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5x Sherwoods Back In Flac (Looplizard - Into the Sun, Ministry - Twitch , Primal Scream - Echo Dek,  Medium Medium - Glitterhouse, Suns of Arqa - Revenge of the Mozabites)


4x Aetix Back In Flac (Dislocation Dance - Music Music Music, Dislocation Dance - Midnight Shift, Dalek I Love You - Dalek I Love You, Danielle Dax - Dark Adapted Eye)


4x Sundaze NOW in Flac (Angelo Badalamenti - Mulholland Drive, Angelo Badalamenti - O.S.T. Secretary ,  Angelo Badalamenti - O.S.T. Dark Water, Badalamenti & Lynch Archive part 6 )


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Nov 25, 2018

Sundaze 1847

Hello,


Today's Artist is the musical project of Katsuhiko Maeda, whose work blends elements of electronic, classical, and post-rock music.......N'Joy

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At the age of 10, he was inspired by his father's collection of classical music. Not much is known about him or his background, he generally seems to avoid publicity, which has ultimately made him a rather mysterious character. His love for classical music -- which already started at the tender age of 10 -- is fairly evident when listening to his surprisingly challenging albums. He was already composing music with guitars and keyboards at the age of 13 and apparently hasn't stopped ever since. The music of World's End Girlfriend defies categorization. It combines countless ideas and genres together quite effortlessly, resulting in a weird, but exciting musical world. In this world, you can find post-rock, modern classical music, electronica, all presented in a tasteful fashion. The clichés of the genre are thankfully missing, and there's one thing you can be sure of; World's End Girlfriend will not let you rest on your laurels; he will always keep you on your toes as the music often takes drastic changes in direction without any warning.

Some artists are authentic masters of human emotion. They are able to tug at the heart, weaken the knees, and bring out the tears of even the most emotionally impassive individuals. Katsuhiko Maeda is one of the most accurate contemporary examples of a musician who excels in this craft. With a fanbase that stretches from his native Japan to the United States, his primary project, World’s End Girlfriend, has pleased the masses for seven years with its incorporation of orchestral post-rock and experimental electronica. Nearly a household name in Japan with his multi-instrumental prowess, Maeda is hardly the embodiment of a conventional songwriter. His incorporation of classical music, avant-garde production, and tumultuously layered samples is hardly the norm for an internationally reputable musician. Whether or not his cultish fan following is most impressed by his instrumental grasp or immaculate songwriting ability, there is one aspect of World’s End Girlfriend that remains quite certain. There is no other conscientious artist in activity that crafts music in the same distinctive style as World’s End Girlfriend.

Barring a few vigorous transitions in the demeanor of song production, Maeda’s stylistic flow has remained nearly the same throughout his career. Including his collaboration with Japanese post-rock veterans Mono, Maeda’s releases have been a vigorous display of his trademark tendency to present songs in a cloud of unpredictability and ceaseless turbulence. Always keeping the listener on edge, Maeda has proven that, at any moment, he can transform of an instrumentally tranquil setting into a scene of abrupt chaos  Maeda’s typical instrumentation bursts with pianos, strings, upright bass, and most orchestral instruments imaginable, occasionally laced with sound effects in the feverish vein of a door quickly closing shut, the scream of a child, or the laughter of a deranged madman. However, when Maeda shines brightly in his occasional spots of instrumented placidity, he echoes the more classic works of Ryuichi Sakamoto, yet another famed Japanese musician.

A cinematic feel is one of the trademarks of Maeda's detailed compositions (which is hardly surprising in this field of music), but it's a tad more orchestrated than the average post-rock act. His music has been featured in the Go Shibata directed film Late Bloomer (2004). He also composed the soundtrack to Air Doll, a 2009 movie by award-winning director Hirokazu Koreeda and scored the 2011 Taiwanese-Chinese film Starry Starry Night.
Another characteristic of Maeda’s work that continues to impress is his ability to produce songs that render a variety of moods and emotions. There are few artists who can make a human being as overjoyed, ardent, or terrified as Katsuhiko Maeda through the sheer art of music.

World's End Girlfriend has performed live in Australia, Belgium, France, Germany, Netherlands, Hong Kong, Italy, Korea, Macau, Spain (twice at the Sonar festival), Switzerland, China, Taiwan, UK and the US. He did a 32 date tour of North America with Mono in 2007, with whom he also made a collaborative CD. In 2010 World's End Girlfriend played shows in Taipei, Hong Kong, Shanghai and Beijing.

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Katsuhiko has so many faces, so many faces and metamorphoses, and all are so different, honestly, this is Maeda's darkest work, despite the rather majestic title. There's never a moment of bright and rising beauty in this album. No awe-inspiring crescendos, or anything like that. It's just somber and downtrodden the whole way through. Good luck listening to "Nobody Comes Ghost Goes" without thinking about joining a suicide club. Anyway, as collages go, this one never stops building...



Worlds End Girlfriend - Enchanted Landscape Escape   (flac  349mb)

01 Yesterdays Light Circus 13:26
02 Breath Cannon Escape Wall 4:59
03 Old Winter Ferris Wheel 7:22
04 Lover Teresa Dead Field 1:39
05 Falling Marble Chair 6:14
06 Sheep Creep 3:41
07 Shine Hill in the Palm 1:51
08 Sleeping Under the Rainbow 5:59
09 Purple Ripple 4:10
10 Snow Crystal Lake 2:10
11 Rain Prayer 6:48
12 Grandfather Clock Heart 7:16
13 Good Morning Hellwalker 1:17
14 Wanderland Falling Today 6:47

Worlds End Girlfriend - Enchanted Landscape Escape  (ogg  168mb)

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Everything you hear in this album is made by Katsuhiko Maeda; The compositions, the instrumentation, you name it. He may well be one of the best unknown modern composer of our times and there aren't many people that know of him or his works. The Lie Lay Land pretty much speaks for itself. It's post-rock like no other and it stands out aside from the bunch. The first time you listen to this album you won't even recall it being post-rock at all. It truly defies categorization. Derivative is a word that doesn't fit in World's End Girlfriend's context. But enough about that, let's talk about the album

The first thing noticeable is that Katsuhiko Maeda plays a wide variety of instruments even more so than previous World's End Girlfriend releases so it's very well orchestrated. The album also has an excellent mixture of electronica effects and more heart warming instrumentation. As I already mentioned in my review of Farewell Kingdom by them, they don't rely much on guitars as other bands. The guitar here has the same roll as the trumpets, horns, pianos and all other instrument played. It's also a pretty demanding album to listen to. It's rather unpredictable and you won't know what to expect next while listening to it, but that doesn't detract the beauty of it or the flow of the album, instead it makes it more demanding and engaging to listen to and it will keep you coming for more. Another great improvement in their sound is that none of the songs sound alike. Every song develops in its own distinct way. One of the best way to describe the atmosphere of this album is dreamy. I don't think there isn't an album that fit this description as well as this album except for Sigur Rós' Agaetis Byrjun, but they sound NOTHING alike so be warned. The album has a mystical feel to it as well. From the name of the album, cover, song names (Garden In The Ceiling, Unspoiled Monster, Phantasmagoria Moth Gate) to the actual sound and cinematic feel, The Lie Lay Land produces wonderful movie-like images of wonderful and surrealistic places that you will only find in dreams and movies. Plus the emotional factor of their melodies makes it all even more wonderful to listen to.



Worlds End Girlfriend - The Lie Lay Land  (flac 427mb)

01 Phantasmagoria Moth Gate 6:00
02 We Are the Massacre 5:45
03 Satan Veludo Children 8:39
04 Garden in the Ceiling 6:39
05 The Owl of Windward 5:20
06 Scorpius Circus 10:17
07 Song Cemetary 3:27
08 Give Me Shadow, Put on My Crown 12:02
09 Black Hole Bird 14:06
10 Unspoiled Monster 6:30

Worlds End Girlfriend - The Lie Lay Land     (ogg  167mb)

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Hurtbreak Wonderland avoids sounding mournful and instead relishes in hallucinative fantasy, conjuring an Alice in Wonderland type of narrative as suggested by the astounding cover art. The songs here are instrumental but are far removed from conventional rock dynamics, opting for wild pairings of melodic strings and intense electronic beats, creating a swirling experience similar to the work of Venetian Snares. Songs like “Birthday Resistance” and “100 Years of Choke” move from pleasant, classically inspired compositions into bombastic freak-outs, creating dramatic transitions that are often dizzying in their execution. Most of the album carries on in this fashion, as gorgeous piano, harp and brass fills are layered over the vivid drum and bass patterns.

Hurtbreak Wonderland is a beautiful and original record that clearly breaks new ground in the post-rock genre. The cornucopia of instruments and noises used here leaves plenty of room for continued exploration. In short, WEG has created a deep and dreamy effort that begs for multiple listens.



Worlds End Girlfriend - Hurtbreak Wonderland  (flac 399mb)

01 Wandering 1:49
02 Birthday Resistance 5:23
03 100 Years of Choke 13:22
04 Grass Ark 10:14
05 Ghost of a Horse Under the Chandelier 7:56
06 The Octuple Personality and Eleven Crows 10:32
07 Breath or Castle Ballad 3:15
08 Bless Yourself Bleed 10:32
09 Dance for Borderline Miscanthus 4:39
10 River Was Filled With Stories 10:13

Worlds End Girlfriend - Hurtbreak Wonderland   (ogg  165mb)

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This isn’t what Katsuhiko Maeda should be doing, he kind of got rid of everything that made people interested in WEG to begin with, it is not a bad record but it is a bit too bland, soundtracks do have their limitations because they cannot distract from the movie. There are plenty of slow, beautiful and relaxing passages to be found in his previous output. This album consists solely of such passages. It also introduces another quality previously unknown to  World's End Girlfriends output, it can become boring. The glitches, the twists, the sudden chanches in speed and volume, the whole orchestral and electronic madness, everything that made World's End Girlfriend one of the most exciting artists of this decade is missing. It is a beautiful soundtrack nontheless and it probably works well with the movie.



Worlds End Girlfriend - Air Doll OST   (flac  341mb)

01 Wake Up With The Wind
02 The Day Of Birth
03 Grant The Prayer
04 Umbrella
05 The Slope Of The Cavity
06 Reflect The Light Shadow
07 Intersection
08 Colors Of The Adventure
09 Records Revisited
10 Road
11 Dream Birthday
12 For Scattered
13 Wazu Rain
14 Is A Little Trot
15 Into The Water
16 100 Years Of Choke
17 Days Is The Question
18 Some Answers
19 Wind Recurrence
20 Breathing
21 Water Line

Worlds End Girlfriend - Air Doll OST  (ogg 123mb)

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And as a bonus, Air Doll the movie, but it comes with a warning; you might never look at blow up dolls or people that use these the same way again.


Korean actress Bae Doo-na is superb in Japanese director Hirokazu Koreeda's Air Doll, it's based on the Japanese manga The Pneumatic Figure of a Girl and tells the story of a life-size inflatable doll used as a sex object for a lonely waiter who finds a heart and becomes a real person. A deep, thought-provoking, beautifully filmed, and well acted piece of Japanese cinema. Bae Doona is magnificent as an inflatable doll that develops a soul and falls in love. Hirokazu Koreeda wows once again with his deliberate film making, effectively commenting on social problems dealing with urban life.


Hirokazu Koreeda  - Air Doll (mp4  865mb)

New version up with English Spanish and Italian subtitles available now

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Nov 23, 2018

RhoDeo 1846 Grooves

Hello, these last weeks we've had acid jazz from New York, London and today we're in.. Tokyo


Tonight's Artists are an acid jazz and funk group formed in 1990 in Tokyo. the trio quickly emerged as a leading force on the Tokyo underground club scene, making their recorded debut the next year, becoming a cult favorite on club circuits ranging from London to Hamburg to New York City.. . .....N'Joy

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United Future Organization's biography google-translated from their website

In 1990, formed by Naobu Yabe, Rafael Severg and Toshio Matsuura.  Establish the cornerstone of the creation period of club culture in Tokyo.  We will try not only to act as a DJ but also actively and multilayered development.  Since announcing the 1st single in 1991, its momentum spreads globally and 5 original albums are released in 32 countries, winning high trust and appreciation both in Japan and abroad.  In 2002, although Toshio Matsuura withdrew, activities diversified further, and its trend has been drawing attention.  (jun./2005)

1991 - 1st single "I LOVE MY BABY (MY BABY LOVES JAZZ)" announced, chart in English UK music magazine Starting the event "JAZZIN '" in Shibaura's now now  About 11 years in Nishi Azabu moved to Aoyama ~ Shibuya from the 12th year of 2003, and still boasts high popularity and attracting customers for 15 years as a regular event hosted by UFO  )
1992 - 2nd Single "Loud Minority" announced Paul Bradshaw who gets tremendous support and trust among music people all over the world, becoming a topic in the top of the chart with FM RADIO music magazines from around Europe  Awards "planet · jazz · award" of "STRAIGHT NO CHASER" magazine serving as editor in chief

1993 - Togin 'Loud label presided over by Giles ___ Peterson with a contract with a label (now Universal Music) and making a major expansion in the world wide with a hand with the contract with the label "DJ selection"  Home prize "" Best Club Award "double winning, the first album" United Future Organization "decorating the cover of Billboard magazine, will be released in 29 countries worldwide (ex: David Burn of Talking Heads"  In 1993, he selected the same album as "Album Best 10", announced the workshop album "MULTI DIRECTION" that produced the same year, Kyoto Jazz Massive, Nobukazu Takehura, Cool Spoon, Soul Bossa Trio etc.  The album is also a dance chart in the UK 's "NME" magazine that gets a high reputation as a producer  Produce open the Minami-Aoyama "blue" as a resident DJ plays the first chart in as Npi Configuration album

1994 - 2nd album "NO SOUND IS TOO TABOO" announced Former invitation from US prestigious label and Contract NY to New Music · Seminar Participate in major European cities such as UK, France, Germany and Austria  In the same year, participating in a campaign album "RED HOT + COOL" with the message of eradicating AIDS the same year, the same year, "STOLEN MOMENTS" of the same album recorded will be appointed for album titles as well, get a high reputation

 1995 - Single "COSMIC GYPSY" announced Australia, after going through the United States ~ Canada and finishing a tour with the final tour in London In the final London, playing with MINISTRY OF SOUND which is the largest club in Europe at that time Play MILO (ex:  Workshop album "MULTI DIRECTION" which produced many newcomers together with Takemura Yamato, Audio Active and etc. Produced the second volume for the first time in 2 years from the first announcement in 1993 In the same year, video clip  Collection "THE SCENE" announced
 1996 - The single "THE PLANET PLAN" was announced at the coupling with the movie music "MISSION IMPOSSIBLE", the same song is also used for commercials such as Durban (1999) in Japan, Harpy (1998) overseas, Ridge Racer 4 (1999)  Furthermore, a remix board of "LOUD MINORITY" (announced in 1992) was announced in the UK, Japan, and it was used also for the CM of Ford Company in Europe, etc. and got a topic, 3rd album "THE 3rd  PERSPECTIVE "announced

1997 - Announced remix album "SPICY RIMIX" (Carl Craig / JAZZANOVA / DJ DAI / DIMITRI etc. appointed as a remixer) Following the release in Europe and the United States, it has drawn 40 world tours world tour there,  We added a variety of remixes by Fila Brazilia, King Brit, Tanaka Fumiya, Ken Ishii and others including the Jazz Festival (Montreux / NORTH SEA / Montreal etc) and the Glastonbury Rock Festival, and the best record "Now and Then"  Presentation

1998 - Naobi Yabe announced MIX CD "CITY LIGHTS" Participated in opening ABSOLUT VODKA's website, which is responsible for music supervision with DJ SPOOKY and COLD CUT at the same time Portable CD player <  LOOPMASTER UFO Model> (PIONEER) produced By this time, collaboration with Simon · Taylor (TOMATO / London), CASIO to present a digital watch of UFO model from CASIO, such as presenting creative talent in various fields beyond music  , Other CASIO mobile personal computer CASSIOPEIA "FIVO" produced a CM song

1999 - 4th album "Bon Voyage" announced Single cut "Flying Saucer (Featuring Dee Dee Bridgewater)" also actively develops as a hit remixer mainly in NY club scene Incognito (Mercury - Japan, Talkin 'Loud -  While working on artists such as Jackson 5 (Motown, Kitty Japan), SNOWBOY (UBIQUITY - San Francisco), Small Circle Of Freinds (Kitty Japan), M - Flo (Avex - Japan), Sagawa Express CM song production  And SEGA DREAM CAST "Space Channel 5" Sound Track remix etc.

2000 - Playing on large scale events such as Spain , Los Angeles , Czech Republic etc. which launches a monthly event in the large club in London also gained popularity.
2001 - Single "Listen Love" is announced (Jeffery Smith is a vocal and it becomes a topic) Also as a remixer - Art Konik (COMET RECORDS, FRANCE), Dzihan and Kamien (Couch Records, Austria), Stratospheric (Internal Bass,  UK), domestic artists AKIKO, Hirai Ken etc remix
2002 - Announcing the long-awaited 5th album 'V (Five)', taking a European tour over Britain, Denmark, Sweden and Germany, who receive high praise at home and abroad NHK hosted, full-scale jazz by Herbie Hancock General Producer  Naohi Yabe appears as the only DJ in the first memorable tournament of the Festival (Urawa International Stadium)

2003 - Participated in the Paris collection of Yohji Yamamoto / Y's, and with this, Porsche Design sponsored party, which will serve as music director for men's / women's show in Florence in Paris, 2005
2004 - Start monthly party at Hong Kong 'kee club' Roppongi Hills 52F Organized Lounge by J - WAVE Award ceremony music award ceremony of the Roofong Hills Poolside party of the awards ceremony of hotel · New Otani

2005 - FM Tokyo 35th Anniversary Party (Takanawa Prince · Hotel) Released "UFO LOUNGE" from Rambling Record At the film festival held in Portugal, he was highly acclaimed to command the cinema concert playing music in silent movies in real time  .  The movie chosen here was Yosunari Kawabata 's first screening in the world and was a "crazy one term" (a work of Taisho in 15 years) that wrote the scenario, at the end of the year, the 15 th anniversary of UFO formation together with DJ KRUSH Tokyo /  Celebrating big in Kyoto / Osaka tour

2006 - Produced "TIGHT" (VOL.14) for the first time from a different genre in popular MIX - CD series of hip - hop series Preliminary invitation from Poland (Warsaw) Omotesando Hills Official sessions organized by VOGUE magazine &  Party "UFOs for REAL" (SCENE 1 - 3) entitled Released all the songs of the past work releasing the best of 3 simultaneous releases

Currently,
Regular party "JAZZIN '" celebrating 15 years as a resident DJ in Japan, SHIBUYA FM (78.4 MH), YOKOHAMA FM SALUS (84.1 MH), FUKUOKA TENJIN FM (77.7 MH) as a regular radio program, weekly on the United Future  Organization presents Rolling around the RADIO "Lush Hour" etc. and other major parties, acting actively, etc., the offer from overseas has been growing year by year, and not only London, but also Milan, Stockholm, Helsinki, Los Angeles,  Make full-fledged overseas activities such as Toronto. I am producing music for Venezuela's high-end rum sake




Pioneers of the Japanese acid-jazz sound, the United Future Organization comprised Tokyo club DJs Tadashi Yabe, Toshio Matsuura and French expatriate Raphael Sebbag. Joining forces in 1990, the trio quickly emerged as a leading force on the Tokyo underground club scene, making their recorded debut the next year with the 12-inch "I Love My Baby (My Baby Loves Jazz); " "Loud Minority/Moon Dance" followed in mid-1992, becoming a cult favorite on club circuits ranging from London to Hamburg to New York City. UFO's debut LP Jazzin' 91-93 appeared that September, the same month the trio made their triumphant British debut at London's Fridge club; an American record deal was not forthcoming until 1994, however, with a self-titled collection appearing on Verve Forecast. No Sound Is Too Taboo followed in 1995, with United Future Organization resurfacing in 1997 with 3rd Perspective. In 2000 the trio returned with the album, Bon Voyage on Instinct.

One of the three original founding members, Toshio Matsuura, left the group in 2002 to work with Universal Japan on a remix album project.

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Drawing from the sounds of a high-on-dope chilled out jazz bar, laid back modern poetic rap, "Yello" style electronic music and the frenetic frenzy of a latin-american style percussion, UFO manage to create an engaging musical journey that you will want to take again and again. This is music to be seriously cool to.



  United Future Organization - Jazzin'     (flac  266mb)

01 Nemurenai (Insomnie) 5:29
02 Moondance (Moon Rappin') Feat. Claudia E.H. 5:15
03 Moondance (Moon Chant) Feat. Abigail Grimsel 5:57
04 I Love My Baby (My Baby Loves Jazz) 6:42
05 I Love My Baby (My Baby Loves Jazz) (Norman Cook & Ashley Slater Remix) 3:53
06 Loud Minority (Radio Mix) 4:53
07 Dig That Beat 6:15
08 Nemurenai (Insomnie) (Instrumental) 5:24

United Future Organization - Jazzin'   (ogg   107mb)

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For one of the most consistently inventive groups in mix culture, United Future Organization's debut falls way too close to the aural wallpaper zone. The influences -- cool jazz, light funk, and Brazilian percussion -- stand out as separate entities rather than meld together, and the rhythms are usually surprisingly static for a group predicated on making dancefloor denizens move. "The Sixth Sense" and "L.O.V.E" are dragged down by dull drumming before the Brazilian "Upa Neguinho" injects a bit of rhythm life. The songs centered around samples of beat icon Jack Kerouac and vocal jazzhero Jon Hendricks fare well, but elsewhere the repetition too often is just boring rather than pulling you into a groove. Only the Parisian cabaret accordion and Monday Michiru's vocals on "My Foolish Dream" and the breakout finale, "Off Road," really register strongly. United Future Organization is still obviously fitting the pieces of their sonic puzzle together and it shows in the timid, tentative mix as much as the music. From the evidence here, you wouldn't have expected the group to be capable of the quantam leap to No Sound Is Too Taboo -- but United Future Organization did just that.



United Future Organization - United Future Organization     (flac  274mb)

01 The Sixth Sense 7:06
02 On Est Ensemble Sans Se Parler-L.O.V.E. 5:01
03 Vinyl Junkie 5:39
04 Upa Neguinho 4:22
05 I'll Bet You Thought I'd Never Find You 7:50
06 Poetry And All That Jazz 5:36
07 Be Here Now 3:02
08 My Foolish Dream 6:01
09 Off Road 2:51

United Future Organization - United Future Organization (ogg   111mb)

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Featured on 1994's Red Hot and Cool compilation, the Japanese production trio UFO heads a loose collective of musicians and vocalists present here. Jazz, R&B, trip-hop, Spanish, Caribbean, and Brazilian rhythms all appear in one form or another; surprisingly, these disparate elements flow well through the course of ten songs.



United Future Organization - No Sound Is Too Taboo   (flac  316mb)

01 United Future Airlines 4:48
02 Magic Wand Of Love 6:22
03 Stolen Moments 5:21
04 Future Light 5:58
05 Make It Better 5:33
06 Sunday Folk Tale 6:17
07 Mistress Of Dance 4:25
08 Bar-F-Out! 5:00
09 Doopsylalolic 4:38
10 Tears Of Gratitude 5:35

United Future Organization - No Sound Is Too Taboo (ogg   125mb)

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Nov 22, 2018

RhoDeo 1846 Roots

Hello, .

Today's artists are a Mexican classical guitar duo whose music is influenced by a number of genres including nuevo flamenco, rock, and heavy metal. The duo's recordings consist largely of instrumental duets on the flamenco guitar. Currently residing in Mexico City, they began their career in Dublin, Ireland, during an eight-year stay. They have released five studio albums, three live albums and one EP..   ......N'Joy

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Rodrigo Sánchez (born 1974) and Gabriela Quintero (born 1973) grew up in middle-class families in Mexico City. Their parents listened to flamenco, jazz, and rock music, but they were both exposed to heavy metal, like Metallica, which proved influential to Rodrigo and Gabriela. Rodrigo and Gabriela met at the age of 15, at 'la casa de la cultura' (House of Culture) in Mexico City, where Rodrigo's brother was the director. Quintero was in a drama class and at the suggestion of his brother, Rodrigo met up with her. She remembers "this 15-year-old boy there, dressed in a black ... with messy hair. Yet he was different to the other metal-heads his age: he seemed very serious and didn't drink or smoke". The two bonded over their interest in music and they soon became a couple.

Before they became the most visible flamenco duo of the early 2000s, guitarists Rodrigo Sanchez and Gabriela Quintero had bonded over heavy metal while growing up in Mexico City. They combined their talents for a time in the metal group Tierra Acida, playing around D.F. in the roughest clubs the city had to offer. Though they recorded some material, Tierra Acida never hit it big, and an album was never released. Instead, Sanchez and Quintero concentrated on learning more guitar styles, teaching lessons during the day and playing bossa novas in hotel bars at night. Bored and frustrated with their chances in the Americas, the two decided to try their luck in Europe instead.

Rodrigo y Gabriela traveled to Dublin, where a friend had offered them a place to stay. The musicians spoke no English, carried little money, and upon their arrival found that their offer of European hospitality had vanished. The pair soon turned toward busking on the streets of Dublin, a move that enhanced their reputation and helped land them several contacts. Among their newfound friends was fellow busker Damien Rice, who soon asked them to accompany him on tour. He also introduced the duo to Niall Muckian, who became their manager. In the first half of 2001 they recorded a 9-track demo called Foc of their own material supplemented by some covers, also featuring an appearance by Zoe Conway.

As interest in the band grew, it was decided to re-record the songs on the demo as re-Foc in 2002 with a number of friends, including Lisa Hannigan who provided vocal stylings and Conway, who by now also was a feature of the live set-up of the duo. The album appeared on Muckian's own Rubyworks Records as he found that "because it is all instrumental, we found it hard to get major-label interest or any radio-play, so I put it out myself". As interest grew, the duo were offered further support-slots, which resulted in an eight-track live-album recorded in Dublin and Manchester, released in 2004

Rodrigo y Gabriela became the newest fixture of the world music circuit, known for their nimble-fingered guitar work and diverse background (few flamenco guitarists could boast a background in metal music). Their third album, Rodrigo y Gabriela, was released in 2006 and debuted atop the Irish charts, beating out Arctic Monkeys for the number one spot. The album was produced by John Leckie, includes covers of Led Zeppelin's "Stairway to Heaven" and Metallica's "Orion". The duo lists Metallica as being among their key influences, alongside other heavy metal bands, the other tracks are original works inspired by the places they have been and the people they have met.


The duo had their national American TV debut on Late Show with David Letterman on December 18, 2006, performing "Diablo Rojo". Their song "Tamacun" featured in the pilot episode of AMC's Breaking Bad in January 2008. They continued to tour, making their way through Japan (as evidenced by their second live album, Live in Japan) and America. Their feature on MTV gave them a huge boost in popularity in the United States. This led to a feature on Nightmare Revisited, a tribute album to Danny Elfman's music from Tim Burton's The Nightmare Before Christmas. The duo performed an instrumental version of "Oogie Boogie's Song."

They released a new album, 11:11, in September, 2009. Alex Skolnick of Testament guests on the album, as do Strunz & Farah. Upon the release of the new album, they received much mainstream American popularity and were the featured music on Monday Night Football on October 12, 2009, as they celebrated Latino Heritage Month. Their song "Santo Domingo" was chosen as the Starbucks iTunes Pick of the Week for November 10, 2009.

On January 20, 2011, Rodrigo y Gabriela entered the studio with Hans Zimmer to write and record sessions of the score from Pirates of the Caribbean: On Stranger Tides. The soundtrack was released on May 17, 2011, three days before the film's general release.On July 25, 2011, Rodrigo y Gabriela released another live album entitled Live in France, a document from the 11:11 tour that, like the studio album, mixed Rodrigo y Gabriela's dazzling nylon-string guitar chops with electric six-strings for a dueling shredfest.

Since their inception, the pair had always envisioned working in Cuba. They recruited pianist and arranger Alex Wilson to come up with charts for a new set of songs. Wilson and the duo worked out a set of tunes, rhythms, and charts in three days in Mexico City, then Wilson went on to Cuba to hire a band. From June through September, the duo recorded with Wilson and C.U.B.A. (Collective Universal Band Association) in Havana, with producer Peter Asher. A number of special guests joined the proceedings as well, including Anoushka Shankar, flamenco and jazz bass legend Carlos Benavent, former Testament and White Zombie drummer John Tempesta, Le Trio Joubran, and Los Van Van drummer Samuel Formell Alfonso. The resulting album, Area 52, was released in January of 2012, and the duo toured the globe in support. They were the subject of an Alejandro Franco documentary film on their formation and early years entitled For Those About to Rock: The Story of Rodrigo y Gabriela, which debuted at SXSW in March of 2014, just in time for their next studio album, 9 Dead Alive, which appeared in April.

Both Rodrigo and Gabriela play Yamaha NX series electro nylon string guitars exclusively. Rodrigo plays the slimmer neck NTX1200 and Gabriela plays the more traditional sized NCX2000 and NCX1200.

The pair dated for many years before ending their relationship (but not their musical partnership) in 2012. "We're now better friends by far," said Quintero. "We no longer behave like 15-year-olds and it's allowed us to grow up." They both live a vegan lifestyle and support animal rights


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In the first half of 2001 they recorded a 9-track demo called Foc of their own material supplemented by some covers, also featuring an appearance by Zoe Conway.



  Rodrigo y Gabriela - Foc   ( flac  366mb)

01 Foc 3:58
02 Georges Street 3:48
03 Temple Bar 4:26
04 Syf 4:02
05 Amuleto 3:32
06 Paris 3:25
07 30 De Marzo 4:28
08 Stroget 4:54
09 Sangre Y Ritmo 3:38

 Rodrigo y Gabriela - Foc   (ogg    92mb)

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re-Foc is the first widely available album by Mexican guitar duo Rodrigo y Gabriela, released in 2002. Some songs are re-recorded versions of those that appeared on Foc, a 9-track demo put together by the band in April/May 2001. The demo was "recorded at home, without microphones - everything was played through the guitar pick-ups. This meant that some of the percussion on the strings sounded very quiet". Others were written for the album, which features contributions from the violinist Zoë Conway and bodhrán player and percussionist Robbie Harris.



Rodrigo y Gabriela - Re-Foc    (flac  255mb)

01 Diem 4:51
02 New One 6:10
03 Foc 5:39
04 Georges Street 2:24
05 The Tartar Frigate 1:55
06 30 De Marzo 4:15
07 Paris 3:52
08 Take 5 (Foc-ing Version 9) 6:44
09 Temple Bar 4:28

Rodrigo y Gabriela - Re-Foc   (ogg  107mb)

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For those not already acquainted with Rodrigo y Gabriella, this album smacks you right in the face from the first instance with what you're letting yourself in for. Within the first few seconds, it becomes very apparent that here are two hugely talented guitarists with a different take on flamenco that probably anything you've heard before. The album was recorded by the duo on minidisc and then later transformed into this sublime album during two of their gigs having moved to Europe. At the beggining of the second track, the pair's past is explained a little (and expanded on during the hidden track at the end of the album) before a unique rendition of Metallica's One. However, midway through the track, the classic heavy metal track transforms into an equally-classic jazz number - Dave Brubeck's Take Five. It is here that Rodrigo y Gabriela really shine.

Every track exudes style, substance and passion in a way that only Spanish flamenco can and in a way that has introduced so many listeners unaccumstomed to a new genre. The first half of the album (recorded in Manchester) is simply the pair playing together, although you may struggle to believe it by simply by listening, such is the magnificence of Gabriela's rhythm guitar incorporating some spectacular drumming into the numbers. For the Dublin section, they are joined by some fantastic violinists, adding further to the mix of classical music on offer here. I would defy anyone not to be impressed by what is on offer and many that are caught by this album then explore the genre and artist further; surely there can be no greater compliment than that.



Rodrigo y Gabriela - Live Manchester and Dublin (flac  210mb)

01 Tamacun 3:25
02 Diablo Rojo 4:56
03 Vikingman 4:03
04 Satori 5:04
05 Ixtapa 5:13
06 Stairway To Heaven 4:44
07 Orion 7:44
08 Juan Loco 3:27
09 PPA 4:14

Rodrigo y Gabriela - Live Manchester and Dublin    (ogg  91mb)

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While Rodrigo y Gabriela's self-titled third album is an utter and complete joy to listen to -- actually, it's more of a riotous celebration -- it's more than difficult to describe exactly what they do. This Mexican guitar duo met while in a heavy metal outfit together and soon found the local scene wanting. Both had roots in flamenco and other folk and rock music; they dropped the electric guitars -- and bandmates -- to travel light. They headed off to Europe, and ended up busking in Ireland, where their renown spread as instrumentalists who had to be seen to be believed. They re-recorded an album, toured the U.K. with everyone from David Gray to the Buena Vista Social Club, and then cut a live disc in Dublin and Manchester. That was the story until they hooked up with producer John Leckie. He was able to help them record a studio album that captured the sheer orgiastic excitement of their live gigs, hence this self-titled puppy that debuted in the Irish charts at number one. Uh-huh. It's true that Ireland's not a big place, but when, when, have you ever heard of an instrumental recording by a Mexican duo hitting the number one spot in such a place? What's more, the disc has a buzz on Yank shores as well and with good reason.

These nine cuts have nothing to do with nuevo flamenco or any of that new agey stuff: this is smoke and fire music, it burns across genres and traditions like a demented passion spirit that takes no prisoners -- and we can thank the gods for heavy metal in this instance at least. This set slashes like a stiletto; it's fine and precise; it leaves no scars. The dynamic range of this music is startling. It is both ancient and futuristic, carnally frenetic and romantically seductive, artfully -- and even spiritually -- played yet drenched in the vulgarity of street life. It is the work of two young masters who are still striving to learn and incorporate more without sacrificing beauty, pathos, and tradition. On "Ixtapa" they utilize rock & roll dynamics to perform a song about the place they decided to flee from Mexico City to before leaving for Europe. Roby Lakatos, the incredible violinist, joins the duo here (he's a fan and offered his services). Take in "Diablo Rojo," or "Satori," where metal chops, flamenco, and tango music become entwined in a musical ménage à trois. There are no gimmicks in this music, it's exactly what you hear in the immediate present that somehow comes out of the Latin historical past, is infected by rock & roll and forwards the secret histories of both. Informed by this, listen closely to the pair's covers of Metallica's "Orion" and, more importantly, the song that would be easiest to dismiss -- a reading of Led Zeppelin's "Stairway to Heaven" that takes the appropriate liberties and makes them both sound fresh and new. In encountering this record, all doubt and cynicism should removed; what is happening here is that the canon for the acoustic, classical guitar is being rewritten. This music is the sound of passion as interpreted by and spoken for in a new rock & roll language.



 Rodrigo y Gabriela - Rodrigo y Gabriela ( flac  265mb)

01 Tamacun 3:25
02 Diablo Rojo 4:56
03 Vikingman 4:03
04 Satori 5:04
05 Ixtapa 5:13
06 Stairway To Heaven 4:44
07 Orion 7:44
08 Juan Loco 3:27
09 PPA 4:14

  Rodrigo y Gabriela - Rodrigo y Gabriela (ogg   111mb)

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