Sundaze 1840

Hello, what a day the geriatric US Senate votes 50-48 in favor of that psycho Kavenaugh to be part of the US High Court for the rest of his life. And it's not about that  lame juvenile sex attack, no it's the way he defended himself that was frightening the man is totally unsuitable, Trump maybe gone in a few years but that creep could easily terrorize the US the next 30 years. What the hell is wrong with the US why are the people so blind ?

 
On a comical note, brilliant prank by Banksy to sell his most loved work inside a prepared frame that started to shred the work after it had been sold for $ 1 million +, however i'm not sure it will have the desired effect, there's simply too much money flowing around in the art world

as we'll stay longer around Bristol here at Sundaze a word on the city......

Bristol's modern economy is built on the creative media, electronics and aerospace industries, and the city-centre docks have been redeveloped as centres of heritage and culture. The city has the largest circulating community currency in the U.K.—the Bristol pound, which is pegged to the Pound sterling. The city has two universities, the University of Bristol and the University of the West of England, and a variety of artistic and sporting organisations and venues. One of the UK's most popular tourist destinations, Bristol was selected in 2009 as one of the world's top ten cities by international travel publishers Dorling Kindersley in their Eyewitness series of travel guides. The Sunday Times named it as the best city in Britain in which to live in 2014 and 2017, and Bristol also won the EU's European Green Capital Award in 2015.

The music scene is thriving and significant. In 2010, PRS for Music announced that Bristol is the 'most musical' city in the UK, based on the number of PRS members born in Bristol relative to its population. From the late 1970s onwards it was home to a crop of cultish bands combining punk, funk, dub and political consciousness, including The Pop Group, close friends of The Cortinas, who led the City's punk scene from 1976. Bristol's premier fanzine from this time through until early 1978 was Loaded. It featured all of the Bristol bands as well as those who visited the city, some of whom were promoted by the magazine.

Bristol is home to many live music venues including the 2000-seat Colston Hall, named after Colston Street and the Colston School that once occupied the site, which can attract big names, the Trinity Centre (a community-run converted Church in the Old Market area of Bristol), the O2 Academy which is part of the national touring circuit for rock bands, the Anson Rooms (part of the University of Bristol Union), the Mothers Ruin, The Thekla, Fiddler's, the Bristol Folk House, Start the Bus, the Hatchet, the Fleece, the Croft, the Cooler and the Louisiana. Plenty to go on...



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. He also moved to France and began recording for the Ici d'Ailleurs label. A 2004 mix CD, OuMuPo 1, was credited to the Third Eye Foundation, but the project was put on ice until the politically motivated full-length The Dark was released in 2010. Following three more albums credited to Matt Elliott, the Third Eye Foundation returned in 2018 with the dub-influenced full-length Wake the Dead.

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Little Lost Soul is the Third Eye Foundation's first album of the 21st century and the most consistent to date. TEF uses the drum'n'bass elements of u-ziq and Squarepusher but leaves the trip-over-yourself aspects behind. Combined with swelling synths and angelic vocals, this album is a ride through the dark side of a genre appropriately labeled "drill'n'bass." The percussion is meticulously constructed; each beat is placed for a purpose and new rhythms are exposed upon repeated listens. Vague tinges of jazz are also present, mostly in the tappy snare drum and fretless upright bass sounds. All parts combine and build chaotically, most notably halfway through the album on "Half a Tiger." Little Lost Soul does have its calmer moments, too, where strings and slower trip-hoppish beats gel into a truly melodic package, as in "Lost." A clever use of dynamics and note placement, along with a knowledge of when not to play, prove Matt Elliot's progress as a modern electronic composer. In the end, Little Lost Soul is what many electronic albums aren't. It is tasteful.

The Third Eye Foundation - Little Lost Girl (flac  456mb)

01 I've Lost That Loving Feline 4:32
02 What Is It With You 4:22
03 Stone Cold Said So 6:07
04 Half A Tiger 7:11
05 Lost 10:55
06 Are You Still A Cliché? 1:58
07 Goddamnit You've Got To Be Kind 8:40
bonus
08 A Galaxy Of Scars (Live Remix) 7:07
09 Semtex (Live Remix) 4:47
10 An Even Harder Shade Of Dark (Live Remix) 8:33
11 Lost (Edit) 6:13
12 Lost (Pour Elise Remix By Many Fingers) 5:48

The Third Eye Foundation - Little Lost Girl  (ogg 190mb)

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I Poo Poo on Your Juju -- surely a more meaningful or attractive title could have been generated? -- assembled hard-to-find Third Eye Foundation remixes, along with one new track. To its credit, it doesn't sound like an odds-and-ends collection of reworkings, but strong enough to hold up on its own merits. The Third Eye Foundation, the project of Matt Elliott, has sometimes been portrayed as a drum'n'bass act. But actually this would be more aptly characterized as intelligent and eclectic electronica, only sometimes using drum'n'bass elements. It's a diverse grouping, including a treatment of a work by French composer Yann Tiersen and a remix of a cover of Jonathan Richman's "When I Dance." It's best when it crafts hauntingly attractive yet somewhat disquieting moods with its blend of misty and wobbly textures, as on the Tiersen piece. The ones employing more common electronic percussive elements are less distinctive, and the range is wide enough that it may be hard to find many listeners who like everything here. Throughout, Elliott is adept at painting upon or adding a wealth of sounds -- jungle noises, electronic tones, classical piano, spooky special effects, a female voice, wavering bell rings -- into his craft.
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The Third Eye Foundation - I Poo Poo On Your Juju  (flac 294mb)

01 Yann Tiersen - La Dispute (3rd Eye Foundation Remix) 6:30
02 Tarwater - To Describe You (3rd Eye Foundation Remix) 4:46
03 Urchin - Snuffed Candles (3rd Eye Foundation Remix) 7:57
04 The Remote Viewer - All Of The WCKW Want To Be Abstract (3ef Version) 5:43
05 Matt Elliott Vs. Chris Morris - Push Off My Wire 5:42
06 Blonde Redhead - Four Damaged Lemons 5:08
07 Faultline - Mute (3rd Eye Foundation Remix) 6:25
08 Glänta Vs. Third Eye Foundation - When I Dance 7:55

The Third Eye Foundation - I Poo Poo On Your Juju   (ogg  117mb)

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Ici d'Ailleurs is proud to launch its OuMuPo collection, where DJs and electronic music composers are asked to remix the label catalog. But there's a twist they have to comply with constraints issued in the OuMuPo charter. OuMuPo is the French nickname for "Ouvroir De Musiques Potentielles," or "Workshop For Potential Musics." It is one of the many artistic movements derived from surrealist Raymond Queneau and François le Lionnais' 1960 OuLiPo (Workshop For Potential Literatures). This principle has inspired a lot of creators…and that’s how OuBaPo was born (Workshop For Potential Comics), with such illustrators as Jean-Christophe Menu, Etienne Lecroart, Jochen Gerner and many more. Ici d'Ailleurs is fond of OuBaPo, and so they asked one of the movement leaders, Jean-Christophe Menu, to join the project. The result is a totally new 16-page comic book that comes along with each OuMuPo album, each drawn by a different cartoonist.

This first installment of the OuMuPo series features Jochen Gerner, one of the great names of the illustration world, and the famous electronica composer The Third Eye Foundation, a.k.a. Matthew Elliot (formerly of Flying Saucer Attack). This talented musician already worked with Ici d'Ailleurs in 1999, remixing Yann Tiersen's La Dispute. Third Eye Foundation takes the traditional sounds of drum 'n bass and twists them into something decidedly more interesting. While the genre has been completely flooded with stale imitations of an old theme, TEF has done something completely new.

The Third Eye Foundation - Oumupo 1  (flac 246mb)

01 Micro:mega / Headphone - Annex1 / Explatino 6:12
02 Headphone - Explatino 2:49
03 Bed / Yann Tiersen - Nightscape / Sur Le Fil 6:19
04 Yann Tiersen / Matt Elliott - Sur Le Fil / The Sinking Ship Song 2:35
05 Bästard - It Ain't No Funny At All 2:26
06 Dominique Petitgand - Etat Liquide 1:13
07 Madrid / The Digital Intervention - Une Pluie Sèche / Coma Idyllique 7:05
08 Aldéa / Chiossone = Petit Buddha Pt5.1:54
09 Linky / Gravité Zéro You / Pleins D'Étoiles 4:40
10 Bed / Headphone / Eric Aldéa - The Gap / Sublime Parade / 7 6:40

The Third Eye Foundation - Oumupo 1   (ogg  95mb)

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Having retired the Third Eye Foundation name to concentrate on a series of albums and releases in a singer/songwriter vein, albeit one darkly shaded, Matt Elliott's return to the Third Eye Foundation seemed initially like a bit of a surprise. But in the same way that he tapped into a feeling of murk and looming dread from the start in the context of mid-'90s hip-hop and jungle, on The Dark Elliott arguably returns to where he's often been at his best -- observing the changes in extreme sonics in a scene and offering his own derivations on the approach. With dubstep now long established as a new reference point -- and both dub and jungle itself going through sorts of renaissances on the English musical scene as well -- The Dark simultaneously nods toward all this and continues Elliott's own obsessive aesthetic fusion. Given that his last major release under the name was done a few months before 9/11 and its resultant geopolitical consequences, there's a feeling of reviewing and acknowledging the past decade in one place, heightened by the album title and cover image of death and the concluding track's bitter title, "If You Treat Us All Like Terrorists We Will Become Terrorists." But the suggestion is implicit, all five tracks being instrumentals that further blend into each other to create one overall flowing, downbeat effort that is as beautiful as it is aggressively despairing. The opening "Anhedonia," with its layered mix of distant rhythm samples, soft, apparently guitar-based chimes, and what sounds like an aria loop, immediately sets the tone of dislocated melancholy so familiar from his earlier work. The shift from that track into the following "Standard Deviation" is so subtle as to be easily missed, with a central soft, loping rhythm remaining at the core. This sets the tone for the rest of the album's progression, introducing swirls of metallic howls, pulling back other beats to a central organ-sounding melodic loop on "Pareidolia" before bringing in newer drum parts and speeding up the pace, shifting to slow tape-corroded strings and a dub-tinged break before slowly collapsing into a overlay of drones like heavy sighs.

The Third Eye Foundation - The Dark (flac  282mb)

01 Anhedonia 11:11
02 Standard Deviation 10:19
03 Pareidolia 7:29
04 Closure 9:52
05 If You Treat Us All Like Terrorists We Will Become Terrorists 4:09

The Third Eye Foundation - The Dark  (ogg  102mb)

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RhoDeo 1839 Grooves

Hello,


Today's artists are a Dutch-Belgian jazz band, originally consisting of Doc (Ferdi Lancee) and Inca (Barend Fransen). Doc played guitar and Inca played saxophone, while both performed vocal duties. After the pair split in 2013, the band continues working and touring with a different lineup. .  ....N'Joy

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Founders Ferdi Lancee and saxophonist Barend Fransen started their collaboration in 2001 in response to a soundtrack for a one-off lounge evening in Belgium.  The music comes in the hands of the great independent Play It Again Sam in Brussels which leads to the albums (In Search Of) Excellounge (2001) and Kind Of Cool (2002).  Some songs end up on the soundtrack of the series Six Feet Under and the feature film Ghost Rider (released in 2007).  In 2003, Gare du Nord will tour the Netherlands and Russia with a nine-strong band.  The third album, Club Gare du Nord (2005), will be recorded in its own Cell4-Studio in the Netherlands.  On that record, the duo is supported by, among others, the French jazz trumpet player Erik Truffaz and the gospel singers from the American Imani Fellowship Choir.

Dutch guitarist Ferdi Lancee (real name: Ferdy Dousenbach, born October 21, 1953 in Tilburg) and saxophone player Barend Fransen (born January 4, 1959 in Helmond) started working together in 2001, when they started writing lounge music in Belgium. The music comes in the hands of the great independent Play It Again Sam in Brussels which leads to the albums (In Search Of) Excellounge (2001) and Kind Of Cool (2002).  Some songs end up on the soundtrack of the series Six Feet Under and the feature film Ghost Rider (released in 2007). In 2003, Gare du Nord toured the Netherlands and Russia with a newly formed band containing nine musicians. Their third album Club Gare du Nord (2005) was recorded in their own Cell4-Studio in the Netherlands. French Jazz trumpet player Erik Truffaz and the gospel singers of the American Imani Fellowship Choir contributed to the album. Around that date (2005), Barend Fransen left his job as president of Dutch record store chain "Van Leest" to spend more time on the band

On January 12, 2006, during Eurosonic in Groningen, the Underground Station Tour 2006 of Gare du Nord started. The jazz duo made the soundtrack for Stout, a book by Heleen van Royen and Marlies Dekkers.
2007–2008

Gare du Nord recorded the single "Ride On" with British singer Paul Carrack. This song appears on their fourth album, Sex 'n' Jazz (2007). The album is the first part of a so-called love trilogy. In addition to Carrack, the album is vocally supported by Dutch singer Dorona Alberti, as well as soul singer Marvin Gaye in the song "You're My Medicine". The song can be heard in Sexual Healing, an American biographical movie from director Lauren Goodman about the last years of Marvin Gaye's life. The song was also released as a single. On April 28, Gare du Nord received a golden record for their debut album (In Search Of) Excellounge. In late 2007, Gare du Nord went on the Theatre Tour Sex 'n' Jazz. Sales of Sex 'n' Jazz earned the duo a second golden record in October 2007, handed out by fashion designer Marlies Dekkers. On October 15, a Gold Edition of Sex 'n' Jazz was released containing six newly recorded tracks.

Gare du Nord is now an established name on Dutch stages;  founders Fransen and Lancee perform about sixty shows in theaters and pop clubs every year with their seven-piece band.  A contract is signed with the Blue Note Records label.  First comes the mix album Jazz In The City with the hit Beautiful Day that can be heard for months on Dutch radio in 2008.  The album achieves the gold status.  Fransen and Lancee write the song Come To The Ball for Grace Jones.  In 2009 the new album Love For Lunch is released with a cover design by Marlies Dekkers.  Also for this album the duo receives a gold record and later a platinum record.

The band Gare du Nord is now separated from the project Gare du Nord. The band will perform on stage without Ferdi or Barend who are going to focus on the new album and a movie. In 2010, the duo makes a second mix album for Blue Note with tracks by, among others, Marvin Gaye and Isaac Hayes (Let's Have A Ball).  In the autumn Gare du Nord undertakes a first big club tour with twenty shows in the larger pop rooms of the Netherlands, On October 3, 2011, the new album Lilywhite Soul was presented in Amsterdam, again on the Blue Note label. This album contains a cover of Lou Reed's Perfect Day.

Two songs (a remake of Pablo's Blues and a new song Tarantino's Tango) are submitted for the new Quentin Tarantino movie Django Unchained. These songs are also present on a new soundtrack album, called Rendezvous 8:02 released on June 4.. In October 2012 the first live album is released, entitled Lifesexy. The release turns out to be the very last album Barend and Ferdi work on as a creative team.

Barend and Ferdi split and go separate ways; Ferdi quit the public music business and Barend set up a completely new live band together with singer Dorona Alberti and guitarist Aron Raams. By the end of 2013 Universal Music releases the 3-cd box Collected. The new Gare du Nord band tours the Netherlands for the 35 City Live Tour. The shows feature guest appearances by classical harpist Lavinia Meijer. In January 2014 Lavinia Meijer presents a multi platinum award for the Sex 'n' Jazz album, a platinum award for Love For Lunch and a gold award for Lilywhite Soul to the band in a fully packed Muziekgebouw Eindhoven. Songwriter Barend Fransen starts writing new songs with several contemporary composers for a new 10-song songcycle to be premiered live on stage as Gare du Nord:

The band is touring in the new line-up of 30 Dutch theaters for the Undressed tour.  Barend Fransen writes together with Aron Raams and Lennaart Raams repertoire for a completely new album that will be released on October 30, 2015.  The album is called "Stronger!"  and testifies to the changes that the band has undergone in recent years.  The album also contains two French-Lancee compositions.  Key composition on Stronger!  is the 23-minute suite La Dolce Vita, which covers the whole of the album on the vinyl version of the album.  La Dolce Vita emerged as the soundtrack of the book Iglo In de Sahara by Barend Fransen.  In the novel Fransen describes the ten years that he had contact with Guus van Hove, former director of the Tilburg pop stage 013. A contact that ended in 2011 when Van Hove and his girlfriend were mysteriously killed in Joshua Tree National  Park during a three-week round trip through the United States.  The book will be published in 2017, more than five years after the unclear events.  At the end of 2015, Gare du Nord started the Stronger! Club tour that will bring the band back to the Dutch clubs.

With a new keyboardist, Ferry Lagendijk, the band dives into the theater and clubs for the 15th Anniversary Live Tour.  During the tour it is known that the album Stronger!  has been nominated for the Edison Audience Award 2016. In the spring of 2017, the Dutch tour will be continued in another 25 theaters, with the band collaborating with trumpet player Eric Vloeimans as special guest.  The year 2017 will be dominated by A Decade Of Sex 'n' Jazz: the ten-year jubilee of the Netherlands' most successful popular jazz album of all time: Sex 'n' Jazz.


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Ferdi Lancee was once known as the author of the Dutch-language sing-along hit Suzanne.  Barend Franssen earned his living as owner of the Van Leest record shop/ label and magazine maker.  Since 2001 they have been working together as the lounge duo Gare Du Nord.  With their fourth album Sex 'n Jazz they broke through on a large scale.  Earlier albums were gold, this time the multiple platinum status was reached.  Love For Lunch - 'volume 2 in a love trilogy' - builds on the success formula with contributions from singer Dorona Alberti, trumpeter Jan van Duikeren and saxophonist Henk Koekoek.  Two numbers stand out.  The opener Come To The Ball seems to have been sung by Grace Jones and appears to have been composed exactly for that singer on closer examination.  When the demo worked out well Franssen and Lancee decided to keep the song for themselves.  The choice for Summertime is less original.  It shows guts (or is it shamelessness?) To include the umpteenth version of this 'standard of standards'.  Gare Du Nord tries with a solid dance beat, occasionally interrupted by percussive guitar playing.  As a result, this well-known tune between the tracks of the gentlemen in which hardly any new terrain in the genre is explored.

Gare du Nord - Love For Lunch (flac  334mb)

01 Come To The Ball 4:05
02 Dish Of The Day 3:27
03 Summertime 5:12
04 Call It Quits 3:56
05 A Matter Of Time 3:55
06 Poor Boys Blues #2 3:57
07 Almost There 3:31
08 Groove Me Up 4:06
09 After The Ball 0:54
10 Berlin Beat 4:30
11 Voodoo 4:40
12 Come On Everybody 4:34
13 Love For Lunch 4:32

Gare du Nord - Love For Lunch (ogg  118mb)

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Lilywhite Soul is the nickname that producers Barend Fransen and Ferdi Lancee, the men behind Gare Du Nord, came up with for their singer Dorona Alberti.  This nickname not only refers to her milky white skin, but also refers to the new life that recently sprouted in her belly.  Alberti gave birth to a son at the end of July and the period of her pregnancy inspired Fransen and Lancee to write a dozen new songs.  In comparison to the earlier CDs of Gare Du Nord, Lilywhite Soul has become a more personal album.  Dorona's baby has made the band a lot more mature.  Translated to music, this leads to an album full of light pop music.  The question remains what such an easy listening album has to look for in the catalog of Blue Note Records, the most renowned jazz label of all time.

Gare du Nord - Lilywhite Soul (flac  299mb)

01 Fantasize The Love 4:11
02 Love Will Find A Way 3:30
03 More Than Madly 3:14
04 Too Close To See 4:20
05 Gucci Girl 3:44
06 Thirtysomethin' 3:24
07 Perfect Day 3:39
08 Language Of The Blues (Blues For Amy) 3:28
09 Breathe 5:17
10 How Was It For You 3:15
11 Little Mystery 3:58
12 Lilywhite Soul 4:16

Gare du Nord - Lilywhite Soul (ogg  106mb)

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The Dutch-Belgian jazz band duo Gare Du Nord released their seventh studio album Rendezvous 8:02 in 2012. Since their formation at the beginning of this century they released a list of jazz and blues albums in which they show the listener how much fun they have creating their musical pieces. The focus on Rendezvous 8:02 is not in favor of singer Dorona Alberti, but of trumpet players Eric Truffaz and Jan van Duikeren who carefully mix their elongated tones with the film noir sounds of the producers.  Rendez-vous 8.02 has become a famed record in which urban jazz effortlessly meets with ancient blues while they still keeps on swinging. The album breathes the atmosphere of the big city Paris and is a welcome addition to the discography of this unique band. The album includes a new version of Pablo's Blues, while their recognizable lounge sounds still remain.

Gare du Nord - Rendezvous 8.02 (flac  259mb)

01 Tom's Song 4:05
02 What's Up! 4:11
03 Somethin' Like That 4:16
04 Pablo's Blues 2012 (Tarantino Mix) 3:55
05 Tarantino's Tango 3:12
06 Hay, Mr Glider 3:48
07 Groove Me Up 4:07
08 Poor Boy's Blues 3:56
09 Hotel Beat, Paris 4:14
10 Golden Days Of West Coast Jazz 4:12
11 The Great Fantastic 3:40

Gare du Nord - Rendezvous 8.02 (ogg  99mb)

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With Stronger!  Gare Du Nord says goodbye to the lounge once and for all.  Time for change.  And that is also the motto of this album.  Life is based on changes.  The intention is that you get stronger out of that than you went into it.  In the case of Gare Du Nord this works excellent, because Stronger!  is the most eclectic album that this Dutch band has ever made.  It is concept based on the legendary rock LPs from the 70s. Side A contains five tracks and side B a continuous suite of 23 minutes.  in the first three songs the influences from their lounge years are still clearly visible.  It produces funky, jazzy pop music that reminds light of the times of jazz funky from the 70s as played by artists like Bob James and Grover Washington.  The first half ends with minimal pop music that is supported by the beautiful voice of Dorona Alberti.  The suite La Dolce Vita can be regarded as a cinematic soundtrack with blues, classical, jazz and rock.  The closing We Still Grow with background vocals of a Gregorian choir builds up to a magnificent climax and at the same time offers us a promise for the future.

 Gare du Nord - Stronger   (flac  261mb)

01 Words Without Meaning 4:35
02 Avalanche Of Dreams 5:37
03 Gimme That Sexy Thing 3:16
04 Stronger! 4:43
05 Best Days Of Our Lives 4:59
06 La Dolce Vita (Main Theme) 4:12
07 If These Walls Could Only Speak 4:26
08 Shiny, Dark, Bush, Sky 3:26
09 A Different Grain Of Sand (Desert Theme) 3:47
10 We Still Grow 7:17

 Gare du Nord - Stronger (ogg   102mb)

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RhoDeo 1839 Roots

Hello, it is probably not to me to judge Lila Down but i get the impression she would have been much much bigger if she weren't managed by people who clearly lack her spirit and imagination, people like her husband that go for safe (money) and it's not difficult to discern the tracks where bland jazz bleeds through and turn Lila into a nightclub act. A chained goddess, hardly surprising then she couldn't have children with her nemesis, after all pregnancy and kids impacts her capability to make him money and loose his complete control. I know hard to believe but such is life, it simply isn't fair.


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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Lila Downs was born on September 19, 1968, in Tlaxiaco, Oaxaca, Mexico. She is the daughter of Anita Sanchez, a Mixtec cabaret singer and Allen Downs, a Scottish-American professor of art and cinematographer from Minnesota. From an early age Downs showed interest in music. At the age of eight she began singing rancheras and other traditional Mexican songs. She began her professional career singing with mariachis. At fourteen she moved to the United States with her parents. She studied voice in Los Angeles and learned English, which her father helped her to perfect. When she was 16, her father died, and she decided to return to her native Tlaxiaco (a mountain town in the south east of Mexico) with her mother.

Although today Downs is proud of her origins there was a time (late teens) when she felt shame regarding her Native American roots. "I was embarrassed to have Indian blood. I was embarrassed that my mother spoke her language in public." This led her on a path to find herself, which included dropping out of college, dying her hair blonde and following the band The Grateful Dead. After some time Downs found herself back in Oaxaca working at her mother's auto parts store, where she met her future husband and nemesis, tenor saxophonist Paul Cohen.
Downs studied Anthropology at the University of Minnesota and voice in New York. Later she attended the Institute of Science and Arts of Oaxaca to complete her studies. At 25, after completing academic and music studies, Downs decided to return to Tlaxiaco.

In 1994 Lila Downs independently made her first album, entitled Ofrenda. This was both a collection of traditional songs from Oaxaca and Mexico, and songs written by the singer with lyrics sung in Spanish, Mixtec and Zapotec (native languages of Oaxaca). In 1996 Downs recorded a live session at a renowned café-bar of the City of Oaxaca. On this record Downs was accompanied by a set of well-known musicians who supported its interpretation of traditional themes, as well as country music and jazz.[9] With this work Downs and her music became known in different parts of the Republic of Mexico, and this was their first album to be released on CD. The album had a big impact, despite limited promotion and the fact that only a small number of copies were made.

In 1997 Lila Downs made a second recording, called "Traces", on which she performed material that was to be included in later albums. It is an extensive compilation of items in her traditional repertoire but, like its predecessor, had no commercial distribution. It was not until 1999, when Downs signed with the label Narada Productions, that she achieved commercial success and made herself known internationally with the album La Sandunga. Recorded a year earlier, this material came to the forefront of Mexican music and her album was one of the first to merge the sounds of traditional music and modern rhythms as jazz, blues and bolero, it was sung in Spanish and mixtec.

Lila's next album, Tree of Life, was released in 2000. This work found Lila turning to her indigenous past, and the album features pre-Hispanic sounds and instruments. Several of the songs on the album are sung in native Mexican languages such as Mixtec, Zapotec and Nahuatl. In October 2000, she began a two-month tour called the Tree of Life/Árbol de la vida, which included concerts in Latin America, Europe and the US. La Linea ( Border), released in 2001, was the first album by Downs to feature songs sung in English. With this album Downs merged sounds from different genres such as traditional folk music, rock and chilena. It included fifteen songs, eleven in Spanish, three in English and one in Mayan. The album received generally good reviews and placed in "Top charts" of world music. It also stirred up controversy due to its frank discussion of immigration, Native American marginalization and the Acteal massacre. This drew criticism, especially from corrupt politicians and the pedo church.

One Blood, one of Lila Downs's most successful albums, was released in April 2004, the lyrics are about migration, discrimination and the case of Mexican human rights defender Digna Ochoa. Lila Downs received in 2005 the Grammy Latino in the category of "Best Album of World Music"  after it reached the top of the worldmusic charts in United States, Mexico, Spain, United Kingdom, Germany and France.

more next week

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Oaxaca. Tehuantepec. Teotichtlan del Valle. Huatulco. Ocotlan. Do the names sound exotic... or even strange? If so, you are probably like the vast majority of us who know little of Mexico beyond Mexico City and Acapulco. The places I mentioned are all in Oaxaca, the home state of Lila Downs. "La Sandunga" will bring these names to life and bring the place as close as it can get without one acually going there. This is an amazing collection of songs, and it showcases not only Downs' dramatic voice and her wonderful band, but the passion and smoldering intensity of Oaxacan music. There is nothing "casual" about this album... it demands your attention and will reward it with soulful pleasures. Musically, "La Sandunga" is full of dynamism, sometimes soft and languid, sometimes blazing with fury and the searing heat of love - for person, place and culture. Passion this music delivers plenty.

Lila Downs - La Sandunga   (flac  283mb)
 
01 La Sandunga 4:14
02 Pobre Changuita 2:13
03 Naila 3:12
04 Tengo Miedo De Quererte 3:56
05 Un Poco Mas 4:15
06 Sabor A Mi 4:20
07 Ofrenda 3:10
08 La Llorona 4:35
09 Yunu Yucu Ninu 3:21
10 Cancion Mixteca 2:55
11 Pinotepa 4:44
12 El Venadito 2:30
Bonus
13 Perfume De Gardenias 2:47
14 La Malagueña 4:55
15 Bésame Mucho 5:24

Lila Downs - La Sandunga (ogg  121mb)

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Downs' remarkable voice has been compared to both Cesaria Evora and Susana Baca, combining operatic training and jazz chops, while maintaining her Mixtec Indian heritage and incorporating music from many different Latin cultures. This her sophmore effort is a masterpiece, shrouded in mysticism from ancient codices, Lila delivers interpretations that are exquisite manifestations of her being. Her voice trainng has allowed her to sing with unlimited range and depth, a true diva. Her music is contemporary folkloric songs that are performed in various indigenous languages of Mexico that touch a deep cord in one's soul. To listen to her sing in any language is delightful but the when she does in Mixtec it is something very special, ethereal, otherworldly, a communique from her ancestors, poetry from long gone souls for the living to learn from. Take a listen to the "Yunu Yuca Ninu" and hear Lila speak softly to your soul. She wrote the music for this song about the immigrants who leave Oaxaca every year, some to never return, based on a poem.

Lila is magical. About as far away from pop as you can get, this album is charting an unwritten path. Her talent is extraordinary, she composed seven of the tracks and of course sings in four languages. Lila had descended from the clouds in the mountains of Oaxaca to share her ethnic vision that comes from the duality of her being.

   Lila Downs - Tree of Life ( flac  259mb)

01 Simuna 3:36
02 Nueve Viento 4:44
03 Arenita Azul 2:50
04 La Iguana 3:05
05 Yunu Yucu Ninu 3:28
06 Xquenda 5:03
07 Nueve Hierba 3:33
08 Tres Pedernal 5:15
09 Luna 3:38
10 Semilla De Piedra 4:23
11 Arbol De La Vida 5:55
12 Icnocuicatl 3:15
13 Uno Muerte 3:04

  Lila Downs - Tree of Life   (ogg   117mb)

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Lila Downs' La Linea (Border) reflects her continuing fascination with Mexican-American border culture. Considering her own mixed heritage (she is the child of a Mixtec Indian and an American), Downs has a special interest here, and it shows in the emotional, directed singing of La Linea (Border). On the first few tracks, Downs' thick, throaty voice is on a par with the Latina pioneers Lola Beltran or Toña La Negra, but she also displays an enviable range, switching over to thewail of a Mexican countrywoman on "Sale Sobrando" and "Cumbia Maya," then to the pure, heartfelt sound of American country for the moving "Pastures of Plenty/This Land Is Your Land." Though non-Spanish speaking listeners may not understand the themes Lila Downs deals with, the plangent tones of her voice are reason enough to enjoy La Linea (Border).

 Lila Downs - La Línea     (flac  403mb)

01 Mi Corazón Me Recuerda 4:31
02 El Feo 3:25
03 Sale Sobrando 3:41
04 Carazoncito Tirano 3:59
05 La Niña 3:05
06 Hanal Weech 2:58
07 Medley: Pastures Of Plenty / This Land Is Your Land / Land 5:55
08 La Línea 4:58
09 El Bracero Fracasado 2:31
10 Tránsito 3:47
11 Smoke (Acteal) 4:50
12 La Martiniana 5:46
13 Soy Pescador 3:56
14 La Llorona 5:23
15 Perhaps, Perhaps, Perhaps 4:45

Lila Downs - La Línea   (ogg 159mb)

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Una Sangre (One Blood), is her most restless album. Downs is best known to American audiences for her appearance in the film Frida (about the legendary Mexican painter Frida Kahlo) and her major contribution to the film's soundtrack. She has long been in the trenches knitting the indigenous music of her native lands -- Mexico and the United States -- into a sonic fabric where traditional Mexican folk songs, richly textured pop, and American blues and jazz music mix with Spanish and English lyrics that also contain Mexico's Mayan, Zapotec, Nahuatl, and Mixtec Indian dialects. Downs' previous recordings have always been deeply satisfying; they combine a musicologist's world with the fiery heart of an activist poet. Una Sangre is the next step. Here, over the course of 13 songs, she takes a wondrously heady mix and deepens it with other musical elements that come from further afield, and she goes off the deep end into something new and wondrous. She uses Middle Eastern modalities and melodies, Afro-Cuban and Brazilian rhythms, hip-hop cadences, and reggae and even gospel influences, and extrapolates into this mix a dazzling lyrical array, adding Purepecha, an Indian dialect from the central Michoacan region, and Trique, an actual language from one of the 16 divergent ethnic groups who coexist in Oaxaca! Her husband, saxophonist and musical director Paul Cohen (from New Jersey) has woven a tight-knit group of multi-instrumentalists who come from the U.S., Paraguay/Mexico (Celso Duarte), Cuba (Junior Terry Cabrera), Chile (Yayo), and Brazil (Guilherme Monteiro), with guest appearances by Mexican and American guitarists Ernesto Anaya and Marvin Sewell, as well as the renowned Japanese percussionist Satoshi Takeishi. Downs' confidence is remarkable. Her readings of age-old folk songs like "La Bamba" and "La Cucaracha" remove the racist novelty and caricature character they have been saddled with outside Mexico, and restate them with their original ferocity and dignity as communal songs. On the title cut, her band employs dread reggae and she a dry, smoky jazz vocal that is nothing less than sultry and stretches the melody to the point of fissure. "Mother Jones" uses Delta-style blues gospel as a way of slipping into the murk of the Afro-Caribbean diaspora, while "Cielo Rojo" can only be called a Spanish desert blues, with three very different guitars carrying on above the subtle rhythms and Downs' mournful voice coming from the throaty dust and reaching a steamy falsetto that contains all the sorrow in the world. There are no respites from excellence and no false starts on Una Sangre; it is a most daring set performed with passion, focus, and vision. It offers the listener not only considerable pleasure, but the possibility for a new musical paradigm as well.

 Lila Downs - Una Sangre, One Blood   (flac  313mb)

01 Viborita 4:16
02 Dignificada 3:44
03 Cielo Rojo 3:55
04 La Bamba 4:13
05 One Blood 4:38
06 Malinche 4:00
07 Tirineni Tsïtsïki 3:20
08 La Cucaracha 4:38
09 Mother Jones 3:28
10 Paloma Negra 4:30
11 Brown Paper People 4:16
12 Una Sangre 3:24
13 Yanahuari Nïn 1:21

 Lila Downs - Una Sangre, One Blood (ogg  116mb)

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RhoDeo 1839 Aetix

Hello, so back in the day i knew these guys (and vice versa) in fact i belonged to that peergroup that tried to convince them to sing in English. At the time singing in native language had done the German alternatives  good but in the Netherlands that space was occupied by more commercial acts not for 'intellectual' new wave. Unfortunately by the time they switched 1985, it no longer mattered, their music wouldn't reach beyond the Dutch borders, their angular music and absurd poetic lyrics moved the incrowd but that don't pay the bills. In the end it was singer Art Zaayers Amsterdam friends that sucked the life out of a band that had great potential but never made it outside the border.


Today's Artists  were founded in 1979 in Delft, the band consistently builds on an oevre based on tight rhythms with a funky slant, contrarian guitars and strong rhythmic vocals.  In the first years they worked with Dutch texts.  They had a very solid reputation especially live.  In the mid-eighties the band slowly but surely switched to English texts, the article disappears from the name and an attempt is made to gain a foothold in England.  When Michel Schoots gets busy at the end of the eighties with his drumming for Urban Dance Squad and Marc de Reus makes more and more name as a producer, that means the end of the band in 1990, also because the musical progression is stagnated by poor choice in recordlabel and thus real success not forthcoming.. ......N'Joy

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At the end of 1979 three architectural students from Delft set up 'De Div'.  They have already given a number of performances with an experimental group.  That was more of a joke, but from those performances the composition is created as it can be heard on the first records.  In June 1981 they record four songs together with producer Dick Polak (Mecano), who appear the same year as the maxi-single Step by Step at the delft underground label Plexus.  The group is still searching for the angular, contrarian sound, which they would later be known for.  But it is certainly not standard rock, the songs breathe the atmosphere of the early New Wave.  The most striking characteristic is immediately the Dutch language.  At the same time, the mainstream Dutch-language rock also appears.  And although more personal themes are sung in songs like Meer and Spetters, the title track shines a bit of the veil of what would follow later.  Abstract text fragments, in which a social vision is indirectly put down.

Step by step is already mentioned here and there by the magazines as a promising debut.  With the first full-fledged LP Europe is Here, which already appears a year later, that promise is fully fulfilled.  In particular, Oor embraces the group and would closely follow the transactions from that moment on.  "Fascinating atmospheric images, in which abstract texts in sound and rhythm fuse with the suggestive power of music," writes Swie Tio lyrical.  The lyrics on the LP, especially in songs like Data Data and Europe, have now been changed into a kind of code language.  The music has become more angular and brighter.  The well-known guitar duels between Niek van Slobbe and Rob Dingemans have been put down here for the first time.  In retrospect, the group itself is rather dissatisfied with the LP, especially because of the production.  But the LP is a milestone in the Dutch New Wave.  Comparisons with Gang of Four are made in reviews, but in retrospect the LP has no matches.  During this period, the group also starts to build up a decent reputation live.  On radio and even incidentally on TV, VARA and VPRO pay attention to De Div and gradually the group starts to become a household name.

In 1983 they release the Pasodoble cassette as a snack, filled with live recordings and some experimental songs that they can not discard on the regular LPs.  In the meantime TC Matic guitarist Jean-Marie Aerts has offered to produce their next LP and in December De Div goes to Brussels for the recordings.  The Open Sea result indicates that they have made the right choice.  The LP with cult classics Sign the Time and Als Lemmingen is the artistic highlight of De Div.  The driving city fun is reminiscent of Remain in Light from the Talking Heads.  The guitar layers are assembled like pieces of a puzzle, and the production is sharp, but not smooth at all.  Curiously, Oor creaks the LP.  "Open Sea is pompous nonsense", the reviewer snorts and that while this sheet normally supports the band through thick and thin.  It will not harm the group, because it is precisely during this period that they are one of the most popular stage acts in the Netherlands.  In 1984 Peter de Wolf leaves the band because he thinks they are performing too much.  He will be replaced by Michel Schoots, the drummer who would later become known with the Urban Dance Squad.

 In 1985 Rob Dingemans also leaves De Div.  They have just started the recording sessions for their new LP In Front.  With the departure of Dingemans, the characteristic wickerwork of the guitarists has come to an end.  People are still looking for a replacement, but that does not work.  Niek van Slobbe declares to be overgrown with Rob Dingemans' guitar playing.  In the group sound, the difference can be heard, to compensate for the layering in the guitar sound, there is more emphasis on a tight rhythm, and uniform accents.  This is clearly audible in Fire or Sirens.  Because of this they know how to absorb the loss.  In the same year, the single (take me to your) Heart will also appear, a translation of one of the songs from In Front.  It soon becomes clear that the group has started a switch to the English language here.  During this period the new English numbers will dispel the old work.asmak undertakes a final, fifth, club tour in 1984 and in May of that year the curtain is final.

In 1986 the article in the group name is officially deleted.  At the end of that year the first English LP Twist & Turn will be released.  Even though there are some strong songs on this LP, such as a highlight during many concerts in those days Write the walls down.  The group seems to be looking very hard for a new sound.  In interviews they indicate that they want to literally push the boundaries.  In March, Div tours with great success through Germany and Scandinavia, after which starts recording for the 12-inch single Sex Sex Sex, which only appears in 1988.  This is caused by the fact that Michel Schoots is ill for a long time and therefore all scheduled concerts have to be canceled.  The further studio recordings for that year also expire..  In 1988, the successful single Sex Sex Sex appears, Div tries to make songs in a series of jam sessions and this is the first track in this series that the band will release.  The impact of this work finally appears in 1990 as Jam.  The LP is largely ignored.  The group has landed on a dead track , and most of the members are now also busy with other things, so that the final curtain falls.  The gentlemen do not sit still after this.  Bassist Marc de Reus makes a name for himself as a producer, Michel Schoots even conquers the US with Urban Dance Squad and singer Art Zaaier establishes his name as an architect.

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With the first full-fledged LP Europe is Here, that debut EP promise is fully fulfilled.  In particular, music magazine Oor embraces the group and would closely follow the transactions from that moment on.  "Fascinating atmospheric images, in which abstract texts in sound and rhythm fuse with the suggestive power of music," writes Swie Tio lyrical.  The lyrics on the LP, especially in songs like Data Data and Europe, have now been changed into a kind of code language.  The music has become more angular and brighter.  The well-known guitar duels between Niek van Slobbe and Rob Dingemans have been put down here for the first time.  In retrospect, the group itself is rather dissatisfied with the LP, especially because of the production.  But the LP is a milestone in the Dutch New Wave.  Comparisons with Gang of Four are made in reviews, but in retrospect the LP has no matches.

 DeDIV - Europa Is Hier (flac  214mb)

01 Insekticide 3:01
02 Data-Data 3:02
03 Man in de Ruit 3:23
04 Wuppertal-Wien 2:26
05 Europa Is Hier 3:18
06 Stap Voor St... 1:39
07 Lichaam Op Het Laken 4:35
08 Tegels 3:49
09 Sa-Ha-Ra 4:07
10 Jij Danst 2:49
11 Guerilla 4:23

DeDIV - Europa Is Hier     (ogg  89mb)

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TC Matic guitarist Jean-Marie Aerts has offered to produce their next LP and in December 83 De Div goes to Brussels for the recordings.  The Open Sea result indicates that they have made the right choice.  The LP with cult classics Teken de tijd (Sign the Time) and Als Lemmingen is the artistic highlight of De Div. The guitar layers are assembled like pieces of a puzzle, and the production is sharp, but not smooth at all.  Curiously, Oor creaks the LP.  "Open Sea is pompous nonsense", the reviewer snorts and that while this sheet normally supports the band through thick and thin.  It will not harm the group, because it is precisely during this period that they are one of the most popular stage acts in the Netherlands.

DeDIV - Open Zee    (flac  171mb)
 
01 Lieve matroos 4:28
02 Dit moment 4:00
03 Teken de tijd 4:42
04 Als lemmingen 5:24
05 Banzaï ! 4:04
06 Splits het atoom 3:44

    (ogg   mb)

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During the first recording sessions for In Front in the ICP Studios - Rob Dingemans leaves the group in June because he can not find himself in the English-language course that the band wants to sail.  He will not be replaced.  De Reus largely takes care of the production.  An English version of In Front is also included in order to be able to compete with the international market.  When the album appears at Transglobal in December, it appears that the disappeared guitar duels are compensated by even tighter playing, broadening the palette and more contrasts.  The openings created by the absence of Dingemans seem to make the material even more rhythmic and powerful.  With the departure of Dingemans, the characteristic wickerwork of the guitarists has come to an end.  .  In the same year, the single (take me to your) Heart will also appear, a translation of one of the songs from In Front.  It soon becomes clear that the group has started a switch to the English language here.

De Div - In Front (flac  248mb)

A1 Vuur (4:00)
A2 Hart (5:02)
A3 Sirenen (4:52)
A4 Lang Licht (3:52)
A5 Galileï (4:31)
B1 Ra Pi Do (4:31)
B2 Asfalt (3:45)
B3 In Front (5:09)
B4 Oriënt (6:02)

De Div - In Front  (ogg   104mb)

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With the single (Take Me To Your) Heart, the new English version of Hart, a modest disco hit is scored.  The song also ends up on Twist & Turn, a self-produced record on Emergo Records, a Roadrunner label.  On the album included recordedin the ICP Studios in Brussels, there is also a remix of the track Fire & Orient (the Dutch version is on In Front).  On this album only English texts can be found, remarkably enough Rob Dingemans, but also Jean Marie Aerts (TC Matic, guitar) and Luc van Lieshout (TuxedoMoon, trumpet) are heard.

DIV - Twist & Turn (flac  261mb)

01 N.U.R.X 5:58
02 Purity & Dirt 4:48
03 Wrrite The Walls Down 4:44
04 The House 4:09
05 (Take Me To Your) Heart 5:01
06 Till Home 4:00
07 Fire 3:50
08 Orient 5:33

 DIV - Twist & Turn (ogg   86mb)

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Div made uplifting music, with tight, funky rhythms.  The group acted a lot in the squatting and demonstration circuit, although the - initially Dutch-speaking - abstract and absurdist texts were anything but politically tinted.
 Two years before Sex Sex Sex appeared, the previous single appeared Heart had already done nicely in the alternative club circuit.  Sex Sex Sex  turned out to be more accessible and also hit the more popular nightclubs. Within three days record company Boudisque had sold the complete edition ('1500 of 2000, according to Zaaijer).  The retail trade bombarded Boudisque with  additional orders, but the plate was not repressed. Ah yes the chaotic organization of Boudisque, their head toko was distributing all kinds of import plates, in the end they were more hobbyists than businessmen The band had high expectations for the Jam album they recorded but to the surprise of Zaaijer et al. Boudisque did not release the planned album. But went belly up only to be reborn as Torso which finally did release Jam a year later but the momentum was gone and the bandmembers had gone their separate ways, which serves as a reminder Amsterdam snobs can't be trusted to work for others but themselves.

DIV - Jam   (flac  413mb)

01 Sex Sex Sex (4:56)
02 Things Break Down (2:55)
03 1 Out Of 5 Billion (2:41)
04 Brick Layed Suits (3:27)
05 Go Went Gone (4:15)
06 Out Of Bounds (4:11)
07 Traces (In My Soul) (3:31)
08 The Trouble Never Stops (4:27)
09 House On Wheels (2:26)
10 (Take Me To Your) Heart (4:56)
11 Run Down Misery (4:08)
12 Some Way (2:54)
13 N.U.R.X. (6:01)
14 Purity & Dirt (4:49)
15 Write The Walls Down (4:40)
16 Till Home (4:02))

DIV - Jam (ogg  152mb)

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RhoDeo 1839 Ixtlan 7

Hello,


Essential reading for any deep thinker and open-minded person who has experienced "non-ordinary realities.".

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Journey to Ixtlan is the third book by Carlos Castaneda. The title of this book is taken from an allegory that is recounted to Castaneda by his "benefactor" who is known to Carlos as Don Genaro ( Genaro Flores ), a close friend of his teacher don Juan Matus. "Ixtlan" turns out to be a metaphorical hometown ( or Place / Position of Being ) to which the "sorcerer" or warrior or man of knowledge is drawn to return, trying to get home. After the work of "stopping", his changed perspective leaves him little in common with ordinary people, who now seem no more substantial to him than "phantoms." The point of the story is that a man of knowledge, or sorcerer, is a changed being, or a Human closer to his true state of Being, and for that reason he can never truly go "home" to his old lifestyle again.

In Journey to Ixtlan Castaneda essentially reevaluates the teachings up to that point. He discusses information that was apparently missing from the first two books regarding stopping the world which previously he had only regarded as a metaphor. He also finds that psychotropic plants, knowledge of which was a significant part of his apprenticeship to Yaqui shaman don Juan Matus, are not as important in the world view as he had previously thought. In the introduction he writes:

    My basic assumption in both books has been that the articulation points in learning to be a sorcerer were the states of nonordinary reality produced by the ingestion of psychotropic plants...    My perception of the world through the effects of those psychotropics had been so bizarre and impressive that I was forced to assume that such states were the only avenue to communicating and learning what Don Juan was attempting to teach me.

    That assumption was erroneous.

In the book don Juan takes Carlos on these various degrees of apprenticeship, in response to what he believes are signals from the phenomenological world, "The decision as to who can be a warrior and who can only be a hunter is not up to us. That decision is in the realm of the powers that guide men."

The book shows a progression between different states of learning, from hunter, to warrior, to man of knowledge or sorcerer, the difference said to be one of skill level and the type of thing hunted, "...a warrior is an impeccable hunter that hunts power. If he succeeds in his hunting he becomes a man of knowledge."

Throughout the book Castaneda portrays himself as skeptical and reserved in his explanations of the phenomena at hand, but by the end of the book Castaneda's rationalist worldview is seen to be breaking down in the face of an onslaught of experiences that he is unable to explain logically...... N Joy

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"Anything is one of a million paths. Therefore you must always keep in mind that a path is only a path; if you feel you should not follow it, you must not stay with it under any conditions. To have such clarity you must lead a disciplined life. Only then will you know that any path is only a path and there is no affront, to oneself or to others, in dropping it if that is what your heart tells you to do. But your decision to keep on the path or to leave it must be free of fear or ambition. Before you embark on any path ask the question: Does this path have a heart? If the answer is no, you will know it, and then you must choose another path. The trouble is nobody asks the question; and when a man finally realizes that he has taken a path without a heart, the path is ready to kill him. At that point very few men can stop to deliberate, and leave the path. A path without a heart is never enjoyable. You have to work hard even to take it. On the other hand, a path with heart is easy; it does not make you work at liking it."




Carlos Castaneda - Journey To Ixtlan 7 (mp3  51mb)

16 - Journey to Ixtlan The Lessons of Don Juan 32:03
17 - Journey to Ixtlan The Lessons of Don Juan 36:05

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previously

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)


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RhoDeo 1839 Re-Ups 157

Hello, wonderful win for Valverde at the worldcyclingships, 38 years old and his superior muscle memory left everyone behind only 2 mountain goats could keep up, best of the rest Tom Dumoulin. Exiting race that was. In contrast to the Russian Grand Prix that delivered another Mercedes win, Bottas had to make way for another Hamilton win who clearly fears Vettel could still rob him of his 5th world title. Whatever, driver of the day was birthday boy Verstappen who drove magnificently from 19th on the grid to the lead which he lost to the rule that says one tirechange is obligatory. 5th place for him 50 sec in front of teammate Ricciardo, i guess knowing you are not the best can be de-motivating specially in racing.


7 correct requests for this week, whatever another batch of 26 re-ups (7.5. gig)


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

Looka here , requests fulfilled up to September 30th... N'Joy

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3x Sundaze Back In Flac ( Bluetech – Prima Materia, Bluetech – Elementary Particles, Bluetech – Phoenix Rising )


4x Sundaze Back In Flac (Hosono & Yokoo - Cochin Moon, Haruomi Hosono - Coincidental Music, Haruomi Hosono - Mercuric Dance, Haruomi Hosono - The Endless Talking)


3x Sundaze Back in Flac (Midnight Syndicate - Vampyre Symphonies From The Crypt, Midnight Syndicate - Dungeons & Dragons (OST),  Midnight Syndicate - The 13th Hour)


4x Aetix Back In Flac (Dexys Midnight Runners - Searching,  Dexys Midnight Runners - Xtra Searching, Dexys Midnight Runners - Too-Rye-Ay, Dexys Midnight Runners - @BBC )


3x Beats Back in Flac (Planetary Assault Systems ‎- Archives, Planetary Assault - The Drone Sector,  Planetary Assault - Atomic Finkster)


3x Beats Back In Flac (Transglobal Underground - Dream of a 100 Nations, VA -  Dubnology Journeys I-I, VA -  Dubnology Journeys I-II)


6x Nippon Back in Flac (Yukihiro Takahashi - What Me Worry + EP, Logic System - Venus, Akiko Yano - John Zorn Compilation still in ogg VA - Yen Memorial, Susan - The Girl Can't Help it, The Drum Battle )


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Sundaze 1839

Hello, as we'll stay longer around Bristol here at Sundaze a word on the city....

Bristol's modern economy is built on the creative media, electronics and aerospace industries, and the city-centre docks have been redeveloped as centres of heritage and culture. The city has the largest circulating community currency in the U.K.—the Bristol pound, which is pegged to the Pound sterling. The city has two universities, the University of Bristol and the University of the West of England, and a variety of artistic and sporting organisations and venues. One of the UK's most popular tourist destinations, Bristol was selected in 2009 as one of the world's top ten cities by international travel publishers Dorling Kindersley in their Eyewitness series of travel guides. The Sunday Times named it as the best city in Britain in which to live in 2014 and 2017, and Bristol also won the EU's European Green Capital Award in 2015.

The music scene is thriving and significant. In 2010, PRS for Music announced that Bristol is the 'most musical' city in the UK, based on the number of PRS members born in Bristol relative to its population. From the late 1970s onwards it was home to a crop of cultish bands combining punk, funk, dub and political consciousness, including The Pop Group, close friends of The Cortinas, who led the City's punk scene from 1976. Bristol's premier fanzine from this time through until early 1978 was Loaded. It featured all of the Bristol bands as well as those who visited the city, some of whom were promoted by the magazine.

Bristol is home to many live music venues including the 2000-seat Colston Hall, named after Colston Street and the Colston School that once occupied the site, which can attract big names, the Trinity Centre (a community-run converted Church in the Old Market area of Bristol), the O2 Academy which is part of the national touring circuit for rock bands, the Anson Rooms (part of the University of Bristol Union), the Mothers Ruin, The Thekla, Fiddler's, the Bristol Folk House, Start the Bus, the Hatchet, the Fleece, the Croft, the Cooler and the Louisiana. Plenty to go on...



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. He also moved to France and began recording for the Ici d'Ailleurs label. A 2004 mix CD, OuMuPo 1, was credited to the Third Eye Foundation, but the project was put on ice until the politically motivated full-length The Dark was released in 2010. Following three more albums credited to Matt Elliott, the Third Eye Foundation returned in 2018 with the dub-influenced full-length Wake the Dead.

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Semtex is the debut studio album by Matt Elliott, released under the moniker The Third Eye Foundation.[1] It was originally released on Linda's Strange Vacation in 1996. The album was recorded on a 4-track recorder. Along with a mix of guitars, drum machines and noise samples, it features the voice of Debbie Parsons. Excellent sociopathic electronics but it's not all thrash and bash, "Dreams On His Fingers" and "Next Of Kin" are surprisingly soothingly ambient. In fact, the album slows down as it goes along. Entropy? Ultimate dispersion of energy? And then it blips out on the end track. In 2015, Fact placed it at number 22 on their "50 Best Trip-Hop Albums of All Time" list.

The Third Eye Foundation - Semtex (flac  319mb)

01 Sleep 7:05
02 Still-Life 11:27
03 Dreams On His Fingers 5:47
04 Next Of Kin 6:09
05 Once When I Was An Indian 12:31
06 Rain 5:23

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In Version is the second album released by Matt Elliott under the name The Third Eye Foundation. It was released in 1996 on Matt Elliott's record label, Linda's Strange Vacation. It is composed of remixes of songs originally by other artists. It features remixes of the songs of artists AMP, Crescent, Hood and Flying Saucer Attack. All collaborations with like-minded artists, two of whom actually counted Matt Elliott among their ranks at some point. The results are more varied than what was found on the debut, but really this is a remix album. The difference is easily audible on the first of 2 tracks by Amp and 3EF, when a harsh jungle rhythm comes bursting out of the speaker backing a track that wouldn't have been out of place on Semtex. Amp's second contribution is more subdued, but still would fit well on the last release without the percussion. Crescent's "Superconstellation" is probably my favorite thing on the CD, mainly because it actually sounds like both Crescent and 3EF playing different, complimentary songs over top of each other rather than a 3EF remix of a track by Crescent. But then comes Hood's "Eyes", which brings a darker edge to the proceedings. It really sounds like a grunge band trapped in a cage of feedback surrounded by ambient sounds, and damn is it ever powerful. Suffice to say that this is not as easy a listen as Semtex, but it has it's own set of charms that make it as good, if not better.
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The Third Eye Foundation - In Version  (flac 308mb)

01 Eternit feat. Amp (I And I And Eye And Eye And Eye Version) 4:33
02 Short Wave Dub feat. Amp 7:57
03 Superconstellation feat. Crescent 13:09
04 Eyes feat. Hood 5:21
05 Way Out Like David Bowman feat. Flying Saucer Attack 17:34

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A focus on warped guitar noise and the odd, untraceable samples place Ghost in similar territory to earlier Third Eye material, and hardly easy listening, but apparently that's the idea. Excellent moody, ethereal yet monolithic experimental electronic music from the mind of Matt Elliot. Brilliant tunes that shift from ethereal (What To Do But Cry), to atmospheric (Corpses As Bedmates, Ghosts...) to dark monolithic textures (The Star's Gone Out) to sorrowful (Donald Crowhurst). 'Ghost' remains deliciously spooky stuff and the precursor of hopefully stranger things to come. Enter at your peril. One to remember come November..(Halloween)

The Third Eye Foundation - Ghost    (flac 419mb)

01 What To Do But Cry? 6:59
02 Corpses As Bedmates 8:52
03 The Star's Gone Out 6:05
04 The Out Sound From Way In 5:57
05 I've Seen The Light And It's Dark 8:01
06 Ghosts... 7:21
07 Donald Crowhurst 4:19
bonus
08 Semtex (Edit) 5:11
09 Science Fiction (Edit) 5:21
10 The Sound Of Violence 7:05
11 A Name For My Pain 7:39

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If it's not the samples themselves but what you do with them, You Guys Kill Me gets extra points for effort. The beats and effects Matt Elliott concocted aren't incredibly original (there's the sewing-machine Brazilian bossa shuffle and the downbeat from Boogie Down Productions' "Bridge Is Over," along with various effects including howling dogs, dark crackly strings and metallic), but the slice-and-dice production, along with creative processing, transforms them into revelatory darkside symphonies. Elliott sounds as though he's Ed Rush's indie-rockin' sibling, fooling around with big brother's equipment and crafting a very twisted version of post-rock tech-step reminiscent of Amon Tobin as well as Rome. Strangely, it works.

The Third Eye Foundation - You Guys Kill Me (flac  378mb)

01 A Galaxy Of Scars 6:55
02 For All The Brothers And Sisters 4:14
03 There's A Fight At The End Of The Tunnel 4:39
04 An Even Harder Shade Of Dark 8:35
05 Lions Writing The Bible 1:59
06 No Dove No Covenant 4:55
07 I'm Sick And Tired Of Being Sick And Tired 4:39
08 That Would Be Exhibiting The Same Weak Traits 6:06
09 In Bristol With A Pistol 3:03
bonus
10 Fear Of A Wack Planet 7:18
11 A Galaxy Of Scars (Version) 9:00
12 In Bristol With A Pistol (The Full 9mm) 4:18

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RhoDeo 1838 Grooves

Hello,


Today's artists are a Dutch-Belgian jazz band, originally consisting of Doc (Ferdi Lancee) and Inca (Barend Fransen). Doc played guitar and Inca played saxophone, while both performed vocal duties. After the pair split in 2013, the band continues working and touring with a different lineup. .  ....N'Joy

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Founders Ferdi Lancee and saxophonist Barend Fransen started their collaboration in 2001 in response to a soundtrack for a one-off lounge evening in Belgium.  The music comes in the hands of the great independent Play It Again Sam in Brussels which leads to the albums (In Search Of) Excellounge (2001) and Kind Of Cool (2002).  Some songs end up on the soundtrack of the series Six Feet Under and the feature film Ghost Rider (released in 2007).  In 2003, Gare du Nord will tour the Netherlands and Russia with a nine-strong band.  The third album, Club Gare du Nord (2005), will be recorded in its own Cell4-Studio in the Netherlands.  On that record, the duo is supported by, among others, the French jazz trumpet player Erik Truffaz and the gospel singers from the American Imani Fellowship Choir.

Dutch guitarist Ferdi Lancee (real name: Ferdy Dousenbach, born October 21, 1953 in Tilburg) and saxophone player Barend Fransen (born January 4, 1959 in Helmond) started working together in 2001, when they started writing lounge music in Belgium. The music comes in the hands of the great independent Play It Again Sam in Brussels which leads to the albums (In Search Of) Excellounge (2001) and Kind Of Cool (2002).  Some songs end up on the soundtrack of the series Six Feet Under and the feature film Ghost Rider (released in 2007). In 2003, Gare du Nord toured the Netherlands and Russia with a newly formed band containing nine musicians. Their third album Club Gare du Nord (2005) was recorded in their own Cell4-Studio in the Netherlands. French Jazz trumpet player Erik Truffaz and the gospel singers of the American Imani Fellowship Choir contributed to the album. Around that date (2005), Barend Fransen left his job as president of Dutch record store chain "Van Leest" to spend more time on the band

On January 12, 2006, during Eurosonic in Groningen, the Underground Station Tour 2006 of Gare du Nord started. The jazz duo made the soundtrack for Stout, a book by Heleen van Royen and Marlies Dekkers.
2007–2008

Gare du Nord recorded the single "Ride On" with British singer Paul Carrack. This song appears on their fourth album, Sex 'n' Jazz (2007). The album is the first part of a so-called love trilogy. In addition to Carrack, the album is vocally supported by Dutch singer Dorona Alberti, as well as soul singer Marvin Gaye in the song "You're My Medicine". The song can be heard in Sexual Healing, an American biographical movie from director Lauren Goodman about the last years of Marvin Gaye's life. The song was also released as a single. On April 28, Gare du Nord received a golden record for their debut album (In Search Of) Excellounge. In late 2007, Gare du Nord went on the Theatre Tour Sex 'n' Jazz. Sales of Sex 'n' Jazz earned the duo a second golden record in October 2007, handed out by fashion designer Marlies Dekkers. On October 15, a Gold Edition of Sex 'n' Jazz was released containing six newly recorded tracks.

Gare du Nord is now an established name on Dutch stages;  founders Fransen and Lancee perform about sixty shows in theaters and pop clubs every year with their seven-piece band.  A contract is signed with the Blue Note Records label.  First comes the mix album Jazz In The City with the hit Beautiful Day that can be heard for months on Dutch radio in 2008.  The album achieves the gold status.  Fransen and Lancee write the song Come To The Ball for Grace Jones.  In 2009 the new album Love For Lunch is released with a cover design by Marlies Dekkers.  Also for this album the duo receives a gold record and later a platinum record.

The band Gare du Nord is now separated from the project Gare du Nord. The band will perform on stage without Ferdi or Barend who are going to focus on the new album and a movie. In 2010, the duo makes a second mix album for Blue Note with tracks by, among others, Marvin Gaye and Isaac Hayes (Let's Have A Ball).  In the autumn Gare du Nord undertakes a first big club tour with twenty shows in the larger pop rooms of the Netherlands, On October 3, 2011, the new album Lilywhite Soul was presented in Amsterdam, again on the Blue Note label. This album contains a cover of Lou Reed's Perfect Day.

Two songs (a remake of Pablo's Blues and a new song Tarantino's Tango) are submitted for the new Quentin Tarantino movie Django Unchained. These songs are also present on a new soundtrack album, called Rendezvous 8:02 released on June 4.. In October 2012 the first live album is released, entitled Lifesexy. The release turns out to be the very last album Barend and Ferdi work on as a creative team.

Barend and Ferdi split and go separate ways; Ferdi quit the public music business and Barend set up a completely new live band together with singer Dorona Alberti and guitarist Aron Raams. By the end of 2013 Universal Music releases the 3-cd box Collected. The new Gare du Nord band tours the Netherlands for the 35 City Live Tour. The shows feature guest appearances by classical harpist Lavinia Meijer. In January 2014 Lavinia Meijer presents a multi platinum award for the Sex 'n' Jazz album, a platinum award for Love For Lunch and a gold award for Lilywhite Soul to the band in a fully packed Muziekgebouw Eindhoven. Songwriter Barend Fransen starts writing new songs with several contemporary composers for a new 10-song songcycle to be premiered live on stage as Gare du Nord:

The band is touring in the new line-up of 30 Dutch theaters for the Undressed tour.  Barend Fransen writes together with Aron Raams and Lennaart Raams repertoire for a completely new album that will be released on October 30, 2015.  The album is called "Stronger!"  and testifies to the changes that the band has undergone in recent years.  The album also contains two French-Lancee compositions.  Key composition on Stronger!  is the 23-minute suite La Dolce Vita, which covers the whole of the album on the vinyl version of the album.  La Dolce Vita emerged as the soundtrack of the book Iglo In de Sahara by Barend Fransen.  In the novel Fransen describes the ten years that he had contact with Guus van Hove, former director of the Tilburg pop stage 013. A contact that ended in 2011 when Van Hove and his girlfriend were mysteriously killed in Joshua Tree National  Park during a three-week round trip through the United States.  The book will be published in 2017, more than five years after the unclear events.  At the end of 2015, Gare du Nord started the Stronger! Club tour that will bring the band back to the Dutch clubs.

With a new keyboardist, Ferry Lagendijk, the band dives into the theater and clubs for the 15th Anniversary Live Tour.  During the tour it is known that the album Stronger!  has been nominated for the Edison Audience Award 2016. In the spring of 2017, the Dutch tour will be continued in another 25 theaters, with the band collaborating with trumpet player Eric Vloeimans as special guest.  The year 2017 will be dominated by A Decade Of Sex 'n' Jazz: the ten-year jubilee of the Netherlands' most successful popular jazz album of all time: Sex 'n' Jazz.


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On their debut, In Search of Excellounge, Ferdi Lancee and Barend Fransen slip elegantly through several easy listening styles as Gare du Nord. The focus lays mainly on jazz and downtempo, but the majority of the tracks have some good ways to distinguish themselves. Opener "How Was It For You" has a bright and sunny feel to it due to the addition of the smooth keys and the latinesque guitar and ditto percussion. "Taxi Au Moulin" goes more to the jazz side with its cool saxophone and smokey hihat ticks, while the poppy "Tune Up" switches impressively between gentle funk and dreamy beauty. "Pablo's Blues", probably the best-known track, brings down the tempo of the beat drastically and shoots fascinating hard-to-understand blues lyrics into the air, while the soulful acoustic guitar fills up the gaps skillfully. The strike goes on with "Excellounge Bar" of which the airy feeling and the stunning synths in the middle part are notable. Unfortunately, the second half is not as strong as the first one. "Disco-Tèk" is fairly standard disco house, and the ultra slow "Room 69... Moi?" hardly offers anything to be enjoyable. The nice and dramatic melody on "Serge Gainsbourg" is almost screwed up by some dumb French voice samples. But that's nothing compared to "Poem Rouge", which almost entirely consists of weird spoken-word nonsense. Still, this shouldn't keep you from adding the excellent first half to your excellounge collection.

 Gare du Nord - In Search of Excellounge   (flac  245mb)

01 How Was It For You 5:17
02 Taxi Au Moulin 4:31
03 Tune Up 5:14
04 Pablo's Blues 5:01
05 Excellounge Bar 4:34
06 Disco-Tèk (Boogie All Night Long) 4:49
07 Room 69... Moi? 4:42
08 Searching Gainsbourg 3:38
09 Poem Rouge 4:16

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One year after their - quite surprisingly - successful first album, Gare du Nord serves another cocktail of their jazzy easy listening formula. Opening with "Kind Of Cool 1", a lightly groovy rhode-shuffler with smart and catchy muted trumpets and a brilliant vocal sample, the album appears to be promising. However, on the tracks that follow, the band go on using much more vocals. A part of them succeed, like on their mysterious cover of "Sold My Soul" (note that they made two versions of this track). The guitar-driven "I'm Not A Woman..." stays on the good side of tastefulness too, although the vocals occasionally are a little over the top. Some of the  tracks go for original ideas. "Dark Chill" sets bluesy guitars in front of haunting samples of the 9/11 disaster, with thrilling effect. "Kind Of Cool 2" approaches the first track in a comfortingly latin way. The most beautiful moment on the album - and possibly of Gare du Nord's whole discography - comes with "¿Yo... Que Pasa?". Here, a wonderfully played acoustic guitar guides the listener over smooth latin rhythms. The sensitive keys inbetween create a very pretty melancholy mood, a real gem .

Gare du Nord - Kind of Cool (flac  339mb)

01 Kind Of Cool 1 (Inner City Groove) 5:07
02 Sold My Soul 5:50
03 L'Hotel Beat 4:15
04 Panchira (Rasa Clinic, 1962) 6:09
05 Profondo Blu 5:30
06 Dark Chill 4:12
07 Kind Of Cool 2 (Miles Et Juliette) 4:58
08 Chinese Whispers, Japanese Strings 4:36
09 You're So Tight 3:37
10 ¿Yo... Que Pasa? 4:45
11 I'm Not A Woman, I'm Not A Man (Berlin Beat) 4:27
12 Tres Cool 1:13

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Although it can be described as 'lounge', it has little to do with the boring and repetitive tracks that make up the bulk of the music in this genre. Gare du Nord is different. A blend of warm, jazzy grooves and bluesy samples. Electronics are used sparingly and altogether they create some beautiful and all in all very suave tracks. Now, as to Club Gare du Nord: It's an album needs to grow on you. Especially after the amazing Kind of Cool album (which didn't contain one single less-than-perfect track) you cannot expect this to sink in very easily. The influences of world music seem to be gone, for a large part. So what's new? The delta blues, Tom Waits, Steely Dan, and Erik Truffaz on the trumpet. An altogether balanced album, with some good and some not so good tracks. But definitely worth picking up.

Gare du Nord - Club Gare du Nord (flac  230mb)

01 Are You Coming With Me? 3:42
02 What's Up? 4:37
03 It's In The Mind, Not In The Eye 3:19
04 Poor Boy's Blues (For Nick Drake) 3:59
05 Exquis-it, Baby 3:46
06 Somethin' Like That... 4:18
07 Tom's Song 3:50
08 (Watch Your Step) Mind The Gap 2:56
09 Go Back, Jack! 3:15
10 Ou Est Ton Singe? / Where Is Your Monkey 3:04
11 We Still Grow 5:58

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Gare Du Nord, together with St Germain, have been the French King Class of the lounge / triphop scene for years.  They always deliver (just like now) class products, where you especially in the summer can dream away in your lazy chair, hammock or bed.

On the album, Barend Fransen (Inca) and Ferdi Lancee (Doc) combined elements of jazz, soul, a unique piece of Motown sound, delta blues and of course the chill style shot from lounge jazz in a warm melting pot of carnal and spiritual well-being.  Singer Dorona Alberti turned out to be a hit for the sultry - but by no means banal - vocal atmosphere and the guest list was expanded with Paul Carrack (on the track Ride On) and trumpeter Erik Truffaz (Hey, Mr Glider)  .

Still unique is the 'duet' that Dorona was allowed to sing together with Marvin Gaye.  A tape with the bare vocals of his well-known track Sexual Healing, written by Gaye in his former home in Ostend, found its way to Gare du Nord.  Even before the very valuable rights for the use and bastering of the song were obtained, the track You're My Medicine was recorded, on which the originally Italian singer got the - until now - unique opportunity to work with the late Marvin Gaye to sing. State of the art remastered, this landmark edition of Sex 'n' Jazz sounds as crispy as ever.

Gare du Nord - Sex 'N' Jazz (Blue Note Remaster) (flac  304mb)

01 Marvin & Miles 3:49
02 Somethin' In My Mouth (Sex 'N' Jazz 1) 3:48
03 Ride On 3:47
04 Summer Breeze 0:28
05 Beautiful Day 3:43
06 You're My Medicine 4:15
07 More Medicine 2:11
08 Chet's Chat 4:16
09 Quiet Storm 0:48
10 I Want Love 4:24
11 Lobster For Love (Sex 'N' Jazz 2) 3:41
12 Hey, Mr Glider 4:21
13 Hot Glue 5:56

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