Eight-X (05)

Hello, more vinyl rips today, those that followed the Eight-x posts might have guessed i'd arrive at 1984 this week, obviously i can't pass on the book that brought us Big Brother, Newspeak , Room 101 and government sanctioned torture things that these have become a reality though not as complete , i know we have the internet to thank for that. Well George Orwell saw thru the way governments create terror and the control they strive for..at the time he just changed 48 in 84 it wasn't a timed prediction yet here we are in 2007 and the outlook for 1984 in the coming 5 years shouldnt be taken lighthartedly.

Back to the real 1984 obviously people then felt that this grim tale hadn't come about and the music that year was upbeat and energetic, lots of hits that have carried over the years, most notably the topsellers that year, which are usually ballads of a kind..this time had just one in the top 5..i just called to say....Dance Hall Days, Dancing in the dark, Girls Just Want To Have Fun I , Like a Virgin, Won't Let The Sun Go Down On Me, People Are People, Let's Go Crazy, Shout, Radio Ga Ga, Relax, Skin Deep, The Reflex, Shout To The Top, Your Love Is King just to list some of that years hits.

There were a lot of good albums too, my first offering really broke thru with the Beatbox maxi single in 83 , a year later they released an album around it, it was unlike anything in the market then-hi production values and hard beats softened up by the that year inescapeble chillout moments in love. 84 was the year of ZTT, lots of productions became big hits and Trevor sure blew his Horn that year. Felt maybe a dark horse here, good in the press and recognised as a musical highlight of the eighties, commercially they never found footing . Here's their second(mini) album luscious, minimalist and hypnotic, unfortunately the guitarist, Maurice Deebank, dropped out after that. The remaining decade Felt released another 8 albums after which they pulled the plug on Felt.

Recordlabel trouble is a feature of my next offering, this time it was the band that was responsible, they switched from the independant Y-records to the major league, Arista. Recording of Jamscience had been well underway and Arista refused to buy out Y records this would turn out badly for Shriekback as they had a brilliant back catalogue there which would have made them and Arista plenty, now it got released to frustrate their official releases, lot's of bad blood at Y records. Anyway i present here the two versions that were released of Jam Science the screw you version by Y which contains the raw originals of six of the tracks that would turn up in the more produced and concise Arista version, plus two unreleased tracks. These troubles have caused Jam Science to be unavailable on CD thusfar, so here 's both in digitised format.

1984 obviously saw the release of a movie from the infamous book starring Richard Burton in his last great role. The choice for the providers of the soundtrack surely raised some eyebrows as The Eurythmics made quality popmusic and were at the height of their popularity. It may come as a surprise to you but i consider 1984 my favourite Eurythmics album , a little less Annie and just one hit kept the album fresh. Well not much made the final score, Orwell's book expresses a sense of loss the loss of human emotion and natural evolution, which are replaced by a mechanical world of machines, monotony and melancholy. As such the album does have a mechanical, cold quality to it. Its not very available on cd and hasnt been remastered like the rest, another mistake by those recordcompany heads that just don't get it .

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Art Of Noise - Who's Afraid Of The Art Of Noise  ( 84  flac 290mb)

The roots of Art Of Noise lie in Malcolm McLaren's 1982 single Buffalo Gals, and the Duck Rock album that followed it. McLaren foresaw the rise of hip-hop and recruited producer Trevor Horn to record his musical vision. At this point Horn was working with the aid of a close group of collaborators: Anne Dudley - pianist and orchestral arranger, JJ Jeczalik who was a dab hand with the emerging Fairlight technology, and engineer Gary Langan. The team produced for McLaren a high-tech pastiche of the most fashionable black music styles of the time(see Eight-X (03)). The experiments of Dudley, Jeczalik and Langan on this project led to the formation of Art Of Noise.

Art Of Noise were unleashed on an unsuspecting public in 1983, with the debut EP Into Battle With Art Of Noise. The groups' identities would have remained a complete mystery if the record hadn't credited Dudley, Horn, Jeczalik, Langan and Morley as their composers. Paul Morley contributed ideas and delivered the bands non-image to the press and media: their early appearances on TV were dominated by anonymous figures in masks, their videos featured pianos being bisected with chainsaws, their publicity photos were lovingly shot pictures of spanners

In 1984, the Close (To The Edit) single crashed into the UK top forty. 1985s The air of mystery surrounding the band meant that they could, in a famous mixup, receive an American magazine's award for best black act of the year - not bad going for five middle-aged, middle-class, white English people... 1985 saw Dudley, Langan and Jeczalik depart for China Records, taking the name with them. It was the beginning of the Art Of Noise as a band. The 'new' Art Of Noise had many pop hits – mostly as collaborators, with the likes of Duane Eddy (Peter Gunn, 1986); fictional TV presenter Max Headroom (Paranoimia, also 1986); Tom Jones (a cover of Prince’s Kiss, 1988) . Disbanding in 1990, the trio went their separate ways, with Dudley in particular achieving success. A Brit award for her work on the Phil Collins vehicle, Buster was followed by an Academy Award for her score for The Full Monty. Jeczalik made the studio his home, mixing and remixing artists as diverse as Stephen Duffy and Shakin’ Stevens, and Langan (who had left the group after In Visible Silence) produced the likes of ABC, Spandau Ballet and Ronan Keating.

In 1999 Horn, Dudley and Morley reformed Art Of Noise with the addition of Lol Crème. The result of this collaboration was The Seduction Of Claude Debussy, an album created around the work of the titular French modernist classical composer, built on hip-hop beats and drum and bass, with vocal contributions from actor John Hurt and rap pioneer Rakim. It owed nothing to anything the Art Of Noise had ever done before.



01 - A Time for Fear (Who's Afraid) – 4:41
02 - Beat Box (Diversion One) – 8:28
03 - Snapshot – 1:00
04 - Close (to the Edit) – 5:41
05 - Who's Afraid (of the Art of Noise?) – 4:19
06 - Moments in Love – 10:11
07 - Momento – 2:11
08 - How to Kill – 2:41
09 - Realization – 1:41

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Felt - The Splendour Of Fear ( 84 flac 156mb)

Formed 1979 by Lawrence Hayward who recorded the first single 'Index' on his own and soon dropped his surname in fear of getting associated with another popular Hayward who isn't fully named here out of respect.

The first string of releases through Cherry Red Records featured soundscapes dominated by the playing of classically trained guitarist Maurice Deebank and audible influences by Television and the Velvet Underground. For some reason despite critical acclaim and a #1 indie single ('Primitive Painters') they never made it big but even were denied major support from Wea Records (through Blanco Y Negro). In March of 1982, Cherry Red released Felt's debut full-length album Crumbling The Antiseptic Beauty. While the album received little notice commercially, it received high marks from the independent music press. Despite the critical success, the band underwent personnel changes. Tony Race, who had joined the group after it signed with Cherry Red, left Felt and was replaced by Gary Ainge.

The Splendour Of Four sound is mellow, melodic, understated, lovely . . . it's the instrumental passages that work best, not to detract from Lawrence 'Lawrence' Hayward's breathy, (Lou) Reedy vocals and beautifully imagistic lyrics. In March of 1982, Cherry Red released Felt's debut full-length album Crumbling The Antiseptic Beauty.In 1984, Maurice Deebank released a full-length solo album titled Inner Thought Zone also released on the Cherry Red label. Deebank, like Gilbert, did not like to be directed by Hayward. Their relationship as Felt group members had always been difficult because of their musical differences. Deebank decided to produce the solo effort to allow an outlet for some of the music he was forced to hold back while with Felt

Ignite the Seven Cannons was the follow-up LP to "Primitive Painters." The full-length LP was released in September of 1985. Guthrie produced the album with the 4AD formula, and The Cocteau Twins were at the controls. Afterwards, Deebank left the group, but Hayward found another skilled musician to replace him. Martin Duffy had filled in on keyboards for the album and joined Felt full time in 1985. While Felt played a few shows in support of Ignite the Seven Cannons, Cherry Red was busy releasing a compilation album. Felt's next album, Let the Snakes Crinkle Their Heads to Death, was issued in September of 1986 on the Creation label. Duffy's organ added a '60s sound that worked well with Hayward's songs.

Forever Breathes The Lonely Wordfound Hayward back at writing lyrics and crafting some of his best Felt songs. The album was released in fall 86 on the Creation label. The song "All the People I Like Are Those That Are Dead" became a favorite on college radio and is now considered a classic to Felt fans. Felt followed with two more LPs in 1988 on the Creation label: The Pictorial Jackson Review released in March, and Train Above The City in July. Felt's swan song was the full length LP Me and a Monkey on the Moon released in November of 1989 on the El label. Hayward had to move to Mike Always' El label because Creation was not able to release the album before Hayward's self-imposed deadline of ten years, ten albums.



01 - Red Indians (1:54)
02 - The World Is As Soft As Lace (4:15)
03 - The Optimist And The Poet (7:49)
04 - Mexican Bandits (3:44)
05 - The Stagnant Pool (8:23)
06 - A Preacher In New England (4:11)

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(new rip) Shriekback formed in the early 1980s , Barry Andrews, formerly of XTC and League of Gentlemen (keyboards/synthesizers/vocals), Carl Marsh (guitars/vocals), and Dave Allen, formerly of the Gang of Four (bass), were joined by Martyn Barker on drums in 1983. The first Shriekback release was the six-song EP Tench (82), followed in 1983 by the album Care, also on Y, which featured "Lined Up," the song that put Shriekback on the map for many people. Care was picked up and released in the U.S. by Warner Brothers, with an altered running order and two different tracks, including "My Spine (Is the Bass Line). Although Care was critically acclaimed and garnered a fair amount of airplay it was not enough for Warner Brothers, who dropped Shriekback and deleted Care shortly after its release. As a result, the follow-up, 1984's Jam Science, was released only in Europe. Toward the end of the Jam Science sessions, Shriekback became a quartet with the addition of drummer Martyn Barker; however, they quickly became a trio again when Carl Marsh departed midway through the recording of their third album. Oil and Gold sold well in its U.S. release on Island Records. So did the follow up 1986's Big Night Music, thanks to director M Mann's use of their music in his succesful films and the many background soundclips in Miami Vice. Shriekback seemed on the brink of unlikely stardom, Allen departed before the recording of Go Bang! (1988), which is what they did after what easily is their weakest release ever.

That appeared to be the end of Shriekback, who dropped out of sight in the late '80s and early '90s. But Allen, Andrews, and Barker reunited in 1992 to record the excellent Sacred City, which essentially picked up where Big Night Music left off. There was another long silence after that, but as of 2000 some form of Shriekback was apparently still in existence; an album called Naked Apes and Pond Life was released, In 2003 followed by Having a Moment , Cormorant (2005) and this year Glory Bumps latter two on Malicious Damage Records which does make it a little harder to get, add to that it's overpriced, i doubt the boys have learned their lesson here, the music industry maybe very unreliable but squeezing your fans is bad business.



Shriekback - Jam Science (flac ^ 255mb)

01 - Hand On My Heart( 3:50)
02 - Newhome (3:39)
03 - Achtung (4:19)
04 - Partyline (3:30)
05 - Midnight Maps (4:07)
06 - Mercy Dash (4:04)
07 - Under The Lights (3:16)
08 - My Careful Hands (3:51)
09 - Suck (5:28)
10 - Hubris (3:51)



Shriekback - Y Jam Science ( flac ^ 279mb)

01 - Under The Lights (4:01)
02 - Building Up A New Home (3:55)
03 - Hand On My Heart (4:38)
04 - International (3:28)
05 - Putting On The Pressure (4:25)
06 - Party Line (4:11)
07 - My Careful Hands (4:20)
08 - Midnight Maps (4:10)
bonus
09 - Mercy Dash (ready for this) Extended Mix (5:11)
10 - Gated Joy (3:39)
11 - Bricks And Whistles (4:47)

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Eurythmics - 1984 (For The Love Of Big Brother) (84 flac 209 mmb)

What to say about Annie And Dave , another time.. as i said in my intro i consider this my favourite Eurythmics album.



01 - I Did It Just The Same (3:28)
02 - Sexcrime (Nineteen Eighty Four) (3:56)
03 - For The Love Of Big Brother (5:02)
04 - Winston's Diary (1:21)
05 - Greetings From A Dead Man (6:06)
06 - Julia (6:32)
07 - Doubleplusgood (4:35)
08 - Ministry Of Love (3:44)
09 - Room 101 (3:45)


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All downloads are in * ogg-7 (224k) or ^ ogg-9(320k), artwork is included , if in need get the nifty ogg encoder/decoder here !

Around the World (05)

Hello again. Around the world, you can say as much from the musicians that make up Ekova and yet they found eachother in Paris to make music together. Echoes of This Mortal Coil without the pathos comes to mind. I posted the abstract remix version of "Heaven's Dust" , "Soft Breeze & Tsunami Breaks" at my Ici Paris II post 22th of december last year. So now i treat you to the warm exuberant and dreamy side of the original, truly a great album, which in hindsight turned out to be too difficult to surpass.

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Ekova - Heaven's Dust (98 ^ 99mb)

"I think Paris is the most extraordinary city. I mean, every culture has its own history but what's really amazing about Paris is that you get to see living cultures - some of them thousands of years old - existing side by side and influencing one another. I love the idea of this process of mixing and exchange going on right under our noses. And I think it's fair to say that if it hadn't been for Paris, Ekova might never have existed at all!"-Dierdre Dubois

This Paris-based trio - which doesn't contain a single Frenchman, draws its name from a word coined by American-born singer Dierdre Dubois, echo and ova, signifying the feminine side. Dubois, despite her Celtic and French name, was raised by her Italian-American mother in Northern California, and has lived in Paris long enough that her English is noticeably accented. Like the name of the band Dierdre creates words as sounds, she creates her own improvised language, a kind of multicultural glossolalia that is as mysterious as it is musical. "I don't understand it all myself," she acknowledges. "It just comes out by itself. But I like that sense of mystery about it." The other two members of Ekova, Iranian percussionist Arach Khalatbari and Algerian guitar/lute player Mehdi Haddab, have invented a musical language to match. Khalatbari is from Tehran but has lived and worked in Paris since the Islamic revolution in Iran. And Haddab is half Algerian, half French; born in Algiers, he lived in Burundi in Central Africa before finally making his way to Paris. Freed from the weight of any of their individual traditions, Khalatbari and Haddab weave together strands of Celtic and African music, inspired by many of the world's music traditions without literally drawing on them, Ekova has created a sound that is at once elusive but familiar.

With their debut album "Heavens Dust" they released a classic, that deserved more attention than it got, even though many were raving about it. ( politically incorrect lined-up perhaps ?). Happy to experiment and fuse further Ekova offered their album up for remix, the result "Soft Breeze and Tsunami Breaks" was released one year later, it was a bold choice as these electronica remixes wouldnt perse suit their first fans.
In 2001 Ekova released "Space Lullabies and Other Fantasmagore" , they went on some extensive touring but to date haven't released any new material.



01 - Starlight In Daden (5:34)
02 - Chant Of Diem (1:02)
03 - Todosim (3:46)
04 - Temoine (5:53)
05 - Ditama (2:33)
06 - Sebrendita (3:48)
07 - Sabura (4:43)
08 - La Nef Des Fous (2:43)
09 - Sister (3:09)
10 - In My Prime (3:36)
11 - Taksim (3:18)
12 - Helas And Reason (4:24)
13 - Venus And One (4:39)
14 - Untitled (4:57)

Ekova @ Label

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All downloads are in * ogg-7 (224k) or ^ ogg-9(320k), artwork is included , if in need get the nifty ogg encoder/decoder here !

Don''t Panic ! , (05)

Last weeks Hitchhikers fourth fit recap

The episode begins with a recap of the events of the series so far, before moving to a conversation where Slartibartfast explains that mice are really "the protusions into our dimension of vast hyper-intelligent pan-dimensional beings", and that they commissioned the Earth to be built. He plays Arthur some recordings explaining the historical events. This race of pan-dimensional beings had constructed a great computer, called Deep Thought, to answer the Ultimate Question of Life, the Universe and Everything. It did, after seven million years, have the Answer to the Ultimate Question, a rather disappointing 42. Deep Thought explains that this is only disappointing because they never really understood what the Question was. They ask the computer if he can find out what the Ultimate Question is. Deep Thought cannot, but promises to design a computer that can, and names it, "Earth".

Slartibartfast explains that this computer was built by the Magratheans, and that the Vogons came and destroyed it five minutes before it was due to complete its run. The mice summon Arthur and Slartibartfast to a meeting room, where they have discussed a proposal with Zaphod, Ford and Trillian. The mice believe that as last-generation products of the computer matrix, Arthur and Trillian should be in an ideal position to find out the Question, and offer to make them "extremely rich" if they can do so. (In later versions this would be replaced with the mice wishing to extract Arthur's brain). The negotiations are interrupted by the arrival of a Galactic Police ship, pursuing Zaphod for his theft of the Heart of Gold.

The Police confront Arthur, Ford, Trillian and Zaphod, and shoot at them, whilst explaining that they find violence upsetting. After a particularly long volley of fire, the computer bank they are hiding behind explodes, and the episode ends

Fit 05 (19mb)

3.01 - In The Beginning
3.02 - The Restaurant At The End Of The Universe
3.03 - The End Of History Itself
3.04 - Marvin And The Carpark
3.05 - The Moment You've All Been Waiting For
3.06 - The Hitchhiker's Guide To The Galaxy
3.07 - You Can't Control It

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All downloads are in * ogg-7 (224k) or ^ ogg-9(320k), artwork is included , if in need get the nifty ogg encoder/decoder here !

Sundaze (05)

Hello, more on acid today well sort off, btw ive re-upped yesterdays failing link of House Hallucinations. The Cosmic Jokers were never a band , in fact the story goes that they didnt know they were recorded when they were jamming at an acid (LSD)party inside a studio, the result was released in state of the art quadrophonics the next year (74). The first release was the album at hand and has become something of a (hearsay) landmark which not that many people have ever heard as one year later an incensend Klaus Schulze stopped the monetising of his name after a fourth album had been released from these sessions. Anyway current technology enables the distribution and you can be part of it and judge for yourself how a bunch of krauts on LSD rock. Terrence McKenna backed by the Spacetime Continuum's experimental electronic music delivers a great lecture . Alien dreamtime was a multimedia event recorded live on February 26th/27th 1993 at the Transmission theater, San Francisco, CA.

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Spacetime/McKenna - Alien Dreamtime (flac 404mb )

Terence McKenna (November 16, 1946 – April 3, 2000) was a writer, philosopher, and ethnobotanist. He is noted for his many speculations on the use of psychedelic, plant-based hallucinogens, and subjects ranging from shamanism, the development of human consciousness, and the novelty theory. At age 16, McKenna moved to, Los Altos, California. He was introduced to psychedelics through reading The Doors of Perception by Aldous Huxley and Village Voice. One of his early experiences with them came through morning glory seeds (containing LSA), which he claimed showed him "that there was something there worth pursuing.". He spent the years after his graduation (degree in Ecology and Conservation) teaching English in Japan, traveling through India and South Asia collecting butterflies for biological supply companies, and smuggling hashish into the United States. Together with his brother he travelled to Columbia checking out the psychedelic snuff called yopo, at the urging of his brother, he took the shamen substance.( The effects of properly made insufflated yopo are similar to the effects of vaporized DMT but much longer in duration. The effects begin approximately 15-30 minutes after insufflation and can last up to 2-3 hours,the mind normally remains clear and focused during the entire experience ). As a consequence Terrance claimed it put him in contact with Logos: an informative, hallucinatory voice he believed was universal to visionary religious experience. The revelations of this voice, and his brother's peculiar experience during the experiment, prompted him to explore the structure of an early form of the I Ching, which led to his "Novelty Theory".

In the early 1980s, McKenna began to speak publicly on the topic of psychedelic drugs, lecturing extensively and conducting weekend workshops, repeatedly stressing the importance of the primacy of felt experience as opposed to dogmatic ideologies. In addition to psychedelic drugs, McKenna spoke on the subjects of virtual reality (which he saw as a way to artistically communicate the experience of psychedelics), techno-paganism, artificial intelligence, evolution, extraterrestrials, and aesthetic theory (art/visual experience as information-- representing the significance of hallucinatory visions experienced under the influence of psychedelics). He advised the taking of psychedelic mushrooms, in both low and high doses, alone and with others.He remained opposed to most forms of organized religion or guru-based forms of spiritual awakening. He believed DMT was the apotheosis of the psychedelic experience and spoke of the "jeweled, self-dribbling basketballs" or "self-transforming machine elves" that one encounters in that state.


McKenna also co-founded Botanical Dimensions with Kathleen Harrison (his colleague and wife of 17 years), a non-profit ethnobotanical preserve on the island of Hawaii, where he lived for many years before he died. A longtime sufferer of migraines, in mid-1999 McKenna returned to his home in Hawaii after a long and tiring lecturing tour. He began to suffer from increasingly painful headaches. This culminated in a brain seizure, which led to McKenna being diagnosed with glioblastoma multiforme, a highly aggressive form of brain cancer.He died 53 years old on April 3, 2000, alongside his loved ones.

Stoned Ape
Perhaps the most famous of Terence McKenna's theories and observations is his explanation for the origin of the human mind and culture. McKenna theorized that as the North African jungles receded toward the end of the most recent ice age, giving way to grasslands, a branch of our tree-dwelling primate ancestors left the branches and took up a life out in the open — following around herds of ungulates, nibbling what they could along the way. Among the new items in their diet were psilocybin-containing mushrooms growing in the dung of these ungulate herds. McKenna, claimed enhancement of visual acuity as an effect of psilocybin at low doses, and supposed that this would have conferred an adaptive advantage. He also argued that the effects of slightly larger doses, including a physical sexual arousal (obviously, not reported as a typical effect in scientific studies) — and in still larger doses, ecstatic hallucinations and glossolalia — gave evolutionary advantages to those tribes who partook of it.

Novelty theory/Timewave zero
One of McKenna's most widely-promulgated ideas is known as Novelty theory. It predicts the ebb and flow of novelty in the universe as an inherent quality of time.The theory proposes that the universe is an engine designed for the production and conservation of novelty. Novelty, in this context, can be thought of as newness. According to McKenna, when novelty is graphed over time, a fractal waveform known as "timewave zero" or simply the "timewave" results. The graph shows at what time periods, but never at what locations, novelty increases or decreases.

This universal algorithm has also been extrapolated to be a model for future events. McKenna admitted to the expectation of a "singularity of novelty", and that he and his colleagues projected many hundreds of years into the future to find when this singularity (runaway "newness" ) could occur. The graph had many enormous fluctuations over the last 25,000 years, but amazingly, it hit an asymptote at exactly December 22, 2012, in other words, entropy (or habituation) no longer exists after that date.Basically it's impossible to define that state. The technological singularity concept parallels this, only at a date roughly three decades later. Terrence claimed to have no knowledge of the Mayan calendar, which ends one day before the Timewave graph does: December 21, 2012, this is likely to be true as Mckennas timewave theory was published in The Invisible Landscape 12 years before the book which brought the Mayan calendar into public consciousness.




Alien Dreamtime (93 ^404mb)

01 - Archaic Revival (12:02)
02 - Transient Generator (7:33)
03 - Alien Love (7:09)
04 - Speaking In Tongues (10:33)
05 - Aerobatic (6:32)
06 - Timewave Zero (21:09)

great site on McKenna
33 mp3 files of talks for download
Novelty Theory @ Wiki

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The Cosmic Jokers - (74 ^ 184mb)

From February to May of 1973 Rolf-Ulrich Kaiser organized a series of psychedelic jam sessions at Studio Dierks. Apparently the musicians were all high on acid and didn't even notice they were being recorded (at least in the case of Klaus Schulze). In any case, the following year Kaiser took the tapes from these sessions, edited and mixed them with Dierks, and released them on his label, Kosmische Musik, complete with the musicians' pictures on the LP sleeve, without asking for their permission. While none of the other musicians (Manuel Göttsching , Jurgen Dollase and Harold Grosskopf of Wallenstein) were very happy with the recordings, Klaus Schulze was so angry after the release of the fourth release within a year from these sessions, Gilles Zeitschiff with added narration mostly by Kaisers girlfriend Gille Lettmann, that he sued Kaiser. In 1975, Kaiser was forced to discontinue and withdraw the recordings, and he fled the country over the affair, abandoning the record label over the threat of impending legal problems.

Even so, the Cosmic Jokers album (the first session release) represents cosmic/space rock music at its finest. Galactic Joke is more a guitar orientated track with Gottsching unique style (free form rock meet spacey arrangements). The second track is more meditative, dominated by intergalactic keyboards, doom-laden bass guitar lines & hypnotic helicopter drums pattern, presented in the quadrophonic format.



01 - Galactic Joke (22:16)
02 - Cosmic Joy (18:57)

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All downloads are in * ogg-7 (224k) or ^ ogg-9(320k), artwork is included , if in need get the nifty ogg encoder/decoder here !

Into The BPM (05)

Hello after last weeks DnB i take a few steps back in time when Bass mated with the Roland TB-303 electronic synthesizer-sequencer.



Acid house was originally an experimental offshoot of Chicago House music (Phuture's 1986 Acid Trax was one influential example), acid house came to denote a sensibility that radically altered club culture worldwide. After the Ecstacy-fuelled summer of 1987 on the Spanish holiday island of Ibiza, several influential British DJs used acid house as a jumping-off point for a new eclecticism. Acid house is the purest, barest distillation of house, the outer limit of its logic of inhuman functionalism. With acid, black music has never been so alien-ated from traditional notions of `blackness' (fluid, grooving, warm), never been so close to to the frigid, mechanical, supremely `white' perversion of funk perpetrated by early eighties pioneers like D.A.F. and Cabaret Voltaire.the trance-inducing effects of repetion and dub production; a fascination for the pristine hygiene and metronome rhythms of German electronic dance. Pure acid tracks like Tyree's `Acid Over' recall the brute, inelastic minimalism of D.A.F. - it consists of nothing but a bass synth sequencer pulse reiterated with slight warps and eerie inflections.



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Various - House Hallucinates (88 * 452mb)

This is a great acid compilation, my personal favourite remains Phuture Will Survive, great bass drone also here is the Phuture track that supposedly started it all-as way back as 85, Phuture - Acid Trax, well there's more great trackks here from 20 years ago and it can be said this started the rave scene that would dominate the next decade.



House Hallucinates   (452mb)

01 - Sleezy D - I've Lost Control (Space Mix) (9:42)
02 - Phuture - Acid Trax (12:13)
03 - Jungle Wonz - Time Marches On (6:58)
04 - Farley "Jackmaster" Funk - Jack The Bass (6:37)
05 - Maurice - This Is Acid (4:54)
06 - Liddell Townsell - As Acid Turns (5:08)
07 - Jack Frost - Clap Me (6:45)
08 - Mr. Lee - Pump Up London (Dub Mix) (4:15)
09 - Liddell Townsell - The Groove (5:07)
10 - Phuture - Phuture Will Survive (8:39)

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Tekno Acid Beat (88 ^ 237mb)

When Genesis P'Orridge walked into a Chicago recordstore and asked the clerk for the weirdest records on hand, he was pointed to the "acid house" section. Now that rang some sacred bells so he picked up some up to listen trying to figure out what made them psychedelic, and concluded that the tempo was the key element. He brought the sounds back to England and began developing with his band Psychic TV a more psychedelic sounding acid house music.
Tekno Acid Beat is not actually various artists compilations as these are collections of tracks from Psychic TV under different aliases. It involved Psychic TV founder and mainstay Genesis P'Orridge and future Grid members Richard Norris and Dave Ball. The material was created during the beginning of Psychic TV's acid house phase (and during the beginning of acid house itself). This collection of tracks are constructed imaginatively and draws samples from 1960s exploitation films to Middle Eastern music into the mix. Jack the Tab/Tekno Acid Beat stands out as an excellent example of late 1980s underground electronic/club music.



01 - DJ Doktor Megatrip With Luv Bass - Joy (Joy-Orgasm-Youth) (5:21)
02 - Sickmob - Sandoz Tabman (5:23)
03 - Jack The Tab And Mistress Mix - Wicked (6:39)
04 - Sugardog - Groove To Get Down (4:51)
05 - Virginia - Blue Pyramid (5:19)
06 - Safe - Godzilla Vs The Space Mutants (4:11)
07 - DJ Doktor Megatrip & Mista Luv - Liquid Eyeliner (5:57)

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Tyree - Tyree's Got A Brand New House ( 88 ^ 328mb)

It probably all began with the old R & B dusties of his mother, Tyree Cooper was impassionedly listening to.
Growing up on the streets of Chicago’s South Side Tyree Cooper discovered his love for the soul music of the 60ies.
Two years after college Tyree was already one of the most popular and highly sought-after DJs in Chicago. Then Vince Lawrence, of the garage funk band “Jesse Gang“ persuaded Tyree to put together a demo tape of his music to start a career as a recording artist. It was only a question of time before signing the first record deal with the Chicago-based underground label D.J. International - that was in 1986. The first 12" – “I Fear The Night“ (with female vocalist 'Chic') - promptly became an underground classic in Chicago. Other hits followed: “Acid Over“(1988), “Turn Up The Bass“ (1988/89, “Let the Music Take Control “(1989) and “Hardcore Hip House“ (1989). That was the time when Tyree Cooper created a crossover version of house music together with his friend and fellow DJ 'Fast Eddie' Smith and which came to be known as hip house.

Tyree Cooper is now regarded as one of the most influential artists in the international house scene. Already looking back to a respectable discography Cooper founded his own label in 2002: Supa Dupa Recordings. Later one of the most important hip house tunes was released on Epic with the original and some new remix versions: “Turn Up The Bass“, which is surely one of the most important hip house tracks of all times. True to the scene Tyree still lives in Chicago spreading his roots also in Europe’s exciting capitol Berlin - doing what he does best.... spinning and traveling to Europe for gigs and producing new tracks on his own record label Supa Dupa Records and of course together with shik stylkö for realbasic recordings.



01 - Acid Over (4:34)
02 - T.J.G.P. (4:23)
03 - Life (5:02)
04 - Let's Get Together (6:06)
05 - Turn Up The Bass (Voc.Kool Rock Steady) (5:08)
06 - House Line (4:03)
07 - Never Let You Go (5:55)
08 - Acid Overture (4:09)
09 - Acid Is My Life (4:21)

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All downloads are in * ogg-7 (224k) or ^ ogg-9(320k), artwork is included , if in need get the nifty ogg encoder/decoder here !

Into The Groove (04)

Hello, a little less electro-funk than last week, though Shango and the rare Rap It sampler from Celloloid records still do those qualifications justice. No the thread today is Material, as this band around bassplayer Bill Laswell is heavily involved in all four albums presented today . Working with Africa Bambaata they produced a great electro funk album that somehow still hasnt been re-releaed on cd, maybe current day technology doesnt do credit to what then did the business, well a vinyl rip has to do it here, all are vinyl rips btw. Back editing the tightly mixed Rap It sampler took me more time then usual as i initially missed the fact that basicly this was a 6 track album intermediated by 10 seconds raps from Shahiem (oops) Nona Hendryx sang Voulez Vous Couchez Avec Moi ? (Lady Marmelade) which got the girls always exited and subsequently the boys, she managed to take that flair into her 30 year career . Nona went on to produce successful work with a broad range range of artists, Material being the first to pick her up after she starred brightly in the Talking Heads backing line up.

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Material - One Down (82 ^ 313mb)

One of the most high-profile projects of the endlessly prolific bassist and producer Bill Laswell, Material pioneered a groundbreaking fusion of jazz, funk, and punk that also incorporated elements of hip-hop and world music well before either's entrance into the mass cultural consciousness. Formed in 1979, the first Material lineup consisted of Laswell, multi-instrumentalist Michael Beinhorn, and drummer Fred Maher, all three staples of the downtown New York City underground music scene. After Material's debut LP under their own name, Temporary Music, the group's ranks swelled to include figures ranging from Sonny Sharrock to Henry Threadgill to Fred Frith, additions which yielded 1981's superb Memory Serves.

Their next album "One Down" marked a distinct shift in sound for Material, the avant-garde downtown ensemble organized around bassist Bill Laswell and keyboardist Michael Beinhorn. The edgy experimentalism that characterized earlier efforts like Temporary Music and Memory Serves is downplayed here in favor of funk and disco tunes delivered with less weirdness. Laswell is a master of funk bass, and with guests like drummer Yogi Horton, guitarist Nile Rodgers and singers Nona Hendryx and Whitney Houston (just before she became a superstar on her own), he didn't really have much chance to go wrong. Highlights include"Take a Chance" and the strutting "I'm the One"; if you want something a little more challenging, check out Archie Shepp's squalling sax solo on the Houston vehicle "Memories." This is straight-ahead turn-of-the-80s funk at its old-fashioned best.

Laswell finally reassembled the troops in 1989 to record the atmospheric Seven Souls, which spotlighted the spoken word performances of the legendary William S. Burroughs. 1991's The Third Power brought the group back to its soulful roots, with guests including Herbie Hancock, Sly & Robbie, Maceo Parker, and the Jungle Brothers; after 1994's Hallucination Engine, another four-year hiatus preceded the release of the remix collection The Road to the Western Lands. Intonarumori followed in 1999.



01 - Take A Chance (Voc.Nona Hendryx) (4:29)
02 - I'm The One (Voc. Bernard Fowler) (5:24)
03 - Time Out (4:51)
04 - Let Me Have It All (5:24)
05 - Come Down (Voc. Bernard Fowler) (4:42)
06 - Holding On (4:43)
07 - Memories (Voc. Whitney Houston) (4:00)
08 - Don't Lose Control (4:15)
09 - Busting Out (Voc.Nona Hendryx) (8:03)

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Nona Hendryx - Nona (83 ^ 506mb)

One-third of the pop/soul act Labelle (their big hit was "Lady Marmalade"), Nona Hendryx, by far and away, made the hippest solo records of any member of that group (the others being Patti LaBelle and Sarah Dash). After Labelle called it quits in 1976, Hendryx released her self-titled debut record, which was an amazingly strong amalgam of soul and hard rock. It also went almost completely ignored by critics, soul fans, and even Labelle fans, and Hendryx took her strong, clear, booming voice and did lots of session work in the late '70s and early '80s. It was here that she fell in with a hip crowd of musicians, specifically as a result of her time singing backup for Talking Heads. In the early 80's, Hendryx fronted her own progressive art-rock group, Zero Cool. Simultaneously, she sang with experimental funk group Material, achieving a giant club hit with "Busting Out," which can be described as "disco with a hard rock edge." . Bill Laswell, who, along with his band Material, helped Hendryx put together a second solo record entitled Nona. A strong album that's not as wild-eyed as her debut, with extra musical emphasis provided by Sly Dunbar, Jamaaladeen Tacuma and Nile Rodgers.
Nona did spark greater interest in Hendryx's considerable talents, she was recruited by RCA to record songs for various soundtracks, including: the theme for Moving Violations; "I Sweat (Going Through the Motions)," a commercial hit for Hendryx from the Jamie Lee Curtis film Perfect; and "Transparent" from the Eddie Murphy vehicle, Coming To America.And after that, her solo career flourished to the point where she no longer needed studio work to supplement her income.

Although some of her late-'80s records sound a little formulaic, Nona Hendryx is a dynamic, daring, and extremely talented performer, who, as is often the case, didn't receive the credit she's due. Hendryx took a detour from commercial music with Skin Diver, new age-record produced with long-time Tangerine Dream-member Peter Baumann. The album was generally greeted with positive feedback from critics, though commercially unsuccessful. She remains in high demand for musical collaborations, both for her vocals and her songwriting. Currently, Hendryx is still touring and has written plays and formed her own record label with Bobby Banks, Rhythm Bank, in 2005



01 - B-Boys (5:28)
02 - Living On The Border (5:27)
03 - Keep It Confidential (5:46)
04 - Design For Living (5:10)
05 - Transformation (5:27)
06 - Run For Cover (4:26)
07 - Steady Action (5:11)
08 - Dummy Up (4:20)
Bonus
09 B-Boys (12" Version) 6:35
10 B-Boys (Instrumental) 6:52
11 B-Boys (Single Version) 4:04
12 Keep It Confidential (Special Extended Club Version) 5:50
13 Keep It Confidential (Single Version) 3:48
14 Steady Action (Single Version) 3:55
15 Transformation (Single Version) 3:59

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Shango - Shango Funk Theology ( 84 ^ 93mb)

Shango Funk Theology is another collaboration between hip-hop pioneer Afrika Bambaataa and the "1000 project man" Bill Laswell, featuring the usual suspects like Michael Beinhorn and Nicky Skopelitis. The music is a cross between the Material disco-funk from the time and Bambaataa's hip-hop workouts, with weird chants, rapping and (for the most part) programmed breakdance beats. There's a cover of Sly Stone's "Thank You," featuring ultra-groovy clavinet playing by Beinhorn; the other tracks are originals, including the short but catchy "Soca Fever," where Nicky Marrero's percussion blends extremely well with the DMX beats, and the irresistible "Let's Party Down," which has Laswell, Beinhorn and the rest of the crew at their funkiest. Deep bass, tasty synths, bold horn charts and clever grooves -- anyone who's into Laswell's similar ' 80s music might have to track this down immediately. Unfortunately, the album has never been reissued on CD; the vinyl pressing can still be found, however. (Vocals by Amad Henderson , Bernard Fowler, Fred Fowler and Jimmy Mac)



01 - Shango Message (7:39)
02 - Thank You (7:28)
03 - Soca Fever (2:27)
04 - Zulu Groove (9:01)
05 - Let's Party Down (11:09)

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VA - Rap It ! (83 ^ 94mb)

The frontcover is a painting by Keith Haring. The record is a Celluloid label collection of 6 separetely released 12"s connected by rapper Shahiem and the music and production work from the Material Crew with Martin Bisi. Originally the backcovers of these maxi's contained a detail of a painting by Futura 2000. Putting these 6 details together gave the full painting. Most mixes here are (slightly) different than the mixes on the 12"s. I'm not sure but it must have been one of the first official mix albums aswell.



01 - Grandmixer D. ST. - Cuts It Up (7:43)
02 - Shahiem - Rap (0:09)
03 - Fab 5 Freddy (Ft Material) - Change The Beat (7:32)
04 - Shahiem - Rap 2 (0:10)
05 - Smurfs, The (Ft Bernard Fowler) - Smurf For What It's Worth (7:01)
06 - Futura 2000 (Ft The Clash) - The Escapades Of Futura 2000 (6:33)
07 - Shahiem - Rap 3 (0:09)
08 - Phase 2 (Ft Material, Grandmixer D. ST) - The Roxy (4:57)
09 - Shahiem - Rap 4 (0:14)
10 - B-Side (Ft Material) - Change The Beat (3:37)

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All downloads are in * ogg-7 (224k) or ^ ogg-9(320k), artwork is included , if in need get the nifty ogg encoder/decoder here !

Alphabet Soup, D

Hello, Alphabet Soup D, this or that it's been trendy this last decade to switch the The for D well im skipping those today , i have an over the top coverband that put their creativity in their stage shows and general presence and two great bands that put their heart and minds into their music and produced great albums that didnt get to refresh those parts that needed attention, as certainly a decade ago style/form over content ruled . This has always been the added 'value' of the industry. The counterculture meanwhile was fully emerged in the anonymous dance culture that caused the dj to become the star. So these bands , signed to not very well funded indielabels, had to live of good reviews, but as a true artist should, they didnt wait around to get paid and let their creativity take them elsewhere.

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Delicatessen - Mixture (97 re-up 162mb)

Delicatessen are original, yet wilfully obtuse awkward buggers, in fact. their distorted, disjointed and distinctly odd rants, creep up your spine, it’s their defining characteristic.
Delicatessen was formed by Neil Carlill a poet, songwriter, vocalist, composer and musician ( currently in Vedette) , Craig Bown (guitar, flute), Pete Capewell (bass) and Stuart Dayman (drums), taking their name from the French absurd film Delicatessen. Signing to Starfish records, they debuted in 1994 with the single Inviting Both Sisters To Dinner, followed by C.F. Kane spring 1995. their debut album Skin Touching Water appeared a month later. After this album was recorded Pete Capewell was replaced by Will Foster (bass, keyboards, guitar). Second album Hustle In To Bed was issued in 1996. Adding Jon Wood on violin, the band reappeared in early 1998 with third album There's No Confusing Some People on Viper records. The band split shortly afterwards, with Carlill and Foster joining members of Supergrass and Powder in indie supergroup Lodger.Will Foster now plays keyboards in The Tears.

This mixture has been available at their website(no longer live) for some time, a great 75 min collection of album tracks, singles and b - sides. I burned it to disk in 2000 and ripped it again for your pleasure..don't miss it, some of you will certainly like it..very much.




01 - Round The Bend Gently (3:36)
02 - Yes, No In Any Language (4:22)
03 - Make Some Mad Tea (4:19)
04 - Zebra-Monkey-Liar (3:17)
05 - Hustle Into Bed (3:57)
06 - You Cut My Throat, I'll Cut Yours (2:30)
07 - Embalming The Dead Entertainer (3:18)
08 - Monkey Suit(single version) (4:00)
09 - Classic Adventure (3:39)
10 - I'm Just Alive (3:43)
11 - C.F. Kane (3:50)
12 - Vanilla Folders (4:14)
13 - Loves Liquid (3:33)
14 - Boy Dough (3:24)
15 - Mice Hair (3:23)
16 - This Sleep Thing (1:38)
17 - Various Pets (3:00)
18 - Revelations Of A Domestic (3:00)
19 - He Klled Himself In 1980 (4:17)
20 - Froth (3:20)
21 - Bentine (2:31)
22 - A Tenth (2:24)

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Departure Lounge - Too Late To Die Young (02 ^ 97mb)

Departure Lounge are possibly one of the music industry's best kept secrets. In 1998, what began as a group of friends gathering in the communal warmth of each other's music (a bit like a therapy session) gave birth to Departure Lounge. Their debut, their acclaimed debut 'Out of Here' and the enchanting Series 7 instrumental album 'Jetlag Dreams', were impressive enough, but Too Late To Die Young raises the bar, not least due to the mercurial production of French groovemeister Kid Loco.

'Too Late To Die Young' features all four members of Departure Lounge playing a wide variety of instruments and found objects, and guest appearances from Simon Raymonde of the Cocteau Twins (guitar), Robyn Hitchcock (guitar, harmonica), Lisa O'Neill from Sing-Sing (vocals) and the album's producer, Parisian groovemeister Kid Loco (guitar, percussion). It was recorded in three ten day sessions at their friends' studio, Blah Street, on an old farm deep in the English countryside. The medieval/psychedelic decor, huge number of lovely old instruments, home-made electronic toys and excellent home cooking make it 'the best studio in the world', according to Kid Loco.

In 2001 the band set up a residency in Nashville, Tennessee called the Living Room at their favourite nitespot, the Slow Bar. Here they performed fortnightly with an abundance of guest musicians, mixing their own songs with covers ranging from the Human League to Kenny Rogers to Motorhead. Departure Lounge have also presented their own radio show on Nashville's college station, WRVU, and Tim's voice can also be heard gracing 6 of the 10 tracks on Kid Loco's album, 'Kill Your Darlings'.

Meanwhile the band has spread out again, Paris, Brighton and Nashville, pursuing different projects/bands no word on getting back together for a follow-up, but as these guys obviously connect, a new album is always in the pipeline. They've had to overcome all those compliments and good press for this great album which sadly didnt translate into public awareness. Well they don't bare a grudge, at their site there's a number of tracks and remixes up for download.



01 - Straight Line to the Kerb (4:40)
02 - What You Have is Good (3:51)
03 - King Kong Frown (2:57)
04 - I Love You (5:27)
05 - Alone Again, And... (4:46)
06 - Tubular Belgians in My Goldfield (6:53)
07 - Be Good to Yourself (2:52)
08 - Over the Side (3:22)
09 - Coke & Flakes (5:00)
10 - Silverline (4:00)
11 - Animals on My Mind (Voc.Lisa O'Neill) (1:31)
Departure Lounge @ Base

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Dread Zeppelin - Un-led-ed (90 ^ 97mb)

The first Dread Zeppelin release, the 7" single "Immigrant Song was recorded at the home studio of Dave Stewart of Eurythmics and released in 1989. After its success, a second single, "Whole Lotta Love" was released which paved the way for recording their debut album Un-led-ed . Fronted by an oversized Elvis impersonator named Tortelvis mixing two giants from the music scene into a reggae beat may have seemed a bit over the top but i guess in that cocaine era it connected and the album was an (unexpected) commercial success. It set up Dread Zeppelin's career in music, their second album, 5,000,000* *Tortelvis Fans Can't Be Wrong. this album featured the usual "Zeppelin in a reggae style", but also a cover of Bob Marley's "Stir It Up" as well as three original songs. Their third , an album of disco covers It's Not Unusual didnt fair well and the group fell apart , Tortelvis left the group in addition, in early 1992, Ed Zeppelin and drummer Fresh Cheese both left the band. They reunited for the The Fun Sessions (1996), a collection of classic rock covers.Over the years Dread Zeppelin has been known for their humorous stage antics, with strange masks, hypnotic dances, hilarious choreography, and stand-up band interaction between songs mostly by the bigger than life persona of Tortelvis into the King. A number of live albums have been released , the one with the best title must be The Song Remains Insane.



01 - Black Dog (5:20)
02 - Heartbreaker (At The End Of Lonely Street) (4:47)
03 - Living Loving Maid (3:47)
04 - Your Time Is Gonna Come (5:10)
05 - Bring It On Home (4:36)
06 - Whole Lotta Love (4:38)
07 - Black Mountain Side (2:02)
08 - I Can't Quit You Baby (6:04)
09 - Immigrant Song (2:52)
10 - Moby Dick (4:18)

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All downloads are in * ogg-7 (224k) or ^ ogg-9(320k), artwork is included , if in need get the nifty ogg encoder/decoder here !

Around The World (04)

Hello as announced last week a great singer of around the world music today, Lhasa de Sela, her gorgeous voice can get under your skin so i'd say i didnt warn you, well i integrated some YouTubes here of her artistry so make sure you check that.

Lhasa de Sela - The Living Road (04 ^ 99mb)

Lhasa de Sela (born 1972), better known as Lhasa, is a singer and songwriter who was raised in Mexico and the United States and now lives in Canada. - Lhasa was born of a Mexican father of Panamanian-Polish-French-Spanish descent and an American mother of Lebanese-Scottish-Russian Jewish descent. Maybe it was Lhasa's unconventional upbringing that has given her such a unique vision, or maybe it was always within her. Whatever the reason, she stands as one of the most idiosyncratic Mexican-American performers, fully aware of the tradition, but putting her own spin on it. The big family (Lhasa has three sisters, three half-sisters, and three half-brothers) was fairly nomadic and their travels took them between the U.S. and Mexico, traveling and living in a converted school bus. It was an arty life of music, books, and letters, but without the insidious influence of television, banned by her parents. At age nineteen she moved to Montréal and sang for five years in bars, where she developed the material that eventually became her first album, La Llorona, released in 1997. La Llorona, which mixes traditional South American songs with original songs, was strongly influenced by Mexican music, but also Eastern European gypsy music and alternative rock. The album brought her much acclaim and success.

Lhasa toured extensively after the surprise international success of La Llorona. In concert, Lhasa was by turns both shy and generous, and she gave a lot of herself away to her audiences. When the strain of touring threatened to overwhelm her, she knew she needed a break. Her escape route was waiting. Lhasa ran away to France join a contemporary one-ring circus "Pocheros" created and mounted by her 3 sisters.In France Lhasa lived a busy nomadic life, embraced by the loving and chaotic extended family the circus provided. Feeling refreshed, by 1999 Lhasa began to write new songs. She collaborated with French singer Arthur H, and contributed to a duet on an album by The Tindersticks. Eventually a relationship took her to Marseilles, where Lhasa began to hone the ideas she had gathered on the road and write songs about love and creativity, apocalypse and hope. These are the songs of The Living Road.

As you can see some of the tracks are highlighted , Con Toda Palabra is a great videoclip, the others are from broadcast live concerts, so you know what to expect (youtube).



01 - Con Toda Palabra (4:30)
02 - La Marée Haute (3:24)
03 - Anywhere On This Road (4:37)
04 - Abro La Ventana (4:03)
05 - J'Arrive À La Ville (5:58)
06 - La Frontera (3:02)
07 - La Confession (3:45)
08 - Small Song (2:26)
09 - My Name (4:17)
10 - Pa' Llegar A Tu Lado (4:32)
11 - Para El Fin Del Mundo O El Año Nuevo (4:23)
12 - Soon This Space Will Be Too Small (4:46)

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All downloads are in * ogg-7 (224k) or ^ ogg-9(320k), artwork is included , if in need get the nifty ogg encoder/decoder here !

Don't Panic ! (04)

Hello, the tale continues

A recap of last weeks Third Fit

The episode begins with a narration describing the significance of Magrathea, a planet that long long ago manufactured custom-designed planets for rich businessmen. Due to its immense success, Magrathea became the richest planet in the galaxy and the galactic economy collapsed. Ford and Zaphod argue about the accuracy of this legend, Ford believing that it is nonsense, Zaphod believing he has found the long-lost planet.As the ship lands, it triggers an automated recorded message, from the Commercial Council of Magrathea, that notes that Magrathea is currently closed for business, and to leave. A follow-up message announces that nuclear missiles will be launched against the ship.

The missiles are detected, and the crew struggle to get the Heart of Gold to escape the missiles. Disaster is averted when Arthur activates the Infinite Improbability Drive and the missiles are turned into a bowl of petunias and a very surprised-looking sperm whale. Trillian notes that her white mice (that she had taken with her from the Earth) have escaped.

The ship lands, and Ford, Arthur, Zaphod, Trillian and Marvin go onto the surface. They split up, and Zaphod, Trillian and Ford explore a tunnel, noting that they seem to be following the mice, whilst Arthur and Marvin are left on the surface as lookout. Eventually, Slartibartfast comes to meet Arthur, and takes him into the interior of the planet, leaving Marvin behind. Inside Magrathea, he shows Arthur a planet that they are working on at the moment. Arthur recognises it as the Earth. Slartibartfast explains that the original Earth had been destroyed five minutes too early, and they are constructing a replacement. The original Earth had apparently been commissioned by some mice in order to find the "Ultimate Question".


Fit 4 (18mb)

Fit, The Fourth

12 - Forced To Resort To Astonishment
13 - Life, The Universe And Everything
14 - Philosophers
15 - Seven-And-A-Half Million Year Itch
16 - So There You Have It
17 - It Is Of Course Well-Known
18 - Welcome To Lunch, Earth Creature
19 - We've Got You Covered

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All downloads are in * ogg-7 (224k) or ^ ogg-9(320k), artwork is included , if in need get the nifty ogg encoder/decoder here !

Sundaze (04)

Hello another Sundaze Sunday coming up, possibly not the easiest of listening but then a little effort brings it's rewards here. So without further ado i present to you Koss, which btw is what Iranians say when they see Rice i'd say it'll make a nice inside joke when you see her face on the tele..that stupid koss ! Back to the music i devided the 39min Koss titletrack differently then officially which btw didnt make much sense to me. My second offering is a compilation made by two radio jocks who meanwhile have been doing shows of this kind off music for a decade now..i'd say they are well versed in thismusic and it shows..btw at the bottom is a link where you can listen to or download their podcasts. In case you long for Sundaze every day.

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Koss - Ring ( 00 ^ 122mb)

Kuniyuki Takahashi (Koss) is based in Sapporo. He started his making music in 1985 ('DRP'), heavily impacted by German progressive and noise. In the late '80s to the early '90s, together with Tomoyuki Murastige they produced a hardcore sound fusing metal percussion, noise and electro. Europe, Belgium specially took in these hardcore body beats and so Antler Subway records, released Electro Brain 586 in 1990.
During the middle of ' 90s, Kuniyuki performed live frequently under diverse monikers , then under the name 'Mask' he presented a fusion of native/world music and electro. He also started the production of the tunes absorbing acoustic sound such as percussion, piano and so on that he plays himself. In 1998 he joined Haruomi Hosono (a.k.a Yellow Magic Orchestra member) as percussionist at the big event 'Rainbow 2000 Japan' . In 2000, his first album Ring under the name 'Koss' was released. This epic downbeat album includes the trilogy Ring extending to almost 40 minutes. It got good reviews and acclaim from fellow artists like Larry Heard and Plaid. In 2001, Koss was at the 'Big Chill' festival in Naxos, Greece he began his live performance with his laptop mutating and evolving his music which came across brilliantly. This resulted in the album Live Ring released in 2002 where he absorbed the element of dub into Ring creating a whole new 'perspective' and with it enhancing his music and acclaim.



01 - Ring I (18:32)
02 - Ring II (14:42)
03 - Ring III (6:09)
04 - Ra1030in (7:12)
05 - Source-SW (8:18)
06 - Ple Ate (7:38)

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VA - X-Rated, The Electronic Files (02 ^ 130mb)

This album was compiled by the hosts of X-Rated, an electronic music program heard on the radio station KINK-FM.

CD 1 starts with Lustmord-Evergreen 'Ixaxaar', which Mantra "this is the night of the demon" stuck itself into the brain and let the album 'The Monstrous Soul' become a classic. Track 2, 'Valchirie' is an exclusive from Biosphere . Cosey Funny Tutti's Cassette 'Time to Tell' is another 23-min classic excerpted here are 7min of great SloMo Ambient Pop. Multicide is John Everall, known from working with COIL- and Nocturnal-Emissions. Banabila is a classic ambient artist, here he mixes up twoof his albums Voiznoiz 1&2' . Edgar Froeses Tangerine Dream have been at it since 1970 , here we have an outake from 'Phaedra' (74) . Kim Cascone, with his projekt PGR/PoisonGasResearch has made a name in the industrial scene since the mid eighties, curently concentrating on Laptopnoise and Microsound the track here is a bit of an odd one out.. Michael Wells presnts his projekt S.O.L.O. chilled downbeats, The last track is by canadian Chris Meloche, who 6 hour live radioshow got him noticed and a record deal for his trancy harmonies



01 - Lustmord - Ixaxaar (5:08)
02 - Biosphere - Valcherie (8:50)
03 - Cosey Fanni Tutti - Time To Tell (Excerpt) (7:11)
04 - Multicide - Zero Element (6:35)
05 - Banabila - Voiz Recycled (8:56)
06 - Tangerine Dream - Phaedra (Excerpt) (6:12)
07 - Kim Cascone - Acoustic Polytopes For BlurBuilding (5:32)
08 - Michael Wells presents S.O.L.O. - Software (7:18)
09 - Chris Meloche - Loop 6 (Excerpt) (10:01)

VA - X-Rated, The Electronic Files 2 (02 ^ 150mb)

Robin Rimbaud alias Scanner offers an exclusive opener, to CD 2 , close to COILs Ambientwork. Anthony Rother with his Projekt PSI Performer shows a much more experimental side with his 11-min '1953' . Klaus Schulze is featured with a excerpt from 'Timewind' (75). Vidna Obmana, the belgian master of silent ambient, surpises with an asian touch Minimaltrack, which Micromusic-Sounds test your eardrums COIL's Mini-CD-Album 'The Remote Viewer' excerpt os a atmospheric and hypnotic which brings tour guests Cliff Stapleton and Mikek York in the picture. Atom Heart's (Uwe Schmidt) shows his experimental side in this Live At Sel i/s/c . Holger Czukay, with Can, was with his1968 (!)-Album 'Canaxis' way ahead and shows us here with the slightly edited 'Boat Woman Song', Pete Namlook aka Peter Kuhlmann has rbeen releasing an enormous amount of work this lat decade . 'Autumn' from the 'Seasons Greetings' Album (94) may not be the high light of his work but it fits in here rather well.. Last artist here is the Ex-Industrial-Collective Bourbonese Qualk, they dropped the hardcorenoise Laptopsound and surprise here with ambient pop "extra soft condition"



01 - Scanner - Spyder (6:32)
02 - Psi Performer - 1953 (11:33)
03 - Klaus Schulze - Bayreuth Return (Excerpt) (10:23)
04 - vidnaObmana - Controversial Space (6:44)
05 - Coil - Remote Viewing 1 (Excerpt) (12:02)
06 - Atom Heart - Live At Sel i/s/c 1 (Excerpt) (5:04)
07 - Holger Czukay - Boat Woman Song (Excerpt) (7:44)
08 - Pete Namlook - Autumn (Excerpt) (10:03)
09 - Bourbonese Qualk - Temporale (3:36)

X-Rated podcasts for download

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Rhotation (04)

Saturdays, Into the BPM

Hello, time for some drum n bass today. First time i heard this music in the early nineties i was struck by the raw energy of it, this was not the DnB as we know it today but the ragga-jungle, mad beats that enabled one to dance like david byrne on speed, it certainly did away with the rhythmically limited dancers on the floor, personnally i found it all rather extatic. Unfortunately this hi-energy came quickly associated with an aggresive atmosphere. Add to that lot's of d.i.y and mutual ripping off and the scene quickly lost the limelight though it's still there, if anything it bore Drum n Bass.

The sounds of drum and bass are extremely varied - and to a person unfamiliar to them, there may seem to be little connection between the subgenres. DnB places great importance on the "bass line", a deep sub-bass musical pattern which is felt physically as much as it is heard. There has also been considerable exploration of different timbres in the bass line region. The complex syncopation of the drum tracks breakbeat, is another facet of DnB production. It's usually between 160-180 BPM, in contrast to other forms of breakbeat such as nu skool breaks which maintain a slower pace at around 130-140 BPM. The speed of drum and bass is not however only characterised by that of the broken beat. Drum and bass has a bassline, which will typically play at half the speed of the drums, bringing its speed down to that of, for instance, a laid back hip-hop track. A listener or dancer can concentrate on this element rather than the faster drums.

It should be noted that the speed of music is subjective. An aggressively produced track with a complicated beat and synthesizer sounds may 'sound faster' than one with a sampled double bass bassline, guitar riffs and simpler beat, however the second track may be in strict BPM terms faster. This is why when i listened to Goldie's Timeless it always amazed me how quickly those 21min passed, it felt like 10 at most. Meanwhile there are many derivative genres; Darkstep, Drumfunk , Electro/Trancestep , Futurestep , Hardstep, Jazzstep , Jump-Up, Liquid funk, Neurofunk , SamBass , Techstep and Atmospheric/Ambient to name some.


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LTJ Bukem - Logical Progression (95 * 534mb)

Born in London in 1967, Danny Williamson was adopted and raised by strict Baptist parents, earning his nickname from the TV series Hawaii Five-O ("book 'em, Danno"). He took trumpet lessons as a child, played piano and drums as well in various school bands and began listening to a wide range of music, including jazz, fusion and soul and fusion plus hip-hop and electro. After being expelled from school at the age of 16, Bukem made the natural move to DJ status later in the '80s; inspired by rare-groove DJs like Tim Westwood and Gilles Peterson, Bukem and several friends set up the Sunshine sound system and played out the latest hip-hop and electro tracks at DJ battles around his Luton base.

When the acid-house explosion hit Britain near the turn of the decade, Bukem gradually stopped going to sound-system battles and began attending the ever-growing raves dotting England's countryside. He began mixing at them as well, and produced his first track "Logical Progression" in 1990. Bukem soon grew frustrated with a lack of control for his own recordings, however, and in 1991 decided to form his own label, Good Looking Records. Bukem's production style was a continuing anachronism on the rave/breakbeat scene; early Good Looking tracks like "Demons Theme," "Atlantis" and "Music" provided a soulful, melodic alternative to the prevailing hardcore tracks then in vogue.

Arguably the prime innovator in the development of jungle from its early status as an offshoot of hardcore techno into the respected, stylistic genre it became by the end of the 1990s, L.T.J Bukem gained fame as an auteur in all fields of the DnB movement: as a top-flight breakbeat DJ, owner and label-head of the Good Looking/Looking Good stable of labels and, of course, for his recordings -- inspired by the lush strings and natural ambience of ' 70s jazz-fusion masters, Chicago house and moody Detroit techno. Allied with the early-'90s rave and hardcore scene, Bukem began working on production near the end of the 1980s; though his light, airy sound made little sense to his contemporaries, Bukem's style was emulated much more as the jungle scene gained momentum during the mid-'90s. While such producers as Roni Size and Goldie gained the limelight for their solo work, Bukem purposely downplayed his own artistic career in favor of mix albums and label-spanning retrospectives which highlighted dozens of artists from his labels.

By 1994, L.T.J Bukem had formed his second label (Looking Good Records) and begun the formation of an artist collective -- Peshay, Aquarius (aka Photek), PFM, ILS & Solo, Blame, Nookie, Seba & Lo-Tec, Tayla, Funky Technicians -- similarly inclined towards melodicism and epic expanses of sound. In October of that same year, he began the club-night Speed at the Mars Bar in order to spread the Good Looking/Looking Good approach to sound. With Bukem and jungle pioneer Fabio spinning breakbeat records while MC Conrad added verbal gymnastics over the top, it soon became one of the most popular clubs in London.

The jungle phenomenon had begun to bubble up as a commercial force in 1994, and the appearance of Goldie's Timeless one year later signaled the dawn of widespread critical respect for DnB. Bukem debuted in true label-head fashion, releasing the Good Looking/Looking Good compilation Logical Progression instead of a proper solo album. Bukem did contribute several productions (and mixed tracks for the second disc of the set), but the album definitely portrayed an artist committed to the jungle community more than his own career.



01 - LTJ Bukem - Demon's Theme (8:00)
02 - Chameleon - Links (9:37)
03 - LTJ Bukem - Music (8:40)
04 - PFM - One & Only (9:20)
05 - Aquarius & Tayla - Bringing Me Down (6:45)
06 - PFM - Danny's Song (8:00)
07 - Peshay - Vocal Tune (9:20)
08 - LTJ Bukem - Coolin' Out (6:54)
09 - PFM - Western (Conrad Remix) (6:06)
10 - LTJ Bukem - Horizons (6:56)

LTJ Bukem - Logical Progression mixed (95 * 432mb)

01 - Funky Technicians - Airtight (Remix) (8:13)
02 - Forme - New Element (4:35)
03 - Frank De Wulf - Drums In A Grip (Wax Doctor Remix) (4:46)
04 - Axis - Solution (4:58)
05 - JMJ & Flytronix - In Too Deep (6:07)
06 - Seba & Lotek - So Long (9:10)
07 - Photek - Rings Around Saturn (5:44)
08 - DJ Trace - Miles High (4:58)
09 - Universal - Groove Therapy (6:02)
10 - DJ Crystl - Mind Games (10:07)

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Various - Earth Volume 1 (96 * 479mb)

After a subsequent DJ tour of America (his first), Bukem showcased a new direction in late 1996 with Earth, Vol. 1. Another compilation (this time spanning his catch-all subsidiary Earth Records), it concentrated on midtempo tracks inspired by hip-hop, soul jazz and funk -- again featuring very few tracks actually by Bukem. The sequel to Logical Progression continued the same share-the-wealth strategy -- it was helmed and mixed by Good Looking right-hand man Blame. Besides inaugurating yet another mix-album series (Progression Sessions) in 1998, Bukem released several additional volumes in both the Logical Progression and Earth series. Journey Inwards, his first full-fledged solo album, followed in the spring of 2000. Producer 01 was issued a year later. Good Looking's release schedule didn't wane and Bukem remaines as active as ever.



01 - Poets Of Thought - The Rhyme Goes On (5:50)
02 - Appaloosa - Travelling (6:25)
03 - Subject 13 - Faith (6:59)
04 - Funky Technicians & PHD - Above & Beyond (8:16)
05 - Poets Of Thought - Samba With J.C (5:50)
06 - Blame - Revival (7:23)
07 - Pablo - Do What You Gotta Do (9:16)
08 - Poets Of Thought - Jamming The Session (4:05)
09 - LTJ Bukem - Moodswings (9:25)
10 - Doc Scott - Tokyo Dawn (7:39)

Bukem @ GoodLooking Base

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Into the Groove (03)

Hello, a taste of early eighties electro-funk today, they paved the way, but failed to traverse it, as all by the mideighties had been eclipped, by rap and hiphop artists that used and extended the techniques to their own ends, and in their turn build the foundation upon which current day rap and hip hop acts voice the glory of materialism and cash in. Yo bum show the gold.

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Man Parrish - Man Parrish (82 ^ 92mb)

Although he produced only a handful of tracks of renown and disappeared into obscurity almost as quickly as he had emerged from it, Manny Parrish is nonetheless one of the most important and influential figures in American electronic dance music. Helping to lay the foundation of electro, hip-hop, freestyle, and techno, as well as the dozens of subgenres to splinter off from those, Parrish introduced the aesthetic of European electronic pop to the American club scene by combining the plugged-in disco-funk of Giorgio Moroder and the man-machine music of Kraftwerk with the beefed-up rhythms and cut'n'mix approach of nascent hip-hop. As a result, tracks like "Hip-Hop Be Bop (Don't Stop)" and "Boogie Down Bronx" were period-defining works that provided the basic genetic material for everyone and they remain undisputed classics of early hip-hop and electro to this day.

Influenced by the electronic experiments of Klaus Nomi and Brian Eno as well as by Kraftwerk, Parrish together with Raúl Rodríguez recorded their best-known work in a tiny studio sometimes shared with Arthur Baker, whose own sessions with John Robie produced a number of classics equal to Parrish's own.Following a period of burn-out, Parrish recorded and remixed tracks for Michael Jackson, Boy George, Gloria Gaynor, and Hi-NRG group Man 2 Man, among others, and served as road manager for the Village People. While Parrish's subsequent material achieved nowhere near the success or creative pitch of his earlier work, he continued to record from his Brooklyn studio and has been a frequent DJ at New York S&M clubs. His second LP, Dreamtime, appeared on Strictly Rhythm in 1997.



01 - Hip Hop, Be Bop (Don't Stop) (5:25)
02 - In the Beginning (0:59)
03 - Man Made (4:54)
04 - Together Again (3:34)
05 - Hip Hop, Be Bop (Part 2) (3:05)
06 - Six Simple Synthesizers (5:32)
07 - Techno Trax (4:12)
08 - Street Clap (2:08)
09 - Heatstroke (5:25)

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Planet Patrol -I (83 ^ 99mb)

Planet Patrol is an Electro group from the 1980s. The members were Arthur Baker (musician), John Robie (musician), quintet of vocalists led by Herbert J. Jackson, and lead singer Joesph Lites, Rodney Butler, Michael Anthony Jones, the Late Melvin B. Franklin.
Produced and organized by early hip-hop impresarios Arthur Baker and John Robie, Planet Patrol walked an intriguing line between electro and the classic Motown sound. The quintet of vocalists (led by Herb Jackson) only produced one album, but it is one of the few classic LPs of the electro era. This early-'80s collection of Arthur Baker's groundbreaking electro-pop productions has some Electro-funk at its best.



01 - Cheap Thrills (6:41)
02 - Danger Zone (7:32)
03 - I Didn't Know I Loved You (Till I Saw You Rock And Roll) (7:07)
04 - Play At Your Own Risk (Remix) (9:16)
05 - It Wouldn't Have Made Any Difference (4:53)
06 - Don't Tell Me (7:03)

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Jonzun Crew - Lost In Space (83 ^ 92mb)

Jonzun Crew was an electro group who carried their spin on Parliament/Funkadelic's loopy sci-fi themes throughout the '80s and early '90s for a handful of albums, which included singles like "Pack Jam (Look Out for the OVC)," "Space Is the Place," "Space Cowboy," and "We Are the Jonzun Crew." Florida-born brothers Michael, Soni, and Larry Johnson (better known as Maurice Starr) formed Jonzun Crew in Boston in 1981, with Gordy Worthy and Steve Thorpe filling out the lineup for different stretches of the group's existence. Starr and Michael would gain further notoriety for helping to bring New Edition and New Kids on the Block to the world; Michael (who continued using Jonzun as his last name) also went solo for a brief period on A&M, in addition to working on several other artists' releases.



01 - We Are The Jonzun Crew (6:21)
02 - Space Is The Place (6:27)
03 - Electro Boogie Encounter (6:37)
04 - Ground Control (5:39)
05 - Space Cowboy (5:29)
06 - Pack Jam (5:04)

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Alphabet Soup, C

Hello, Halloween, Samhain nothing of that kind here today.I have to say after weeks of re-uploading i had some withdrawel symptons today...not . Let's C choosing this way is much quicker, the only criterium is that it would come up in one of the other formats. Cinematic Orchestra is a good example in it's genre-defying quality. Their Ninja label 'bosses' Coldcut are my next offering, this cd had a bonus multimedia added on with games and software, the album itself isnt as quick and dirty as some of their mixing Not so dead Kennedy Jello Biafra lending his voice to some of the tracks.. Finally, The Chills tried many line-ups but never broke thru maybe their warm sound didnt really connect with their name.

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The Cinematic Orchestra - Every Day (02 ^ 338mb)

The Cinematic Orchestra is led by composer/programmer/multi-instrumentalist Jason Swinscoe, who formed his first group, Crabladder, in 1990 as an art student at Cardiff College. Crabladder's fusion of jazz and hardcore punk elements with experimental rhythms inspired Swinscoe to further explore the possibilities of sampling, and by the time of the group's demise in the mid-'90s, he was DJing at various clubs and pirate radio stations in the U.K. The music he recorded on his own at the time melded '60s and '70s jazz, orchestral soundtracks, rhythm loops, and live instrumentation into genre-defying compositions. The Cinematic Orchestra built on this musical blueprint, letting a group of live musicians improvise over sampled percussion or basslines. The Orchestra included saxophonist/pianist Tom Chant, bassist Phil France, and drummer Daniel Howard, who also recorded the Channel One Suite and Diabolus EPs for Ninja Tune with Swinscoe. The project's full-length debut, Motion, arrived in 1999 to great acclaim. After the collection Remixes 1998-2000, their second album, Every Day, followed in 2002, with vocal features for Fontella Bass and Roots Manuva. Man with a Movie Camera, a 2003 release on CD and DVD, offered a 1999 film score Cinematic Orchestra had provided for the reairing of a 1929 Soviet documentary, while four years later Ma Fleur was released.

With Every Day, Cinematic Orchestra move beyond the electro-jazz fusion of their debut to make a record more natural, more paced, and, surprisingly, better than the justly hyped Motion. J Swinscoe is more the arranger/conductor here than the producer, but of course, there's little need for samples or effects with such an accomplished band sharing the burden. Every Day is a textured, acoustic work, the sounds and styles heard may not be revolutionary, but instead of simply pushing stylistic boundaries, Cinematic Orchestra display a real gift in making emotional, artistic music.



01 - All That You Give (Voc. Fontella Bass) (6:40)
02 - Burn Out (9:30)
03 - Flite (6:30)
04 - Evolution (Voc. Fontella Bass) (6:30)
05 - Man With The Movie Camera (9:15)
06 - All Things To All Men (Voc. Roots Manuva) (11:10)
07 - Everyday (10:00)

Cinematic Orchestra @ Base

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Coldcut - Let Us Play (96 * 432mb)

DJs Jonathan More and Matt Black, aka Coldcut, rose to acclaim in the mid-'80s through the remix production Eric B. & Rakim's Paid in Full followed up by remix work for a number of modern rock, hip-hop, and dance outfits, including Yaz, Lisa Stansfield, Junior Reid, Blondie, and Queen Latifah. While that connection has pegged them as a product of the U.K. acid house and rave scenes, the pair's larger commitment has been to urban breakbeat styles such as hip-hop, ambient dub, and jungle; the three of which have constituted the bulk of their recorded output since their first mid-'80s white-label EP, Hey Kids, What Time Is It? More and Black have assembled an empire of U.K. breakbeat and experimental hip-hop through their Ninja Tune/Ntone labels and been a unifying force in underground experimental electronic music through their eclectic radio show, Solid Steel, and club and tour dates.

Although Coldcut was their earliest nom de plume, following a befuddled contract with Arista, the name remained in legal channels for the following few years. The intervening period found the pair no less active, releasing a flood of material under different names( Hedfunk, Hex, DJ Food ) aswell as continuing to work with young groups. The Coldcut name returned to More and Black in 1995, and the pair celebrated with a mix CD as part of the Journeys by DJ series dubbed 70 Minutes of Madness. The release was credited with bringing to wider attention the sort of freestyle mixing the pair were always known for through their radio show on KISS FM, Solid Steel, and their steady club dates, a style that has since taken off through clubs like Blech and the Heavenly Sunday Social. In 1996, Coldcut finally released another full-length, Let Us Play! Two years later, the pair followed up with the remix album Let Us Replay! Numerous mix CDs appeared before they returned in 2006 with the new album Sound Mirrors.



01 - Return To Margin (8:32)
02 - Atomic Moog 2000 (Post Nuclear Afterlife Lounge Mix) (7:06)
03 - More Beats + Pieces (Daddy Rips It Up Mix) (6:08)
04 - Rubaiyat (6:42)
05 - Pan Opticon (6:59)
06 - Music 4 No Musicians (7:02)
07 - Noah's Toilet (4:33)
08 - Space Journey (4:20)
09 - Timber (4:32)
10 - Every Home A Prison (Ft Jello Biafra) (7:03)
11 - Cloned Again (4:40)
12 - I'm Wild About That Thing (The Lost Sex Tapes: Position 1) (7:24)

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The Chills - Submarine Bells ( 90   219mb)

The Chills were one of New Zealand's best and most popular bands of the '80s, making a small but consistent series of chiming, hook-laden guitar pop, interweaving guitar hooks and vocal harmonies, creating a pretty, almost lush sound without becoming sentimental. Throughout their existence, the band's personnel changed frequently -- there were more than ten different lineups -- with the only constant member being guitarist Martin Phillipps, the band's founder.

In 1982, the Chills signed with Flying Nun, the influential New Zealand independent record label, and released several singles that were never widely distributed in America and Europe. During this time, the group went through an enormous amount of members. Released on the U.K. record label Creation, the group's first album, Kaleidoscope World (1986), was a collection of their early singles.

With the lineup of Phillipps, bassist Justin Harwood, keyboardist Andrew Todd, and drummer Caroline Easther -- the group's tenth lineup -- the Chills recorded their first proper album, Brave Worlds, in 1987. produced by Mayo Thompson, the band wasn't satisfied with the final result, claiming it was too loose and under-produced. The group, particularly Phillipps, was more satisfied with their second full-length album, 1990's Submarine Bells, was recorded with yet another version of the band, with Jimmy Stephenson replacing Easther, who was suffering from tinnitus. The album was well received by critics and college radio, yet it failed to break the band into the mainstream in either America or Britain. Two years later, they released Soft Bomb, which suffered the same fate as Submarine Bells. The following year, Martin Phillipps broke up the Chills again, the group reconvened in 1996 to release Sunburnt.



01 - Heavenly Pop Hit (3:27)
02 - Tied Up In Chain (3:15)
03 - The Oncoming Day (3:06)
04 - Part Past Part Fiction (2:55)
05 - Singing In My Sleep (2:39)
06 - I SOAR (3:04)
07 - Dead Web (2:15)
08 - Familiarity Breeds Contempt (3:20)
09 - Don't Be - Memory (4:45)
10 - Effloresce And Deliquesce (2:45)
11 - Sweet Times (0:40)
12 - Submarine Bells (3:41)

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