Jun 8, 2018

RhoDeo 1822 Grooves

Hello,


Today's artists are arguably the most multi-cultural band in Britain (current and past members hailing from a remarkable list of 32 different countries!), they was initially formed back in 1979 by Mauritius-born Jean-Paul Maunick, known to all since childhood as a Bluey . The son of Edouard Maunick - a distinguished African poet and writer - Bluey first moved to London in 1969 at the age of nine. By the mid-Seventies, his fascination with watching US bands like Earth, Wind & Fire, Weather Report and Kool & The Gang soon led to him hanging around with key players in the UKâ  s then-emerging jazz/funk scene - including groups like Gonzales, Hi-Tension and Average White Band - before going on to form his own aforementioned combo. With their debut album Jazz Funk (released through British independent Ensign Records in 1981) immediately establishing them at the forefront of London's then-thriving black music underground, the band however did not reach their commercial peak until signing with Phonogram's hip Talkin Loud label in 1990. ..... 'N Joy

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An acid jazz project with surprisingly deep roots in the 1970s jazz/funk/fusion world, Incognito were originally formed by Jean-Paul Maunick (aka Bluey) and Paul "Tubbs" Williams. Both were leaders of the late-'70s disco-funk group Light of the World, who scored several moderate British hits, including a cover of "I Shot the Sheriff." Just after the release of Light of the World's third LP (Check Us Out), Maunick and Williams shifted the lineup slightly and renamed the conglomeration Incognito. A decade separated their first and second albums, but from the early '90s through the early 2010s, the group recorded at a steady rate and stuck to their colorful hybrid sound.

Incognito debuted with the single "Parisienne Girl" and released the 1981 LP Jazz Funk, but were inactive during the rest of the 1980s. Maunick continued to write material for his group, even while working with Maxi Priest and others. (Williams later moved to Finland.) By the beginning of the 1990s, DJ legend and early Incognito fan Gilles Peterson had founded the Talkin' Loud label and he made Incognito one of his first signings. Their 1991 update of Ronnie Laws' "Always There," featuring lead vocals by Jocelyn Brown, became a Top Ten hit as part of Britain's booming acid jazz scene, prompting the release of Incognito's second album overall, Inside Life. It was largely a studio affair, with Maunick and engineer Simon Cotsworth directing a large cast with many of the best musicians in Britain's fertile groove community.

With 1992's Tribes Vibes + Scribes, Maunick added vocalist Maysa Leak to the lineup. A cover of Stevie Wonder's "Don't You Worry 'Bout a Thing" became another Incognito hit, and the album ascended Britain's pop charts even as it rose on America's contemporary jazz charts. The third album, Positivity, became the group's biggest album success, with much attention across Europe as well as Britain.

In 1994, Incognito appeared on the Red Hot Organization's compilation album, Stolen Moments: Red Hot + Cool. The album, meant to raise awareness and funds in support of the AIDS epidemic in relation to the African American community, was heralded as "Album of the Year" by Time magazine. In 1996, the band contributed "Water to Drink" to the AIDS-benefit album Red Hot + Rio, also produced by the Red Hot Organization. Their song "Need to Know" is the theme song for progressive radio and television news program Democracy Now!.

Late 1994 Leak unsuccessfully attempted a solo career with Blue Note, leading to temporary vocal replacement Pamela Anderson (not the Baywatch pinup) on 1995's 100° and Rising. Leak returned, though, appearing on the following year's Beneath the Surface. During the latter half of the decade, Incognito expanded their discography with 1996's Remixed, 1998's Tokyo Live, and 1999's No Time Like the Future.

The group's first two albums of the 2000s, Life Stranger Than Fiction (2001) and Who Needs Love (2002), were made without Leak. The latter, the first of several releases for the Dome label, featured Brazilian vocalist Ed Motta. Leak returned for Adventures in Black Sunshine (2004), a set that also boasted a guest appearance from longtime Incognito inspiration George Duke. Bees + Flowers + Things (2006) was a mix of cover versions along with re-recordings of four Incognito classics. More Tales Remixed (2008) involved remixes from Dimitri from Paris and Mark de Clive-Lowe, among others.

Incognito began the 2010s by acknowledging a major group milestone, most notably with the two-CD Live in London: The 30th Anniversary Concert, as well as their 14th studio set, Transatlantic R.P.M., featuring performances from Chaka Khan, Mario Biondi, Leon Ware, Ursula Rucker, and Leak. Surreal (2012) was followed by Bluey's first proper solo album, Leap of Faith (2013), while Amplified Soul (2014) -- one of the group's several releases to exceed an hour in length -- showed that their productivity was hardly on the wane. 2016 saw the band release its 17th studio long-player, In Search of Better Days, which featured guest artists pianist Avery Sunshine, drummer Richard Spaven, percussionist Jody Linscott, and Japanese guitar legend Tomoyasu Hotei.

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The cool and bouncy retro-soul vibe of the veteran British acid jazz ensemble Incognito isn't really retro at all -- it's just that they've been doing it since the early '80s, when that sound was still a new thing. Despite its vast array of personnel changes over the course of eight previous albums, the band has stayed true to the original vision of frontman/guitarist Jean-Paul "Bluey" Maunick, and that means, even post-millennium, a liberal mix of jazz, house, groovalicious funk, worldbeat, colorful female vocals, and most of the times, snazzy horn sections. The band's Narada Jazz debut, Who Needs Love also includes spicy touches of soaring Brazilian energy (think whimsical, Sergio Mendes circa mid-'60s), with guest vocalist Ed Motta singing both words and scat over punchy horns, and a thumping disco beat. Gentle samba grooves infuse "Stone Cold Heart" and the feisty, Braz-funk gem "Cada Dia (Day by Day)" as well. Most of the other material is a bit less exotic, from the moody romantic R&B-flavored lament "Can't Get You Out of My Head" to the thumping, wah-wah- and horn-inflected anthem "People at the Top," which has "Welcome to the '70s" written all over its infectious grooves. The trippiest track of the bunch is "Byrd Plays," which blends an odd nature soundscaping ambience, a distant horn, and subtle African percussion with hypnotic low register piano chords. Maunick is always seeking new collaborators mixed with former cohorts, and here he has British troubadour Paul Weller and vocalists Kelli Sae, Joy Rose, and former group member Joy Malcolm.



Incognito - Who Needs Love     (flac 425mb)

01 Who Needs Love 5:16
02 Can't Get You Out Of My Head 4:33
03 People At The Top 4:44
04 Morning Sun 4:34
05 Stone Cold Heart 6:05
06 Cada Dia (Day By Day) 4:48
07 If You Want My Love 4:04
08 Don't Be A Fool 4:54
09 Byrd Plays 5:33
10 Where Love Shines 6:51
11 Did We Really Ever Try 6:17
12 Blue (I'm Still Here With You) 5:56
13 Fly 4:24

Incognito - Who Needs Love   (ogg  155mb)

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It's funny how every time another phenomenally funky, brass-fired groove party comes out in the shape of another solid Incognito date, the label touts it as "retro." This time, Narada Jazz's press materials focus on all of group mastermind Jean-Paul "Bluey" Maunick's influences in order to remind listeners that he's a child of the '70s. But the basic soul vibe of that decade has been the defining element of Incognito's sound since their first disc in the early '80s. The big story on 2003's Who Needs Love was the inclusion of a Brazilian vibe via Ed Motta, and here it's the return after several albums of the honey soul-voiced Maysa Leak, who was a big part of the group's rise to acid jazz prominence in the early '90s. Depending on the intensity of the groove, Leak's cool vibes add breeze or urgency over the course of her seven tracks -- from the laid-back seduction of "Don't Turn My Love Away" to the more danceable and emotionally charged "Everything Your Heart Desires" and the moody, socially conscious "This Thing Called Love." Listening to the irrepressible instrumentals, which keep the groove moving under increasingly snazzy horn fire, it's clear the kind of impact Incognito has had on newer Brit outfits like Down to the Bone. "The 25th Chapter" rolls on and on like a disco on fire (with jazzy flute pepper trying to put it out), while no less than George Duke (another '70s-minded jazz-funk genius) spices up the spacy soul jam "Mindin' My Business" with some out-there Rhodes improvisations. Even with some 1,000 musicians passing through Incognito's ever-revolving doors and ever-evolving sound, Maunick's admiration for the soul music that first inspired him comes through brilliantly every time out.



Incognito - Adventures In Black Sunshine    (flac 473mb)

01 Don't Turn My Love Away 4:54
02 Everything Your Heart Desires 4:15
03 Close My Eyes 3:29
04 The 25th Chapter 6:13
05 True To Myself 5:03
06 The Principles Of Love 7:38
07 This Thing Called Love 3:13
08 Fences And Barriers 4:09
09 Mindin' My Business 8:13
10 Autumn Song 5:42
11 Listen To The Music 4:49
12 Mr Jones 4:32
13 The World Is Mine 7:35
14 Beyond The Clouds 4:45

Incognito - Adventures In Black Sunshine  (ogg  168mb )

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The U.K.-based supergroup Incognito released their 11th career recording and it's a sleek, pop/jazz offering that will have you swinging and swaying to their groovy guitars, big horns, and soulful vocals. This is the first time the group has recorded with its touring band and it's a whole new groove. This sophisticated take on acid jazz features such great songs as "Baby It's Alright," "Show Me Love," and "As Long as It's You." The soulful vocals of Maysa Leak and Imaani bring a great dimension to Jean-Paul "Bluey" Maunick's company and it's definitely a keeper.



 Incognito - Eleven    (flac  370mb)

01 Let the Mystery Be 6:50
02 We Got Music 5:24
03 Come Away with Me 7:04
04 Baby It's Alright 4:36
05 When Tomorrow Brings You Down 3:41
06 Jacaranda 6:20
07 Show Me Love 5:38
08 Will I Ever Learn? 4:40
09 I'll Get By 5:09
10 It's Just One of Those Things 4:58
11 As Long as It's You 4:21

Incognito - Eleven  (ogg  131mb)

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The U.K. soul collective Incognito's acid jazzy roots predate the format that became smooth jazz by a few years, so it's not exactly appropriate to call Jean-Paul "Bluey" Maunick and company's retro pop-soul-jazz vibe "smooth jazz." Nonetheless, on this typically dreamy, cool vibin' and supersensual release, they picked up on the ubiquitous genre trend of 2006 -- doing lots of cover versions. At least they take a unique approach to them, as the seductive, guy-girl trade-off vocals and sweet, horn-spiced ornamentation on "Summer in the City" comes after a whole minute of moody, mysterious film score type music. Their take on America's "Tin Man" and Earth, Wind & Fire's "That's the Way of the World" (which reaches dreamily towards nine minutes) are pretty by the book but more soulful (naturally) than the original and ultimately pretty irresistible. And at least they also dare to cover less obvious tunes like Roy Ayers' "Everybody Loves the Sunshine," which gets things off to a mellow but optimistic note. Incognito also dares to try a unique approach to the whole cover phenomenon, doing sparsely arranged takes on four of their own classics -- "Always There," "Still a Friend of Mine," "Everyday" and "Deep Waters." This stripped down approach allows his vocalists, which include Carleen Anderson, Jocelyn Brown, Maysa, Joy Rose, Imani and Tony Momrelle the center stage they so richly deserve. With this ensemble, the deep soul vibe is everything, so whether they're doing old pop songs, remakes of their own tunes, or originals, we're still dancing in the laid-back late summer sunshine.



 Incognito - Bees + Things + Flowers    (flac  318mb)

01 Everybody Loves The Sunshine 4:17
02 Everyday 4:05
03 Summer In The City 4:46
04 Always There 2:30
05 Raise 3:18
06 Still A Friend Of Mine 5:39
07 Tin Man 3:29
08 Crave 5:32
09 Deep Waters 4:58
10 You Are Golden 3:52
11 That's The Way Of The World 9:00

Incognito - Bees + Things + Flowers  (ogg  110mb)

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Jun 7, 2018

RhoDeo 1822 Re-Ups 143

Hello,  been watching some you tube in fact got sucked in and as the amount of info is too much, one needs to learn how to discern the nonsense and the cynics that are out to make a buck of the gullible. Then there are those forces out to discredit anyone trying to lift the veil (=apocalypse) of our past (and presence). Fact is everything you've been told is well short of the truth, the main culprits are religion, sadly scientists too are only interested in truth if it doesn't endanger their career and believe me scientists are like a pack of wolves tearing anyone apart that doesn't tow the line.

Ah yes fighting religion clearly damaged their logic minds, ironically as it stands there's plenty of truth in religious myths, like the flood or even a powerful creature creating homo sapiens, interestingly the Jews (and later muslims) elevated his brother to supreme being, thanks to Abraham who was married (Annunaki style) to his half sister Sarah, and who's father (Terah) worshiped the Annunaki pantheon back in Babylon days 2000BC. Meanwhile sapiens creator Enki, who's logo at the time was a snake, got demonized for seducing Eva to take a bite of the apple and become conscious. Yes it's beyond bizarre that according to the bible our original sin is becoming conscious, because his supremo brother Enlil didn't like it and subsequently had us thrown out of Eden. Yes i'm talking Annunaki here, contrary to scientific belief (!) this is all nonsense despite being written in stone by Sumerians who out of the blue gave us civilization and astronomical knowledge only confirmed the last century.

These 10 feet creatures had disappeared out of sight around the introduction of Kingship 2500-3000BC, but wait a minute these elite Annunaki were quasi immortal (but they could be killed), why would they leave our beautiful and bountiful planet, well they didn't, they found a way to overcome Earths uncomfortable stronger gravity but more importantly the danger of being killed by humans. They genetically created humans elites whom they could easily take possession of, a devious but very effective tactic. I know all this is hard to belief for joe public and easy to ridicule. Consider, most scientists are only recently starting to admit consciousness is everywhere and very diverse in it's density/quality not only everything that surrounds us is different but in homosapiens there's variation too and out there in the cosmos there's life forms that consider the Annunaki naughty children.

We humans needn't be afraid of aliens yes the Annunaki aren't very nice but their numbers are small and there are plenty of benevolent aliens some of which have been crossbreeding with us to empower the human race, not to long ago these children were hunted by the dark forces, but these days secret services are no longer as ignorant as they were 5 decades ago. The Annunaki are loosing control of Earth which sounds great, alas for an inbred psychopath like Enlil (known as Jahweh or Allah to the religous servs) this could mean if I can't have it, nobody can...destroy...




14 correct requests for this week and as usual, requests that totally ignore my 12 months limit, whatever another batch of 46 re-ups (14,5 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 June 6th.... N'Joy

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3x Aetix Back In Flac (Magazine - Real Life, Magazine - The Correct Use Of Soap, Magazine - Magic, Murder & the Weather)


3x Grooves Now In Flac (Prince - Black Album, Prince - I Wish U Heaven, Scandalous Sex Suite, 2 tracks still in ogg Prince And The Revolution - Twelves)


5x Wavetrain NOW in Flac (TV 21 - A Thin Red Line, Johnson, M - Burning Blue Soul, The Motels - I & Careful, Flying Lizards - Fourth Wall, The Fixx - Reach The Beach)


3x Aetix Back In Flac (Die Form - Die Puppe, Die Form - Some Experiences With Shock, Die Form - Poupee Mecanique)


4x Inside Out NOW in Flac (
Roger Winfield - Voices of the Wind, Electric Skychurch - Knowoneness, still in ogg Brain Sync - Brain Power, Phil Thornton - Tibetan meditation, Robert Bruce - Astral Dynamics PDF)


4x AetixBack in Flac(Thomas Leer & Rob Rental - The Bridge, Thomas Leer - 1982, Thomas Leer - Contradictions,  Thomas Leer - The Scale Of Ten )

3x Aetix Back In Flac (Laurie Anderson - Big Science,  Laurie Anderson - Mister Heartbreak,  Laurie Anderson - Strange Angels )


3x Roots NOW in Flac (V.M. Bhatt & Ry Cooder - A Meeting by, The Rough Guide To Bhangra Dance, The Rough Guide Bollywood Gold)


3x Roots  Back in Flac  (Mory Kante - Akwaba Beach, Mory Kante - Touma, Mory Kanté - Sabou )


3x Beats Back In Flac (Rough Trade Shops - Electronic 01-1, Rough Trade Shops - Electronic 01-2 , VA - We Are Skint, VA - We Are Skint 2)

3x Aetix Back In Flac ( Siouxsie And The Banshees - Juju, Siouxsie And The Banshees - A Kiss In The Dreamhouse, Siouxsie And The Banshees - Hyæna)

3x Roots Back In Flac (Seeed - New Dubby Conquerors, Seeed - Next, Gentleman - Diversity )


2x Aetix Back In Flac (VA - The Best Of New Wave Club Class-X Vol. 1-1, VA - The Best Of New Wave Club Class-X Vol. 1-2)


2x Aetix Back In Flac (VA - The Best Of New Wave Club Class-Y Vol. 2-1, VA - The Best Of New Wave Club Class-Y Vol. 2-2)


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Jun 6, 2018

RhoDeo 1822 Aetix

Hello,


Today's artists were one of the darkest and most challenging post-punk groups to emerge in the early '80s, creating bleak and noisy soundscapes that provided the perfect setting for vocalist Nick Cave's difficult, disturbing stories of religion, violence, and perversity. Under the direction of Cave and guitarist Rowland S. Howard, the band tore through reams of blues and rockabilly licks, spitting out hellacious feedback and noise at an unrelenting pace. As the Birthday Party's career progressed, Cave's vision got darker and the band's songs alternated between dirges to blistering sonic assaults. ..............N'Joy

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The nucleus of the band first met at the private boys school Caulfield Grammar School, in suburban Melbourne, in the early seventies. A rock group was formed in 1973, with Nick Cave (vocals), Mick Harvey (guitar), and Phill Calvert (drums), with other students John Cocivera, Brett Purcell and Chris Coyne (on guitar, bass and saxophone respectively). Most were also members of the school choir. The band played under various names at parties and school functions with a mixed repertoire of David Bowie, Lou Reed, Roxy Music, Alice Cooper and the Sensational Alex Harvey Band, among others.

After their final school year in 1975 the band decided to continue as a four-piece group, with friend Tracy Pew picking up the bass. Greatly affected by the punk explosion of 1976 which saw Australian bands The Saints and Radio Birdman making their first recordings and tours, The Boys Next Door, as they were now called, began performing punk and proto-punk cover versions, such as "Blitzkrieg Bop" and "Gloria", and a few original songs. By November 1977 their set was dominated by fast original new wave material, such as "Sex Crimes" and "Masturbation Generation".

The Boys' second guitarist, Rowland S. Howard, joined in 1978, and about this time, the group's sound changed dramatically. The addition of Howard's guitar was certainly a catalyst (his later use of audio feedback being a hallmark of the group) but there were other changes, as well: their sound drew upon punk, rockabilly, free jazz and the rawest blues, but defied concise categorization. Many songs were driven by prominent, repetitive basslines and frenetic, yet minimalist, drumming. Though the band was tightly rehearsed, the instrumentalists often sounded as if they were on the verge of collapse, this quality only emphasising the newfound mania of Cave's singing, and his expressionist lyrics. In producer/engineer Tony Cohen they found a willing accomplice to their experimentation and their refusal to repeat themselves; and in manager Keith Glass they found an enthusiastic financial backer. Glass' label Missing Link Records released all of the early Birthday Party records.
Name change and relocations (1978–1982)

The Boys Next Door's best known song, "Shivers", written by Howard, and first performed and recorded by his band The Young Charlatans, was banned by radio stations because of a reference to suicide. After recordings and moderate success in Australia (including hundreds of live shows) they headed for London in 1980, changed their name to The Birthday Party and launched into a period of innovative and aggressive music-making. Some sources say the band took its new name from the Harold Pinter play The Birthday Party; others (including Ian Johnston's Cave biography) state it was prompted by Cave misremembering, or intentionally misattributing, the name to a non-existent birthday party scene in the Dostoyevsky novel Crime and Punishment. In a 2008 interview, Rowland S. Howard gave his own recollection: "The name The Birthday Party came up in conversation between Nick and myself. There's this apocryphal story about it coming from a Dostoyevsky novel. It may have had various connotations, but what he and I spoke about was a sense of celebration and making things into more an occasion and ritual". They resided in London, with trips back to Australia and tours through Europe and the U.S. before relocating to West Berlin in 1982.

Above the barely-controlled racket, Cave's vocals ranged from desperate to simply menacing and demented. Critics have written that "neither John Cale nor Alfred Hitchcock was ever this scary," and that Cave "doesn't so much sing his vocals as expel them from his gut". Though Cave drew on earlier rock and roll shriekers—especially Iggy Pop and Suicide's Alan Vega—his singing with the Birthday Party remains powerful and distinct. His lyrics also drew on Arthur Rimbaud and Charles Baudelaire.

The single "Release the Bats" came out during the emergence of the gothic scene. This song about "vampire sex" was promoted by an advertisement with the words "Dirtiness is next to antigodliness". Their 1982 album Junkyard was inspired by American Southern Gothic imagery, dealing with extreme subjects like an evangelist's murdered daughter. For the Birthday Party, things had changed. Calvert was ejected in 1982; he was reportedly "unable to nail down the beats for 'Dead Joe' to everyone's satisfaction", and Harvey moved to drums. When Pew was jailed for drunk driving and petty theft early in 1982, Chris Walsh, Barry Adamson and Howard's brother Harry replaced him for live appearances and brief studio work. Pew rejoined the band in July.

The Mutiny EP contained lyrics evoking blasphemy, words which were as dark as the gothic poems of Lautréamont. The title track portrayed a dirty heaven with rats and trash. In 1982 a spin-off group with Lydia Lunch, Honeymoon In Red, recorded an album which was eventually released in 1987. Harvey and Cave were reportedly so unhappy with the mixing and overdubbing done after their involvement that they requested their names be withheld from its liner notes. Howard and Pew apparently had no objections to being credited by name.

A tour in January 1983 found the group return to a five-piece, with Jeffrey Wegener playing drums and Harvey returning to second guitar. Wegener did not remain with the group, however, and they returned to a four-piece soon after. Later this year, Blixa Bargeld from the German band Einstürzende Neubauten played guitar on the track "Mutiny in Heaven". Tension between Cave and Howard soon came to a head, but it was Harvey who first left the group – their final tour saw Des Hefner on drums. The Birthday Party disbanded in late 1983, due in part to the split between Cave and Howard, as well as work and drug-related exhaustion.

Several groups rose from the Birthday Party's ashes: Nick Cave and the Bad Seeds (featuring Cave, Harvey, Adamson, Bargeld and briefly Pew), Crime and the City Solution (featuring Harvey and Howard, later just Harvey) and These Immortal Souls (featuring Howard). Pew died from injuries caused by an epileptic seizure in 1986.

On 1 September 1992, there was a brief Birthday Party reunion as Rowland S. Howard joined Nick Cave and Mick Harvey on stage at a Bad Seeds NME charity show at the Town and Country Club in London to play Wild World, Dead Joe and Nick The Stripper. Due in part to their legendary status and to the continuing success of Nick Cave and the Bad Seeds, The Birthday Party's back catalogue has been re-released on CD several times. Mick Harvey has overseen releases of rare or previously unissued recordings ("Live" and "John Peel" CDs).

In October 2007, Cave alone was inducted into the ARIA Hall of Fame. During his acceptance speech, Cave took it upon himself to 'induct' the Australian members of the Bad Seeds (including Harvey), plus Howard and Pew from The Birthday Party. Rowland S. Howard died 30 December 2009 of liver cancer.

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If one compares Door, Door to later albums made by these soon-to-be-infamous Aussies -- albums released under the Birthday Party moniker -- it sounds fairly tame and relatively straightforward. But that's not to say there's anything wrong with it. In fact, it's a frantic, edgy, and surprisingly catchy piece of post-punk mayhem; just don't expect anything as original or downright disturbing as "Big-Jesus-Trash-Can" or "Zoo-Music Girl." The album starts out in high gear with "The Nightwatchman," replete with ringing guitar figures, a boppy punk-pop chorus (yes, those are "ooh-ooh-ooh-oohs" you're hearing), and dirty sax lines. Sax pops up on "Brave Exhibitions" as well, providing a meaty partner to the lead guitar on circular, descending scales that bring some weirdness to a straight-up rocker. Things begin to get slightly more strange and troubled as the record plays on: "The Voice" and "Somebody's Watching" are filled with a paranoid mania and creepy, memorable musical phrases that make them two of Door, Door's highlights. (The lead guitar parts in the latter song make it seem as if Rowland Howard spent time listening to Television at the wrong speed.) And "Roman Roman" is a frenzied schoolyard chant that hints at some of the anarchic pandemonium the group could create on-stage. It's impressive how, even at this early stage, Nick Cave was a confident and unique singer, perfectly aware of the strengths and limitations of his voice; although he's not much for range, he knows how to come across in a scary and theatrical manner that perfectly complements the music. Nowhere is this more apparent than on the band's closing, mournful ballad, "Shivers," an unashamedly melodramatic example of post-adolescent anguish.



The Boys Next Door - Door, Door (flac  206mb)

01 The Nightwatchman 2:03
02 Brave Exhibitions 2:20
03 Friends Of My World 2:41
04 The Voice 3:50
05 Roman Roman 1:32
06 Somebody's Watching 2:37
07 After A Fashion 4:32
08 Dive Position 2:43
09 I Mistake Myself 4:27
10 Shivers 4:34

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It should come as no surprise that there is an album in Nick Cave's oeuvre called Prayers on Fire; a fascination with the dark, (self-)destructive side of religion is more than evident in his later work with the Bad Seeds. While there might not be any of the explicit Biblical imagery on Prayers on Fire that Cave would later ejaculate, the title of the album is apt, and its aptness is revealed almost immediately. Over the tribal thud of floor toms, shards of trebly guitar, the throb of an organ, and even a creepily out-of-place trumpet come the possessed, chant-like vocals -- not an incantation to any god, but to "Zoo-Music Girl." It's the religion of depraved sexuality, bestial urges, and sadomasochism. "We spend our lives in a box full of dirt/I murder her dress till it hurts/I murder her dress and she loves it," howls Cave, echoing Leonard Cohen and finally concluding with the berserk plea, "Oh! God! Please let me die beneath her fists." Meanwhile, Cave sounds like he's actually being assaulted by the music, emitting horrific gasps and primitive grunts. And this is only the first track. On the next two tracks, language itself is violated and found inadequate. Words collapse upon themselves in "Cry," with Cave tossing out self-annihilating binaries like "space/no space," "fish/no fish," "clothes/no clothes," and "flesh/no flesh." On "Capers," penned by Genevieve McGuckin, semantics are made into sausage -- words are chewed up and regurgitated as warped neologisms: "gloomloom," "clocklock," "paperparrent," "diehood." The lyrics for "Figure of Fun" aren't even printed in the booklet; instead, merely "obsessive, deadpan, moribund, seasick, etc." And perhaps that best sums up Prayers on Fire's graveyard poetry. The rest of the album is a subterranean labyrinth full of "sand and soot and dust and dirt," peopled by bizarre characters like Nick the Stripper and King Ink, and replete with images of murder, decay, blood, and Kafka-esque insects. Then, of course, there's Cave himself, the literate ghoul with an impressive vocal range who just stepped out of a B horror flick, trying to parry the intensity of the music like an Iggy Pop wasted on goth pills. But be careful not to overlook his subtle sense of humor and his awareness of the camp -- there are also chickens to be counted, nuns inside his head, and Fats Domino on the radio. With Mick Harvey being the only future Bad Seed on hand (Anita Lane also contributed one set of lyrics), the music here foreshadows Cave's later work without quite resembling it (with the exception of his first album). The Birthday Party are closer to Joy Division (only more theatrical), the Pop Group (only spookier), or Pere Ubu (only more percussive). Though present on most of the tracks, the moody piano that would dominate much of Cave's solo work is never really prominent here. Instead it's the squiggles of Rowland Howard's guitar dodging the blows of the furious rhythm section that distinguishes the Birthday Party. Oppressive and unrelenting, Prayers on Fire is highly recommended for those aspiring to advanced states of dementia.



The Birthday Party - Prayers on Fire  (flac  252mb)
 
01 Zoo-Music Girl 2:34
02 Cry 2:39
03 Capers 2:38
04 Nick The Stripper 3:50
05 Ho-Ho 3:06
06 Figure Of Fun 2:47
07 King Ink 4:39
08 A Dead Song 2:12
09 Yard 5:02
10 Dull Day 3:03
11 Just You And Me 2:01
12 Blundertown 3:07
13 Kathy's Kisses 4:06

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The Party's second and final full studio album, also the final release with the five-person lineup, was perhaps its scuzzy masterpiece, its art/psych/blues/punk fusion taken to at times outrageous heights. Right from its start, nobody held back on anything, Cave's now-demonic vocals in full roar while the rest of the players revamped rhythm & blues and funk into a blood-soaked cabaret exorcism. Nearly every tune is a Party classic one way or another, from the opening slow, sexy grind of "She's Hit," Cave's freaked tale of death and destruction matched by clattering percussion and a perversely crisp guitar from Howard, to the ending title track's crawl toward a last gruesome ending. Tips of the hat to literary influences surface at points, notably "Hamlet (Pow, Pow, Pow)," though the protagonist isn't so much the indecisive tragic figure of Shakespeare as a Romeo-quoting criminal on the loose. The ultimate Party song sits smack dab at the center -- "Big-Jesus-Trash-Can," a hilarious and blasphemous blues/jazz show tune with some great brass from Harvey to top it all off. Guest performers crop up at points; future Bad Seed Barry Adamson plays bass on "Kiss Me Black," while Anita Lane contributes two sets of lyrics if not her direct vocals. Later CD versions included three extra tracks. "Blast Off" and "Release the Bats" were originally issued as a single; both seethe with rage and fire in spades. The latter is at once powerful and a bit of a tongue-in-cheek goth goof, with Cave serving up lines like "Don't tell me that it doesn't hurt/A hundred fluttering in your skirt." The other bonus, a second version of the album's "Dead Joe" recorded in London, is if anything even more frenetically gone than the original, a car crash sample punctuating the lyrical reference to same all the more



 The Birthday Party - Junk Yard (flac  292mb)

01 Blast Off 2:19
02 She's Hit 6:06
03 Dead Joe 3:09
04 The Dim Locator 2:50
05 Hamlet (Pow, Pow, Pow) 5:33
06 Several Sins 2:56
07 Big-Jesus-Trash-Can 3:00
08 Kiss Me Black 2:48
09 6" Gold Blade 3:35
10 Kewpie Doll 3:32
11 Junkyard 5:49
12 Dead Joe (2nd Version) 3:08
13 Release The Bats 2:32

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The final Party studio release has the band thrashing to its conclusion. Given that the various projects that rose in its wake -- Cave's solo career, Harvey and Howard's work with Crime and the City Solution, Howard's own solo efforts -- all sound like logical extensions of the Party's sound; artistic dissatisfaction can't explain what brought the Party to an end. Whatever went down, though, the group bowed out with artistic extremism intact, if not always exploding all over the place as in years past. "Jennifers Veil" sounds like a slightly lighter -- but only just -- cousin to Bad Seed's "Deep in the Woods," Cave singing more than intoning, calling to mind the burned romantic of his later years more than once. "Say a Spell" runs at about the same pace but with more feedback to burn, a good torchy blues with a fine howl or two to recommend it. "Swampland" turns up the energy level all around, a crunchy romp through the low and mean places, sonically and lyrically, the Party made their own. "Mutiny in Heaven" closes it all off with a final, worthy blast of fire. Blixa Bargeld guests from Einsturzende Neubaten, foreshadowing his role as key guitarist for Cave's Bad Seeds, with sudden edits and a roaring central refrain from Cave, when not otherwise detailing a world turned upside down with all the fire of a travelling evangelist.



The Birthday Party - Mutiny, The Bad Seed E.P (flac  233mb)

The Bad Seed E.P.
01 Sonny's Burning 3:20
02 Wildworld 3:27
03 Fears Of Gun 3:54
04 Deep In The Woods 4:50
The "Mutiny" Sessions
05 Jennifers Veil 4:58
06 Six Strings That Drew Blood 3:32
07 Say A Spell 3:41
08 Swampland 3:31
09 Pleasure Avalanche 4:23
10 Mutiny In Heaven 4:17

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Jun 5, 2018

RhoDeo 1822 Roots

Hello,

The cumbia "crystallized", through music, the dream of Símón Bolívar: a united Latin America. From the 1940s onwards, modern cumbia spread and became popular throughout Latin America, with which it followed different commercial adaptations, such as the Argentine cumbia, the Bolivian cumbia, the Chilean cumbia, the Dominican cumbia, the Ecuadorian cumbia, the cumbia mexicana, cumbia peruana, cumbia salvadoreña, cumbia uruguaya and cumbia venezuelan, among others. Cumbia is a musical genre from Colombia, which has its origins in Africa. This genre is a mixture of the influence of slaves from Africa, Native Americans and to a lesser extent the Spanish. Being a product of the miscegenation between these cultures during the Conquest and the Colony. The cumbia gets its name from the word "Cumbé", which is a dance of the people of color of the Spanish Guinea, in West Africa. .... N'Joy

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The United States of Colombia (Spanish: Estados Unidos de Colombia) was the name adopted in 1861 by the Rionegro Constitution for the Granadine Confederation, after years of civil war. Colombia became a federal state itself composed of nine "sovereign states". It comprised the present-day nations of Colombia and Panama and parts of northwestern Brazil. After several more years of intermittent civil wars, it was replaced by the more centralist Republic of Colombia in 1886.

The music of Colombia is an expression of Colombian culture, which contains diverse music genres, both traditional and modern, according with the features of each geographic region, although it is not uncommon to find different musical styles in the same region. The diversity in musical expressions found in Colombia can be seen as the result of a mixture of African, native Indigenous, and European (especially Spanish) influences, as well as more modern American.

Colombia has a vibrant collage of talent that touches a full spectrum of rhythms ranging from Pop music and Classical music to Salsa and Rock music. Colombia is known as "The land of a thousand rhythms" but actually holds over 1,025 folk rhythms. Some of the best known genres are cumbia and vallenato.


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One of the first bands to combine the folk rhythms of Colombia's Buenaventura region and the cumbia of Cuba, Peregoyo Y Su Combo Vacana were known for their unique electric guitar-dominated sound. Reviewing a reissue of their early-70s album, Tropicalismo, RootsWorld claimed that Peregoyo Y Su Combo Vacana "never lets up as it hurls groove after incessant groove at you, sax and trumpet blazing from a path cut by fat, no bloated bass licks, pervasive percussion and searing solo and group vocals". Tthere are touches of salsa, son montuno, and other tropical styles. the music sounds Cuban with touches of Colombia cumbia. But the music is de Colombia. Red hot latin dance music that sounds liek it was recorded in teh late 1950's. Great stuff, lot's of improvisation, and a real tight band. The lively horn rythms featured in these tracks are held tegether with electric guitar picking and the need to just get out in the street and dance and play! They parade Colombian traditional sounds with the coming technology of electric base and guitar to generate rock steady vacana. This is a reissue of an early-'70s release by a band alas long defunct. The style is your basic salsa-cumbia (salsa-currulao, salsa-porro, etc.). But Peregoyo's group stood out for a splendid mix of originality and down-home tipico, plus an improvised solo trumpet lead to the frontline that gave the whole thing far more flair than the usual arranged horns. It's spiffing all round...



Peregoyo y su Combo Vacana - Tropicalisimo   (flac  291mb)

1 Rio de Juaji 2:49
2 La Palma de Chontaduro 2:39
3 Asi Es Mi Tierra 3:18
4 Mi Buenaventura 3:04
5 Descarga Vacana 7:46
6 La Pluma 2:37
7 Ola de Agua 3:12
8 Chenchudino 2:56
9 Martha Cecelia 2:35
10 El Canalete 2:48
11 Sabor de Vacana 3:22
12 Descarga Vacana 5:20
13 Che Pachanga 2:38

Peregoyo y su Combo Vacana - Tropicalisimo (ogg   116mb )

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Born in Buenaventura on January 10, 1917, musician Luis Enrique Urbano Tenorio was known as "Peregoyo" for his most famous composition, which bore that name.  In the 60s he founded the Peregoyo orchestra and his Combo Vacaná, so-called because its members came from Valle, Cauca and Nariño.  It was the first great orchestra to spread the music of the Colombian Pacific.  The bonaverense musician was one of the most versatile interpreters and composers in the Pacific.  As a child he learned to play by ear the guitar, the bandola, the violin and the cello.  Later he studied composition and learned to play saxophone, participated in the Municipal Band of Buenaventura and then created his famous Combo Vacaná. Among the general works of Peregoyo are more than 120 compositions, many of which were not recorded.  For posterity are the themes My Peregoyo, Warm Nights, Dreaming, Ana Cecilia, Al prisoner and of course those recorded by the famous Petronius Alvarez, including his classic "My Bonaventure", in the voice of Markitos Micolta.

On January 10, the centenary of the birth of Luis Enrique Urbano Tenorio, Peregoyo, is celebrated.  That is why, at the beginning of the commemorations of a year that will be dedicated to his memory, Peregoyo, El Rey del Currulao.



Peregoyo Y Su Combo Vacana - El Rey Del Currulao     (flac  367mb)

01 La Iguana 4:36
02 Sancocho De Perro 4:08
03 Granito De Oro 5:24
04 La Tintorera 4:33
05 Adivinanza 4:37
06 La Cachaloa 4:31
07 Las Mujeres De Mi Tierra 4:38
08 El Mare.o 5:02
09 Mi Timbiqui 5:18
10 Caravana 3:35

Peregoyo Y Su Combo Vacana - El Rey Del Currulao   (ogg  132mb)

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Grupo Niche is a salsa group founded in 1978 in Cali, Colombia. Currently based in Cali, Colombia, it enjoys great popularity throughout Latin America. It was founded by Jairo Varela and Alexis Lozano. Varela remained with the group throughout his life, serving as producer, director, songwriter, vocalist and guiro player. Alexis Lozano, trombone player and arranger later left to form Orquesta Guayacán. The group also included Nicolas Cristancho, on the piano; Francisco Garcia, on the bass; Luis Pacheco, on the congas; and vocalists Jorge Bazán and Hector Viveros.

Grupo Niche's first album: "Al Pasito" was released in 1980, did little to challenge the dominating salsa band of Colombia at the time, Fruko y sus Tesos. The following year, however, the group found success with their second album, "Querer es Poder", particularly with the single "Buenaventura y Caney".

The group relocated in 1982 to Cali where they have been based since. After recording two more albums, Grupo Niche released "No Hay Quinto Malo" in 1984, which featured their signature song, "Cali Pachanguero". The tribute hit single to the "world salsa capital" catapulted Niche as one of the top salsa bands of Colombia.

In 1986, the band incorporated Puerto Rican vocalist Tito Gomez, who had previously worked with the famous Puerto Rican salsa group, la Sonora Ponceña, and Ray Barretto, the Godfather of Latin Jazz. Later that year, Grupo Niche released "Me Huele a Matrimonio". Afterward, yet another Puerto Rican joined, the pianist Israel Tanenbaum, who would eventually leave the group to join a Niche spin-off band: Orquesta Guayacán.

Grupo Niche is known for both its vigorous, uptempo dance music as well as slower-paced romantic numbers. Among its best known hits are "Cali Aji", "Del Puente Pa'llá", "Sin Sentimientos", "Una Aventura", "Etnia", "Gotas de Lluvia", "Han Cogido la Cosa", "Mi Pueblo Natal", "Hagamos Lo Que Diga Corazón", "Duele Mas", "Nuestro Sueño", and the famous cumbia "Canoa Rancha". Their most famous song is "Cali Pachanguero". In 2002 they recorded the album Control Absoluto in Miami Florida with the engeniers Alex Arias and Jossel Calveiro.

Some other singers from Niche throughout its history include Alvaro del Castillo, La Coco Lozano, Tuto Jiménez, Saulo Sanchez, Tito Gomez, Moncho Santana, Charlie Cardona as well as Willy Garcia and Javier Vasquez, now members of the group 'Son de Cali'. Most recently joined are the Puerto Ricans Oswaldo Roman and Julio Lopez and actual singer Elvis Magno from Buenaventura. They have been very successful, and some of their songs are considered Classics of Salsa Music. The group still enjoys some of its past successes, and keeps on tour, making worldwide presentations, and singing their most memorable songs. Musician Tito Gomez, who fronted the group for seven and half years (1985–1992), died on June 12, 2007 in Cali, the city where Grupo Niche was established.



 Grupo Niche - The Best ( flac  479mb)

01 Duele Mas 5:38
02 Hagamos Lo Que Diga El Corazon 5:06
03 Una Aventura 5:24
04 Mi Pueblo 5:24
05 Cali Aji 4:37
06 Mexico, Mexico 5:58
07 Se Parecio Tanto A Ti 5:58
08 La Negra No Quiere 5:45
09 Nuestro Sueño 5:58
10 Bar Y Copas 4:15
11 Sin Sentimientos 5:08
12 Te Enseñare A Olvidar 5:08
13 Atrevida 4:38
14 Busca Por Dentro 5:43

 Grupo Niche - The Best (ogg  177mb)

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Arroyo began his musical career at the young age of eight when he sang in a strip joint in his hometown of Cartagena. His first break came after he signed with record label, Discos Fuentes, in 1971, and was overheard by bass player, singer, composer and producer Ernesto Estrada, better known as Frugo, who recruited him for his band. Arroyo continued to work with Frugo for the next decade. Although he nearly died from a drug overdose in the early ' 80s (comatose for 3 months), Arroyo recovered and in 1981 Joe brought together the most talented musicians of the barranquila area to form his own group - La Verdad (the Truth) . Featuring Arroyo's songs and arrangements the band was an immediate succes . La Verdads eclectic arrangments and fusing of different Caribean and Latin music, Pancaribean salsa , Cuban son, Cumbia, Merengue, Zouk and Calypso.

Committed to the roots of his music, yet unafraid to introduce modern elements, Arroyo has established himself as both a great folk musicologist, and a vital contemporary voice. There are few in the ranks who can both present an indigenous style typically associated with staunch nationalism, and simultaneously show no one style preference over another, while performing everything with equal respect and grace.



 Joe Arroyo y la Verdad - Rebellion     (flac  442mb)

01 Yamulemao ( 4:26)
02 Rebellion (6:11)
03 Bam Bam (3:08)
04 Mary (5:24)
05 La Vuelta (5:11)
06 Musa Original (6:02)
07 El Coquero (3:05)
08 El Maletero ( 4:17)
09 Son Apretao (5:11)
10 Echao Pa'Lante ( 4:05)
11 Tumbatecho ( 4:21)
12 En Horabuena ( 4:20)
13 Pan De Arroz ( 4:12)
14 De Clavel (3:27)
15 El Barbero (3:16)
16  Rosa Angelina (3:26)

Joe Arroyo y la Verdad - Rebellion (ogg  186mb)

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Jun 4, 2018

RhoDeo 1822 Space F 8

Hello,


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Space Force is a BBC Radio science fiction serial, broadcast from 4 April 1984 to 17 June 1985. Written by Charles Chilton, it was originally intended to be a sequel to his Journey into Space series (broadcast in the 1950s), using the cast who'd just made a one-off revival of that series ("The Return From Mars"); while this idea was dropped late in the development of the serial, the four characters are nevertheless essentially the same as those from the earlier series, albeit with different names.

The first series begins during the northern summer of 2010. Both series seem to initially mirror the first two Journey Into Space stories before branching off into quite different plots. A second series, known as Space Force 2, featured the same main characters, once again played by Barry Foster, Nigel Stock, Nicky Henson, and Tony Osoba. Within both series, Space Force is the name of the team's spaceship, rather than the name of an organisation.. ......'N Joy



Barry Foster - Captain Saxon Berry, captain of the Space Force and leader of the team. Also captained the Lunar 9 freighter for the first episode of the first series before being transferred to the Space Force.

Tony Osoba - Lodderick Sincere, The flight engineer for Space Force, a keen astronomer who sometimes is hot-headed enough to get himself and the team into trouble.

Nicky Henson - Lemuel "Chipper" Barnet , the radio operator for Space Force. The joker of the group who also struggles with the terrifying situations the team face. In a direct link to Journey into Space, Chipper refers once to his grandfather, Lemmy Barnett.

Nigel Stock - Professor Magnus Carter, added to the Lunar 9 crew under somewhat mysterious circumstances, Magnus is part of a secret organisation searching for extraterrestrial intelligence.




Space Force 8 (mp3  23mb)

08 The Red Planet 25:59

Whilst researching asteroids in Egypt, the crew discover ancient aliens.

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previously

Space Force 1 (mp3  23mb)
Space Force 2 (mp3  23mb)
Space Force 3 (mp3  23mb)
Space Force 4 (mp3  22mb)
Space Force 5 (mp3  22mb)
Space Force 6 (mp3  23mb)
Space Force 7 (mp3  25mb)


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Jun 3, 2018

Sundaze 1822

Hello,



Today's artist was born September 8, 1971, in Los Angeles, California, USA was an foley artist of Rugrats, and All Grown Up!. A self-taught pianist from the age of 7. He has lived in LA, where he studied art at Santa Monica College and formed the much-adored Devics with Sara Lov, Italy (in the depths of rural Emilia Romagna) and Berlin. He gained recognition and critical acclaim for his studio albums and live performances. Dustin's score to Sofia Coppola's 2006 film Marie Antoinette also earned him a tentative step into soundtrack work, which has since bloomed into a reputable and highly creative path of film composition. His arresting, heartbreaking music is as much an elegant exercise in nuance and grace as it is a pure, intuitive, personal expression ....N'joy

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American post-classical pianist and composer Dustin O'Halloran (born September 1971) began his musical life a guitarist. He has claimed in interviews that he didn't really begin to study the piano in earnest until he was in college and studying music. While attending Santa Monica College, he met Sara Lov and started the band Dévics. The quartet released four albums and six singles on Bella Union between 1998 and 2006. O'Halloran began to take the piano seriously while with the band, and then in formal music studies in both Italy and Berlin. He released his first two albums, entitled Piano Solos and Piano Solos 2 on Bella Union in 2004 and 2006, respectively. During the latter year he was given the opportunity to score filmmaker Sofia Coppola's film Marie Antoinette. In 2009, he composed the score for director William Olsen's An American Affair, which was released on the Filter imprint. In 2010, he scored director Drake Doremus' feature Like Crazy (which won an award at the Sundance Film Festival in 2011). Lumiere, his debut album for Fat Cat's orchestral 130701 imprint, was issued in February 2011 to stellar reviews. It featured O'Halloran's piano in a slightly more populated sonic field that included other musicians like the ACME Quartet, Stars of the Lid's Adam Wiltzie, and fellow composer Peter Broderick. This was followed by a live solo piano recording, Vorleben, on the same label in June of that year. Three months later, he and fellow classical/film composer Adam Wiltzie made their debut as A Winged Victory for the Sullen they released two albums, A Winged Victory for the Sullen (2011) and Atomos (2014). The latter is also the original score for the identically titled dance piece by choreographer Wayne McGregor and his company Wayne McGregor Random Dance. In 2015, they were invited to perform at the Royal Albert Hall in London as part of the BBC Proms. The duo scored their first film together in 2016, entitled In the Shadow of Iris by French director Jalil Lespert.

In the meantime, demand for O'Halloran's film scores increased, and Milan released his soundtrack for the 2013 drama Breathe In. In 2014, he landed a regular gig on the Golden Globe-winning web series Transparent, starring Jeffrey Tambor. He won an Emmy for its theme music in 2015. Among other film and television work in the months that followed. In 2016, O’Halloran collaborated with Hauschka on the score for the Oscar-nominated film Lion. The score of the film was nominated for many major awards including the Academy Awards, Golden Globes, BAFTAs and Critics’ Choice Awards.


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Dustin O'Halloran (guitar/keyboards), Sara Lov (vocals), Ed Maxwell (bass), and Evan Schnabel (drums) comprise the dark, lush sounds of The Devics. Hailing from Los Angeles, The Devics arrived on the rock scene in the early 1990s with their own label, Splinter Records. In 1996, the band self-released their debut album, Buxom; two years later, If You Forget Me appeared. By the new millennium, The Devics derived an atmospheric, goth-like sound. The Ghost in the Girl EP showcased the band's music growth and Bella Union was impressed. The Devics inked a deal with Bella Union and issued My Beautiful Sinking Ship in 2001. Shows with Lift to Experience, Thalia Zedek, and Elysian Fields followed throughout 2002.

They convey a rather humble approach via Dustin O'Halloran's subliminally placed EFX and combo, twang-oriented hard rock guitar stylizations. Yet, vocalist Sara Lov's ability to gently caress a lyric or two provides the soft and somewhat dreamy aspects of this fine release. The group's rather enigmatic approach is vividly caught here as they meld elements of early-'70s Pink Floyd with wistful themes and a strangely appealing methodology consisting of memorably melodic hooks and surreal balladry. And while the limiting factors of commercial radio signify the antithesis of artistic invention, this lot should find expansive airplay throughout the college radio circuit. Hence, Devics is a band that melds a sense of conventionalism with a truly novel approach! Recommended.

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It's difficult to categorize My Beautiful Sinking Ship, or the music of Devics for that matter, but the Los Angeles foursome travels down a truly inspired path here. Built around themes of ships and seas, the band touches upon influences and styles as diverse as shoegazer pop, cabaret playfulness, post-rock bombast, and piano bar jazz. Sara Lov handles most of the vocals, and she manages to recall Fiona Apple and Mojave 3's Rachel Goswell at the same time, using her voice as a brittle yet confident instrument. Dustin O'Halloran is responsible for virtually every instrument other than bass and drums, and he proves himself to be a match for peers like Jason Falkner and Jon Brion, though he deals with subject matter and motifs of a darker nature. With songs that are reminiscent of Apple, Nick Cave & the Bad Seeds, Slowdive, and Bertolt Brecht all at once, while still suggesting a band who's fully in control of their own distinctive sound, the album is an intriguing and accomplished rush from start to finish. Though it runs for more than 60 minutes, there's never a sense that the band is being pretentious or that they should have left anything on the cutting-room floor. Whether pianos, keyboards, guitars, and drums are all pounding away with bombast or taking turns painting serene, mournful themes, every note rings true and strong. At turns epic and progressive and at other turns beautifully lush and peaceful, My Beautiful Sinking Ship seems like a long-lost classic from the vaults of 4AD. It's a delightful work of art that begs to be heard, and it's the kind of release that should send listeners scrambling for the band's back catalog.



Devics - My Beautiful Sinking Ship  (flac 350mb)

01 Heart and Hands 5:43
02 My Beautiful Sinking Ship 3:40
03 You in the Glass 3:45
04 The Man I Love 5:47
05 You Could Walk Forever 4:42
06 Alone With You 5:09
07 Why I Chose to Never Grow 3:19
08 Living Behind the Sun 4:03
09 Forget Tomorrow 5:52
10 Lost at Sea 1:48
11 Gold in the Girl 5:57
12 I Broke Up 4:01
13 Heaven Please 3:46
14 Five Seconds to Hold You 3:54
15 Blood Red Orange 1:58

Devics - My Beautiful Sinking Ship  (ogg  131mb)

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More and more bands such as the Los Angeles, CA-based trio known as Devics have been stretching pop/rock to its limits during the advent of the new millennium. With this effort, the group provides a glittering example of sorts -- where rock music continues to undergo an ongoing transformation -- regardless of commercial viability. In addition, Devics also utilizes the studio gizmos to great effect. They convey a rather humble approach via Dustin O'Halloran's subliminally placed EFX and combo, twang-oriented hard rock guitar stylizations. Yet, vocalist Sara Lov's ability to gently caress a lyric or two provides the soft and somewhat dreamy aspects of this fine release. The group's rather enigmatic approach is vividly caught here as they meld elements of early-'70s Pink Floyd with wistful themes and a strangely appealing methodology consisting of memorably melodic hooks and surreal balladry. And while the limiting factors of commercial radio signify the antithesis of artistic invention, this lot should find expansive airplay throughout the college radio circuit. Hence, Devics is a band that melds a sense of conventionalism with a truly novel approach!



Devics - The Stars At Saint Andrea  (flac 238mb)

01 Red Morning 4:42
02 Don't Take It Away 4:34
03 In Your Room 4:59
04 My True Love 5:36
05 All Your Beautiful Trees 4:35
06 The End And The Beginning 4:35
07 Safer Shores 4:44
08 Connected By A String 3:45
09 Stretch Out Your Arms 4:09
10 Ending 2:01

Devics - The Stars At Saint Andrea  (ogg  90mb)

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On their fourth full-length album, Devics don't stray far from their usual ethereal piano-plus-sampler, late-night vibe. Sara Lov again provides the majority of the vocals, her voice coming across as a restrained blend of Hope Sandoval, Mary Timony, and Kristin Hersh while offering up tales of love, lies, and loss. Lov's instrument is certainly lulling, but not that distinctive, especially within the confines of Dustin O'Halloran's shoegazer-like audio web. Too often, O'Halloran layers in the same cooing background hum, to the point where the album nearly devolves into an aural bout of coffee-table lethargy. With many of the songs rolling along at a slow drizzle, only the Mum-like "Secret Message to You," with its typewriter sound effect glitch, and the fractured "Just One Breath" really pick up steam. "Distant Radio," in theme and execution, travels a bit too far into Mojave 3 mimicry but lacks the bombast that put that group over the top. O'Halloran's deeper vocal contributions are a nice contrast, but can't match the subtlety or texture of influences like Leonard Cohen or Richard Hawley. Album closer "Come Up" is particularly pretty. Still, one gets the sense that this is an album recorded with white gloves, and the calculation behind the tunes is nearly tangible. With more variation, more separation in the mix, and a bit more conviction and passion overall, Push the Heart would be easier to recommend. As it stands, it's just a slightly-better-than-average indie chamber pop excursion.



Devics - Push The Heart  (flac 271mb)

01 Lie To Me 3:04
02 A Secret Message To You 4:59
03 Salty Seas 4:14
04 Song For A Sleeping Girl 4:36
05 Distant Radio 4:54
06 Just One Breath 3:55
07 Moments 4:45
08 If We Cannot See 5:11
09 City Lights 3:58
10 Come Up 4:02

Devics - Push The Heart  (ogg  103mb)

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Pianist/composer Dustin O'Halloran and composer/engineer Adam Wiltzie met through a mutual friend in 2007, when Wiltzie was performing with Sparklehorse in Bologna, Italy. Backstage, the two musicians struck up a friendship that developed into A Winged Victory for the Sullen, an outlet for what they've termed "harmonic Robitussin." Over the course of two years, O'Halloran (formerly of Devics and the composer of the score for Marie Antoinette, among other films) and Wiltzie (known most for his role as one-half of Stars of the Lid) worked on their self-titled album, released in 2011 through the Kranky and Erased Tapes labels. Recorded and mixed in German, Belgian, and Italian studios with numerous musicians on instruments such as cello, harp, viola, violin, French horn, and bassoon, it was one of the year's most impressive ambient-neoclassical albums. In 2012 and 2013, contributions were made to compilations released by Erased Tapes (Erased Tapes IV, Erased Tapes V) and Ghostly International (SMM: Opiate), while a track from the self-titled album appeared on the soundtrack for Breathe In -- which featured an O'Halloran score. Commissioned to provide the music for a piece by a dance company, Wayne McGregor Random Dance, the duo made Atomos, another expansive album recorded in several locations. Preceded by an EP in April 2014 that featured a remix from Ben Frost, Atomos was released via Kranky and Erased Tapes that October. The pair then went on to make their foray into the world of film composition with Wiltzie releasing his score for the documentary film Salero in late 2016. The duo also released their first collaborative score as A Winged Victory for the Sullen for the French thriller/drama, Iris, in early 2017.

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Starting with the steady, contemplative piano and slight feedback on the opening "We Played Some Open Chords," A Winged Victory for the Sullen can't be called a barrel of laughs per se, but their song titles -- not to mention their band name -- suggest a knowing playfulness with the conventions of moodily beautiful 21st century drone/ambient. Given that the core members are composer Dustin O'Halloran and Stars of the Lid veteran Adam Wiltzie, it's little surprise that both those conventions, and how to work well beyond them, are within their grasp on this debut release. Much like some Stars of the Lid releases, the album and song names may verge on the wry, but without that context, something like the slow strings and feeling of suffused sorrow on the first part of "Requiem for the Static King," or the involving textures of "Steep Hills of Vicodin Tears" simply are what they are, and quite beautifully so at that. While the sonic connections to the members' past work are clear, so are the distinctions; if the duo is less about full-on beautiful drones than Stars of the Lid often were, there's a similar appreciation for the slowly unfolding and the calmly insular, touchstones ranging as far as George Winston as Eno ("A Symphony Pathetique," almost exclusively piano aside from some distant shading that appears a little more clearly toward the end, is arguably the extreme of this approach on the album, elegantly done every step of the way). Even with the titular or seeming snark brought to bear, the feeling often seems simply appropriate more than anything else -- "Minuet for a Cheap Piano" is almost just that, counting the extra layered tones in the background, while "All Farewells Are Sudden" doesn't close out the album on a quick, final note but a soft, string piece fade, a slow wheezing of tone and delay that's a conclusion and a half when it comes to wrapping things up with a gentle bow.



A Winged Victory For The Sullen - I (flac 170mb)

01 We Played Some Open Chords And Rejoiced, For The Earth Had Circled The Sun Yet Another Year 6:18
02 Requiem For The Static King Part One 2:46
03 Requiem For The Static King Part Two 7:37
04 Minuet For A Cheap Piano Number Two 3:09
05 Steep Hills Of Vicodin Tears 4:27
06 A Symphony Pathétique 12:42
07 All Farewells Are Sudden 7:35

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Between the release of their self-titled 2011 debut and the recording of this, their second album, Adam Wiltzie and Dustin O'Halloran's studio work as a Winged Victory for the Sullen was limited to appearances on compilations released by Erased Tapes and Ghostly International. Commissioned by choreographer Wayne McGregor for his Random Dance production of the same title, Atomos supplies another hour of what the duo terms "harmonic robitussin." While this material was composed and recorded to suit a specific purpose, it resembles a proper follow-up that varies only slightly from the debut. The only obvious difference here is in the presence of some droning organ and a little bass, along with an apparent increase in Wiltzie's sound processing and sampling, like the soft bristles and TV or radio chatter dispersed throughout "Atomos X." As with the self-titled album, this is all glacial, entrancing ambient-neoclassical -- with O'Halloran's sensitive and melodic piano a central element -- that soothes, suitable for both foreground and background listening. "Atomos VII," issued separately (with a Ben Frost remix) prior to the album, is one of the duo's more forceful pieces, with gorgeously tugged and distended strings and a bass figure that, during the second half, bobs in and ducks out.



A Winged Victory For The Sullen - Atomos  (flac 431mb)

01 I 10:22
02 II 4:19
03 III 4:56
04 V 4:12
05 VI 7:26
06 VII 7:49
07 VIII 5:14
08 IX 4:16
09 X 4:18
10 XI 5:26
11 XII 4:09
bonus
12 Minuet For A Cheap Piano Number One 4:09
13 Atomos VII (Greenhouse Re-Interpretation) 13:08

A Winged Victory For The Sullen - Atomos  (ogg  163 mb)

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Belgium- and Germany-based ambient duo A Winged Victory for the Sullen have established quite a name for themselves by crafting beautiful soundscapes composed of piano, strings, and ambience. Here they use this foundation of compositional knowledge and fill it in with tricks and surprises to create a brilliant film score for French drama/thriller Iris. The duo’s effective use of reverbs and filters works wonders here, transporting the listener through an array of the same kinds of sounds, but they're treated whole-heartedly and differently with each moment. An early highlight is "Retour au Champs de Mars." Beginning with rich, forlorn strings and creeping deep bass, the piece falls away steeply into bars of foreboding, synthesized bass that swell and engulf the mix, rising, falling, and stabbing against waves of cellos that occupy every other bar. "Fantasme" develops in a bizarre way with a robotic bassline cutting in and out, and soft brass and violins climbing over the top of it. It feels like it’s going to build to some kind of crescendo but never does; instead delivering bittersweet and warm harmonies that envelop the whole track before suddenly disappearing into the distance without warning. What could be seen as a problem throughout is the pattern of sustain on the strings that move in and out of focus -- which is, of course, beautiful -- but AWVFTS seem to know how to vary this kind of orchestral treatment every time it appears. The strings in "Gard du Nord, Pt. 1" co-exist alongside delayed marimbas and static-tinged electronica, delivering a kind of wonderfully neutral sense of either imminent peril or approaching solitude, while "Le Retour en Foret" begins with a twinkling ambience that gradually morphs into a tragic cacophony of sound with surging distortion bubbling beneath and a digital organ-like harmony that adorns the rest of it. Something that should be noted is that the score is pretty much entirely absent of any percussion (bar the use of highly compressed, punchy bass notes) that, quite honestly, is refreshing. Considering the frequent trend of bombastic drums and blasting bass in cinema, it’s nice to hear a soundtrack that is more concerned with evoking emotion and drama through the actual character of its sound, as opposed to the thundering, neo-classical palette that has become so hugely popular with the rise of the superhero trend at the box office. That said, the album’s final track, "Comme on a Dit," encapsulates this perfectly; closing out with a burgeoning, slow orchestra piece, this one builds and gets to a crescendo that was expected all along. Most notably, the track’s center point of lone piano notes that linger and resonate with rich reverb manages to say so much by saying very little.



A Winged Victory For The Sullen - Iris (flac 174mb)

01 Prologue Iris 4:09
02 Retour Au Champs De Mars 3:44
03 Fantasme 2:28
04 Gare Du Nord Part One 3:33
05 L'embauche 3:03
06 Le Retour En Foret 2:45
07 Metro Part Three 5:20
08 Flashback Antoine 2:32
09 Galerie 3:19
10 Le Renversement 2:16
11 Normandie 2:50
12 Comme On A Dit 4:16

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Jun 1, 2018

RhoDeo 1821 Grooves

Hello,



Today's artists are arguably the most multi-cultural band in Britain (current and past members hailing from a remarkable list of 32 different countries!), they was initially formed back in 1979 by Mauritius-born Jean-Paul Maunick, known to all since childhood as a Bluey . The son of Edouard Maunick - a distinguished African poet and writer - Bluey first moved to London in 1969 at the age of nine. By the mid-Seventies, his fascination with watching US bands like Earth, Wind & Fire, Weather Report and Kool & The Gang soon led to him hanging around with key players in the UKâ  s then-emerging jazz/funk scene - including groups like Gonzales, Hi-Tension and Average White Band - before going on to form his own aforementioned combo. With their debut album Jazz Funk (released through British independent Ensign Records in 1981) immediately establishing them at the forefront of London's then-thriving black music underground, the band however did not reach their commercial peak until signing with Phonogram's hip Talkin Loud label in 1990. ..... 'N Joy

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An acid jazz project with surprisingly deep roots in the 1970s jazz/funk/fusion world, Incognito were originally formed by Jean-Paul Maunick (aka Bluey) and Paul "Tubbs" Williams. Both were leaders of the late-'70s disco-funk group Light of the World, who scored several moderate British hits, including a cover of "I Shot the Sheriff." Just after the release of Light of the World's third LP (Check Us Out), Maunick and Williams shifted the lineup slightly and renamed the conglomeration Incognito. A decade separated their first and second albums, but from the early '90s through the early 2010s, the group recorded at a steady rate and stuck to their colorful hybrid sound.

Incognito debuted with the single "Parisienne Girl" and released the 1981 LP Jazz Funk, but were inactive during the rest of the 1980s. Maunick continued to write material for his group, even while working with Maxi Priest and others. (Williams later moved to Finland.) By the beginning of the 1990s, DJ legend and early Incognito fan Gilles Peterson had founded the Talkin' Loud label and he made Incognito one of his first signings. Their 1991 update of Ronnie Laws' "Always There," featuring lead vocals by Jocelyn Brown, became a Top Ten hit as part of Britain's booming acid jazz scene, prompting the release of Incognito's second album overall, Inside Life. It was largely a studio affair, with Maunick and engineer Simon Cotsworth directing a large cast with many of the best musicians in Britain's fertile groove community.

With 1992's Tribes Vibes + Scribes, Maunick added vocalist Maysa Leak to the lineup. A cover of Stevie Wonder's "Don't You Worry 'Bout a Thing" became another Incognito hit, and the album ascended Britain's pop charts even as it rose on America's contemporary jazz charts. The third album, Positivity, became the group's biggest album success, with much attention across Europe as well as Britain.

In 1994, Incognito appeared on the Red Hot Organization's compilation album, Stolen Moments: Red Hot + Cool. The album, meant to raise awareness and funds in support of the AIDS epidemic in relation to the African American community, was heralded as "Album of the Year" by Time magazine. In 1996, the band contributed "Water to Drink" to the AIDS-benefit album Red Hot + Rio, also produced by the Red Hot Organization. Their song "Need to Know" is the theme song for progressive radio and television news program Democracy Now!.

Late 1994 Leak unsuccessfully attempted a solo career with Blue Note, leading to temporary vocal replacement Pamela Anderson (not the Baywatch pinup) on 1995's 100° and Rising. Leak returned, though, appearing on the following year's Beneath the Surface. During the latter half of the decade, Incognito expanded their discography with 1996's Remixed, 1998's Tokyo Live, and 1999's No Time Like the Future.

The group's first two albums of the 2000s, Life Stranger Than Fiction (2001) and Who Needs Love (2002), were made without Leak. The latter, the first of several releases for the Dome label, featured Brazilian vocalist Ed Motta. Leak returned for Adventures in Black Sunshine (2004), a set that also boasted a guest appearance from longtime Incognito inspiration George Duke. Bees + Flowers + Things (2006) was a mix of cover versions along with re-recordings of four Incognito classics. More Tales Remixed (2008) involved remixes from Dimitri from Paris and Mark de Clive-Lowe, among others.

Incognito began the 2010s by acknowledging a major group milestone, most notably with the two-CD Live in London: The 30th Anniversary Concert, as well as their 14th studio set, Transatlantic R.P.M., featuring performances from Chaka Khan, Mario Biondi, Leon Ware, Ursula Rucker, and Leak. Surreal (2012) was followed by Bluey's first proper solo album, Leap of Faith (2013), while Amplified Soul (2014) -- one of the group's several releases to exceed an hour in length -- showed that their productivity was hardly on the wane. 2016 saw the band release its 17th studio long-player, In Search of Better Days, which featured guest artists pianist Avery Sunshine, drummer Richard Spaven, percussionist Jody Linscott, and Japanese guitar legend Tomoyasu Hotei.

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On 100 Degrees and Rising, the pioneering acid house outfit, Incognito, turn in another first-rate record, featuring their trademark mixture of jazz, soul, and funk. There's not much to distinguish 100 Degrees from their previous handful of records, but the band is smooth, accomplished, and deep, finding new variations on their trademark sound.



Incognito - 100° and Rising     (flac 425mb)

01 Where Did We Go Wrong 5:41
02 Good Love 5:45
03 One Hundred And Rising 5:56
04 Roots (Back To A Way Of Life) 5:41
05 Everyday 4:50
06 Too Far Gone 2:35
07 After The Fall 3:29
08 Spellbound And Speechless 5:31
09 I Hear Your Name 6:53
10 Barumba 4:56
11 Millenium 6:16
12 Time Has Come 4:00
13 Jacob's Ladder 6:05

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Beneath the Surface finds original lead singer Maysa Leak returning to the Incognito fold. Coincidentally or not, the record finds the group moving deeply into smooth, laidback, jazzy soul. It's a seductive sound and the group executes it well, even though there ironically isn't that much substance beneath the surface.



Incognito - Beneath The Surface    (flac 452mb)

01 Solar Fire 2:11
02 Labour Of Love 6:46
03 Beneath The Surface 5:42
04 A Shade Of Blue 5:45
05 Without You 7:20
06 Misunderstood 5:05
07 Hold On To Me 5:23
08 Living Against The River 4:21
09 She Wears Black 8:46
10 Fountain Of Life 5:19
11 Out Of The Storm 3:49
12 Dark Side Of The Cog 6:27

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From the opening bars of "Wild and Peaceful" (almost a description of the group's style) with its soaring strings, crystalline piano, and flawless vocal harmonies, it's apparent that No Time Like the Future is rich with Incognito's patented blend of soul and finesse. "It Ain't Easy," with its refrain of Marvin Gaye's "What's Goin' On," is a classic funk outcry; "Fearless" is a wordless chant with some great rhythm guitar and booting jazz saxophone; "Nights Over Egypt" backs another great vocal with popping bass and orchestral atmospherics; "Black Rain" mixes exotic drumming with some subliminal dissonance. Producer-composer-guitarist Jean-Paul "Bluey" Maunick has added string arrangements by Simon Hale, appearances by the horns of the hot Cuban band Irakere, and the performances of small army of R&B singers (Maysa, especially) and British contemporary jazz players (Ed Jones stands out on tenor and soprano). The result is an irresistible combination of strong songs and pulsing rhythm tracks, all polished to slippery perfection.



 Incognito - No Time Like The Future    (flac  422mb)

01 Wild And Peaceful 5:44
02 Get Into My Groove 4:59
03 It Ain't Easy 6:16
04 Marrakech 6:41
05 Fearless 6:14
06 Nights Over Egypt 7:08
07 Centre Of The Sun 5:02
08 More Of Myself 4:50
09 I Can See The Future 8:14
10 Black Rain 8:19

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Yes, there is an R&B feel to the first few cuts. Yes, Maysa and Randy Hope Taylor are out, but Incognito really transcends all the players except Bluey. Brilliant bassist Julian Crampton isn't exactly a stranger here either. What we get are several wonderful singers, the most recognizable being Kelli Sae from Count Basic, who are recorded and mixed beautifully. The themes are the same: joy and inspiration of love and pleas for peace and understanding. There's also a great torch song, Skin on my Skin, where Kelli Sae laments like she's never done with Count Basic. Yes there are more synthetic drums, but there are also horns and strings in almost every song. The best song by far is Rivers Running Black, Incognito at its most pure: Great instruments and just enough vocals to spice things up. It reminded me of I can see the Future. The horns are right up front in this one. If people have led you to believe this is all R&B, there is a 9 minute Bossa Nova epic called On the Road with a Jack Kerouac monologue near the end of the album. It's a true Incognito sound with an awesome scat by Ms. Sae. There's a lot to enjoy here and plenty of great Incognito touches to keep you coming back for more.



 Incognito - Life Stranger Than Fiction    (flac  375mb)

01 Stay Mine 4:39
02 Bring You Down 4:49
03 Slow Down (Get A Grip) 4:40
04 Skin On My Skin 5:18
05 Cut It Loose 4:33
06 There Will Come A Day 5:36
07 Castles In The Air 5:46
08 Got To Know 4:52
09 Reach Out 6:16
10 Rivers Runnin' Black 6:46
11 On The Road, Pt. 1 4:24
12 On The Road, Pt. 2 4:16

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