Eight-X (46)

Hello, Eight-X again somehow i always note yet another week here. Ok vinyl rules today and for starters Killing Joke, their debut album made a big impact..though sales at the time were moderate, a real rollercoaster career was to follow, one that tonight has them on stage in a worldtour...Allez Allez on the other hand didnt last too long on account of their producers Heaven 17 's collegue marrying their singer and that was basicly that for them. Still specially the preceding minialbum here was Belgiums answer to Pig Bag....C Cat Trance come forth from Medium Medium and turned out to become another trendsetting and intense band that never really got past the incrowds eye..they should have.

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Killing Joke - Killing Joke (80 ^ 88mb)

Paul Ferguson was drumming for the Matt Stagger Band when he met Jaz Coleman (vocals, keyboards) in the late '70s. Coleman joined the band briefly, but soon he and Ferguson split to form Killing Joke in late 1978. The duo recruited bassist Youth (born Martin Glover Youth), who had previously played with the punk group the Rage, and guitarist Geordie (born Kevin Walker) to complete the Killing Joke's lineup.

They recorded their debut EP, Almost Red, with money borrowed from Coleman's girlfriend of the time. John Peel was impressed by the EP and offered the group a session on his show. In late 1979, they began the Malicious Damage record label with graphic artist Mike Coles as a way to press and sell their music, Island Records distributed the records, until Malicious Damage switched to E.G. Records in 1980. The songs on Killing Joke's early singles were primitive punk rock sometimes mixed with electronic ("Nervous System") and ("Turn to Red"). They quickly progressed this sound into something denser, more aggressive, and more akin to heavy metal, as heard on their first two albums, Killing Joke (1980) and the more abrasive What's THIS For...! (1981) The group began playing shows regularly throughout England and gained a reputation for being controversial. Their artwork often featured repulsive or inflammatory images, and after one of their concert posters pictured the Pope blessing legions of Nazis, the group was banned from performing a concert in Glasgow. Despite the controversy, the group began amassing a following of both punk and disco fans with hard-edged but danceable singles like "Psyche" and "Follow the Leader." The band released its second album, What's THIS For...!, in 1981.

After recording and releasing the group's third album, 1982's Revelations, Jaz Coleman -- who had developed an obsession with the occult -- decided that the apocalypse was near, so he left the group and ran away to Iceland with Geordie. Youth followed Coleman to Iceland shortly after his departure. After a few months with no sign of the end of the world, Youth returned to England and formed Brilliant with Ferguson. However, Ferguson left shortly after the group's formation and moved to Iceland with Killing Joke's new bassist, Paul Raven. Killing Joke's new lineup -- featuring Coleman, Geordie, Ferguson, and Raven -- worked in Iceland for a brief period. Soon, the group returned to England and recorded Fire Dances, which was released in 1983. It demonstrated a calmer, more straightforward band than the one showcased on the group's earlier records.

Killing Joke had developed a variation of new wave on their fifth album, Night Time (1985). They achieved mainstream success with the single "Love Like Blood", which peaked at #16 in the UK. The album itself reached #11 in the UK The music on Killing Joke's sixth album, Brighter than a Thousand Suns (1986), was mostly similar in sound and mood to "Love like Blood". While no less aggressive and heavy than their older work, Brighter than a Thousand Suns diverged musically in ways that lead to controversy among the public. In 1987, Coleman began plans for a solo record of unusual music, and he made demos of his songs, on which he performed with Geordie's assistance. The project ran way over budget and so, despite Coleman's objections, the record company decided that the music would be released under the name "Killing Joke" in order to best recoup the costs. The resulting album, Outside the Gate (1988), is Killing Joke's most controversial album, with opinion ranging from admiration to total disgust, owing to its synth-led sonics (experimentally, and disagreement over the quality of the material. It is not signature-sound Killing Joke, being built around Coleman's orchestral keyboards instead of Geordie's distinctive guitar riffs.

With Martin Atkins (drums ex PIL) and Paul Raven aboard Coleman/Geordie recorded Killing Joke's eighth album, the ferocious Extremities, Dirt & Various Repressed Emotions, released on the German Noise International label in 1990. It included some of the heaviest, noisiest and harshest music ever to appear on a Killing Joke record, although the progressive musical spirit of the previous two albums remained as well. Once again, the band toured Europe and North America, but by the middle of 1991 this promising new line up had imploded. Coleman emigrated to New Zealand to live on a remote Pacific island, and it looked as though Killing Joke was over for good.

3 years later...The reactivated Killing Joke released two strong and well-received albums on Youth's Butterfly Recordings label, Pandemonium and Democracy, which saw the band shift back to the simpler arrangements of their early albums. Pandemonium (1994) wove a metallesque ritualistic sound with mosh beats and loops After the Democracy tour, the band went on an extended hiatus. Coleman became Composer-in-Residence for New Zealand and Czech symphony orchestras. He starred in a czechfilm Rok ďábla (Year of the Devil). Coleman, Geordie and Youth reformed Killing Joke in 2002, and recorded their second self-titled album with producer Andy Gill, released to much acclaim in 2003 . Opting for simplicity and raw energy, the band recorded the new album in its basement rehearsal studio, going for live takes with the minimum of overdubs. The result was Hosannas from the Basements of Hell, released in April 2006 on Cooking Vinyl.

In October 2006, it was announced that Coleman had been chosen as Composer in Residence for the European Union. As Composer in Residence he will be commissioned to write music for special occasions. On October 20th 2007, Paul Raven died of heart failure prior to a recording session in Geneva, Switzerland. Killing Joke have announced a world tour commencing in September 2008. The band will be reuniting with their original lineup and they will be playing two nights per venue. The first night they will play their first two albums 'Killing Joke' and 'What's THIS For...!' in their entirety. The second night will feature the whole of 'Pandemonium' plus their early singles released on Island records. The tour will begin on September 11 in Tokyo and conclude in Chicago on October 14

At the time the cold metallic throb of Killing Joke was exciting and fresh. The harshly sung vocals riding over the pulsating synth lines of the opener "Requiem" have a vigor and passion that few imitators have managed to match. The precise riffs and tight rhythms found in songs like "Wardance" would influence a generation of hardcore musicians That such a bleak and furious album could have such a widespread influence is a testament to its importance, and becoming an underground classic



01 - Requiem (3:46)
02 - Wardance (3:48)
03 - Tomorrow's World (5:30)
04 - Bloodsport (4:46)

05 - The Wait (3:42)
06 - Complications (3:07)
07 - S.O.36 (6:51)
08 - Primitive (3:32)


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Allez Allez - African Queen (81 ^ 58mb)

Allez Allez is the funky follow-up of the Brussels-based collective Marine. The more experimental part of Marine also continued to make music, under the flag of the wild and wonderful La Muerte (see La Muerte). Although Allez Allez (which means "well, well" or, with a different intonation "Go! Go!") was very successful, it - unfortunately - lasted only a few years. Only from 1982 to 1983 in fact. The trademark of Allez Allez were highly danceable and catchy rhythms, African influences and high quality singing. Together, this formed a powerful and funky mixture. Their motto was "wrap your legs around your head".

The group was headed by the American singer Sarah Osbourne, who came to Belgium with her group Repetition that was signed by the Belgian record label "Les Disques du Crépuscule", where Marine also had their contract. In the slipstream of the successful debut-single "She's stirring up", the mini-album "African Queen" arouses a lot of interest and becomes a gold record. It even earns them a place at the famous Torhout-Werchter festival that year. The song "African Queen (pour la grâce)" is a tribute to Grace Jones.


In November they record a full album in the Garden-studio of John Foxx in a production of Heaven17-mastermind Martin Ware. This time it's a more refined funk-album with some soul-influences. The road for an international breakthrough seemed open, but then singer Sarah Osbourne left the groups and married the singer of Heaven 17, Glenn Gregory (they divorced three years later). A replacement was found in the Afro-American Jackie Irwin of New York. She never managed to truly replace the sensual and flexible Sarah. The 12 '' "Boom boom" flopped, although it was produced by the discoverer of Madonna, Mark Kamins. That sealed the fate, no more Allez Allez



01 - Turn Up The Meter (4:45)
02 - Marathon Dance (3:09)
03 - She's Stirring Up (3:35)

04 - Allez Allez (5:32)
05 - African Queen (Pour La Grace) (7:16)

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C Cat Trance - Zouave (86 ^ 86mb)

In the mid eighties, after the release of anthem 'Hungry, So Angry' and album 'The Glitterhouse', Rees Lewis, the distinctive element (voice and sax) of currently obscure but hip funksters Medium Medium, left and with drummer Nigel Stone started C-Cat Trance to extend the avant dance forms of Medium Medium in a more art-pop-world direction, diminishing guitar noise, using anxious synth layers, dark pop atmospheres, traditional instruments, middle eastern influences. They were ahead of their time & albums like Khamu(1985) & Zouve(1986) presage the ethno/dance/electronic styles that was to dominate the music planet late 80`s & beyond. C Cat Trance songs express a nocturnal evocation, an anxiety proceeding from the different, the unexplored.

C-Cat Trance produced world and dance sounds ahead of their time and, with a floating membership varying between two and eight, they played infrequent gigs, beginning at Pandora's Musicbox in Rotterdam in September 1984, and more often in Europe (Germany, Switzerland, Austria, Belgium, Holland) than the UK. They released a series of records through the late eighties, and received consistent acclaim. Lewis' sax playing was described in the press as "lung emptying sax", "striking sax", "sax breaks that wail like a maitresse in nipple clamps", "and many more creative descrptions. In 2005 Cherry red released a compilation on CD, Karadara.



01 - Wind Howl (3:39)
02 - Betty (2:59)
03 - He's Crazy (4:25)
04 - Taksim (4:53)
05 - Ishta Bil Habul (4:04)

06 - If You Steal (3:43)
07 - Take Me To The Beach (3:48)
08 - You've Lost That Loving Feeling (4:07)
09 - Shake The Mind (5:26)

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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 (46)

Hello, Around the Worldmusics climbed 5000 ft but stays on the desert bandwidth, and that means we're in Ethiopia, a country steeped in religion, the ten commandments (supposedly) are guarded there. Well since the militairy dictatorship that has run the country have faded, musicians are once again alowed to do their thing and inspired by this Abyssinia Infinite bridges the 20 year gap by bringing the old Ethiopian musicculture into the 21st century with this album..

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Abyssinia Infinite - Zion Roots (03 ^ 99mb)

The overthrow of Ethiopia's Emperor Haile Selassie in a “creeping coup” organized by his own military began two decades of chaotic rule. Under the Derg regime, a curfew was imposed which drove live musicians to prison and unemployment. This album brings back live instrumentation and experimentation to Ethiopian music. This album with acoustic instruments and traditional songs is a return to a classic sound—it picks up right where music left off in the mid-’60s through mid-’70s.

“Ethiopians believe that when Zion is mentioned in the bible they are speaking about Ethiopia,” Gigi explains. With that in mind, the album, Zion Roots, is exactly what the name implies: music rooted deep in Ethiopian culture. On this latest concept project, Gigi was able to realize her longstanding dream of melding elements of East and West African elements into the music of her home country. "This traditional project is something that I wanted to do to keep in touch with the music of Ehtiopia. This does not represent me as a solo artist but more me introducing Ethiopian traditional music in different settings, as a concept project.

Abyssinia Infinite chose the songs for this album to convey a traditional spirit. Though quite sparsely furnished, this music is deep and powerful - a state-of-the-art marriage of ancient (handclaps, flute, harp) and modern technology that aims to transcend both. They use traditional instruments such as the kirar—which is referred to as King David’s harp in the Bible and is perhaps one of the oldest surviving East African instruments—and the washint—a simple bamboo flute. The band is composed of prominent players in the world music community including the magical Senegalese percussionist Aiyb Dieng, the virtuoso tabla-player Karsh Kale, the guitarist/accordionist Tony Cedras (known for his work on Paul Simon's Graceland project), the Ethiopian saxophonist Moges Habte, and world music producer/musician Bill Laswell, with a rare performance on acoustic guitar.



01 - Bati Bati (3:45)
02 - Gela (6:08)
03 - Alesema (7:26)
04 - Monew Natana (5:12)
05 - Embe Ashafergne (4:27)
06 - Gole (6:03)
07 - Aba Alem Lemenea (4:15)
08 - Gedawo (4:42)
09 - Lebaye (4:47)
10 - Ethiopia (6:15)

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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 !

Canadia 2056 (05)

Hello, still busy updating..next post coming up later but first.. the saga continues and i hope the number of fans will increase as the story unfolds more hilarious reasonings ..the coming 27 minutes

In the year 2056 the US has declared war on the Ipampilashians and has sent the American armada to destroy their planet. Canada has sent its only ship, The Canadia, in support of the American mission but the Canadia is not a warship. It's a maintenance ship (they change light bulbs and plunge toilets). Max Anderson is the first American ever to be stationed on the Canadia. He was put there by the American admiral (his mother) to toughen him up but keep him out of any real danger. The only thing that Max and the crew of the Canadia agree on is that no one wants him there

Episode 5:

The Captain and Anderson are away from the ship when disaster strikes. There is a fluctuation in the engine core that threatens to destroy the ship. The crew has to resort to alternative methods of travel aboard the ship.

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Canadia 2056 - 05( 21mb)

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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 (46)

Hello, time for another Sundazer and two new names to my posted list..First Talk Talk, hugely succesfull in the mideighties with great wave-pop , they went evermore off the beaten track until they became trendsetters , which btw was only established way after the fact and when the band had folded years before, ironically they named their last album Laughing Stock and even if it wasnt that bad they did feel misunderstood, and abused by their old recordcompany EMI, but as they say "he who laughs last laughs best and their last albums have risenconsiderably in stature this last decade.... Now i did post Jóhann Jóhannsson before on my Icelandic stopover during the Eurotrip, it got plenty of interest and Englaborn is still live after last years big re-up ...his second album is kept in even higher regard by some well you can be the judge of that yourself if you want...finally Susumu Yokota & Rothko, latter btw has shown up here before (Rhotation 2) and as i was struck by the opt title as the summer is moving out and like the others has a classical ambient , it finalises todays offering...

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Talk Talk - Laughing Stock (flac   211mb)

Talk Talk began as a quartet consisting of Mark Hollis (vocals), Simon Brenner (keyboards), Lee Harris (drums) and Paul Webb (bass). Hollis was the brother of Ed Hollis, manager of Eddie and the Hot Rods, and had started out in a punk band called The Reaction. They were generally associated with the New Wave movement; more specifically, in their early years, they were often compared with Duran Duran, as both bands not only featured a double-barrelled name and a Roxy Music-inspired musical direction, but also a record label (EMI) and producer (Colin Thurston). Talk Talk's first line-up released a self-titled debut EP in 1982 which was quickly expanded into a full-length album entitled The Party's Over. The band charted in the UK Top 40 with the singles "Talk Talk" and "Today", both produced by Thurston.

Brenner left after the 1983 non-LP single "My Foolish Friend", which was produced by frequent Roxy Music collaborator Rhett Davies. At this point, the band added unofficial fourth member Tim Friese-Greene, who became Talk Talk's keyboard player, producer, and Hollis' frequent writing partner. Although a major contributor to the band's studio output, Friese-Greene did not generally play with the band during live shows or appear in publicity material. Talk Talk stopped playing live in 1986.

Talk Talk had a huge success in 1984/85 internationally (and particularly in continental Europe) with the album It's My Life, the single "Such a Shame" became a major hit . Strangely, this album and its singles were largely ignored in their native UK
They shed the New Wave style completely with The Colour of Spring in 1986. This became their biggest studio album success in the UK, partly thanks to the Top 20 single "Life's What You Make It", and was again a hit album in Europe.By this time, all Talk Talk songs were being written by Hollis and Friese-Greene.

The success of The Colour of Spring got the band an open budget and schedule for the recording of their next album. Spirit of Eden was released in 1988, on EMI's Parlophone label., it was assembled from many hours of improvised instrumentation that Hollis and Friese-Greene had edited and arranged using digital equipment. The result was a mix of rock, jazz, classical, and ambient music. While critically praised, the album was not as commercially viable as its predecessors, and the band declared they would not tour in support of it.

Talk Talk released Laughing Stock in 1991, by this time, Webb had left the group and Talk Talk had morphed into a brand name for the studio recordings of Hollis and Friese-Greene, along with a bevy of session studio players. Laughing Stock crystallised the experimental sound the band started with Spirit of Eden (which has been retroactively categorised as "post-rock" by some critics). Laughing Stock adopted an even more minimalist style than its predecessor, but this did not stop it achieving a respectable Top 30 showing in the UK Albums Chart. Like Spirit of Eden, the lyrical themes are often religious, and album is widely considered (along with Spirit of Eden) as one of the first records to be classed - retroactively - as within the post-rock genre. Laughing Stock has consistently risen in critical opinion as a result of post-rock's rise to relative popularity during the late 90s. After Laughing Stock, Talk Talk disbanded. Paul Webb rejoined Lee Harris, and the two went on to form the band .O.rang, while Tim Friese-Greene started recording under the name Heligoland. In 1998, Mark Hollis released his self-titled solo début Mark Hollis, which was very much in keeping with the minimalist post-rock sound of Spirit of Eden and Laughing Stock.



01 - Myrrhman (5:14)
02 - Ascention Man (6:01)
03 - After The Flood (9:28)

04 - Taphead (7:02)
05 - New Grass (9:40)
06 - Runeii (4:58)

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Jóhann Jóhannsson - Virðulegu Forsetar (04 flac 214mb)

Jóhann Jóhannsson (born 1969) is an Icelandic-born musician, composer and producer. He also runs the record label Kitchen Motors in Reykjavík, the art organization/think tank/record label which specializes in instigating collaborations, promoting concerts and exhibitions, performances, chamber operas, producing films, books and radio shows based on the ideals of experimentation, collaboration and the search for new art forms. His stately, slow-building and hauntingly melodic music has been quietly bewitching listeners for the last few years - and IBM 1401, a User´s Manual, his most ambitiously-orchestrated and appealing composition to date, is sure to expand his audience still further.

Johann Johannssons first two solo records Englabörn (2002) and Virthulegu Forsetar (2004) were released by the singular British independent Touch label. Despite limited promotional resources, both found plenty of fans, receiving glowing reviews in music media around the world; Virthulegu Forsetar found its way onto many critics end-of-year lists.The Englabörn album was derived from music that Johann wrote for an Icelandic play of the same name, written for string quartet, piano, organ, glockenspiel and percussion. These elements were processed and manipulated, adding delicate electronic accents to the otherwise entirely acoustic recordings. One song, "Odi et Amo", is a setting of the famous poem by Catullus.

Johannsson’s many other projects include membership of the group Apparat Organ Quartet - hailed by Neil Strauss in the New York Times as being “as innovative and meticulous as Sigur Ros, but who sound nothing like it”. Although Apparat Organ Quartet formed as far back as 1999, they only released their debut album internationally in 2006. Johann has also produced and written music with other artists; he’s worked with Marc Almond (on the Stranger Things album), Barry Adamson, Pan Sonic, The Hafler Trio, Jaki Liebezeit and many others. After the success of IBM 1401, A User’s Manual, Johann’s collaboration with the internationally renowned choreographer and dancer Erna Omarsdottir continued in 2005 with a new piece entitled Mysteries Of Love.

Music for films and theatre figure prominently in Johann’s work. Johann has composed music for no fewer than 5 feature films in his native Iceland. His most recent, for the film Blodbond (2006) by Arni Olafur Asgeirsson, features (like IBM 1401, A User’s Manual) a symphonic score for a 60 piece string orchestra. Johann´s soundtrack album for the film Dis was released in 2005 in the US and in 2006 in Japan.In addition to the feature films, Johann has written music for numerous documentaries, theatre productions and several contemporary dance works.



01 - Part 1 (14:51)
02 - Part 2 (14:14)
03 - Part 3 (14:45)
04 - Part 4 (21:45)

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Susumu Yokota and Rothko - Distant Sounds Of Summer (05 flac 239mb)

Susumu Yokota is a leading Japanese techno composer who began his international career at Berlin's Love Parade in 1993. The German albums Frankfurt - Tokyo Connection (Harthouse, 1993) and Zen ( 1994) were followed by the Japanese album Acid Mount Fuji (1994). He was also active as Ringo, with the album Plantation ( 1995), as Prism, with the albums Metronome Melody (1995) and Fallen Angel ( 1997), as Anima Mundi, with the album Anima Beat ( 1996), and as Stevia, with the album Greenpeace ( 1997). So far Yokota's career had been merely a commercial summary of the trendy dance genres, an activity that continued successfully with the albums 1998 (1998), 1999 (1999), Zero ( 2000), which are repetitive at best.

But Cat Mouse And Me (Harthouse, 1996) was his first experimental album, and it established Yokota as more than a beat generator. The album's intricate grooves, that quoted from acid jazz and hip hop, were elegantly woven in a continuum of sonic bliss. Yokota turned to ambient house on Magic Thread (1998 - Leaf, 2000). Images ( 1999), a collection of old recordings in the ambient/trance vein (Counterfeit Song) was coherent with the new direction. By the time Sakura (2000) was released, Yokota had become a disciple of Brian Eno's impressionistic music (Saku, Gekkoh). Unlike most of his competitors, his foray in this genre is articulate and eclectic thanks mainly to his background in techno (Genshi) and jazz (Naminote).

Continuing in his evolution towards more and more abstract structures, Grinning Cat ( 2001) nods at the minimalism of Terry Riley, Steve Reich and Philip Glass (Lapis Lazuli) and at his old passion, acid-jazz (So Red). The mostly piano-driven tracks employ simple melodies the way a falling feather employs the friction of the air. The Boy And The Tree ( 2002) uses ambient house to create an impressionistic journey which could also be the soundtrack to an anime movie. But Sound Of Sky (2002) is soft melodic muzak pretending to be avantgarde dance music. Symbol ( 2005) is built around samples of classical music:

Distant Sounds Of Summer ( 2005) collects the EP Waters Edge (2002) and new collaborations with bassist/composer Mark Beazley (once of Rothko, by this point he was Rothko) -- with occasional vocal contributions from Caroline Ross of Delicate AWOL, who has also worked with each of the collaborators individually -- Distant Sounds of Summer tends to favor the eclectic, layered, sometimes overly busy sample-based approach of the former's mid-2000s work, but the latter's ever-graceful playing helps create a welcome point of continuity and calmness. Exploring an expansive array of textures and sounds (temple bells, harmonicas, bamboo flutes, droning synths) on top of Beazley's soothing bass tones, without always resorting to Yokota's familiar but somewhat intrusive percussion loops.



01 - Deep In Mist (4:33)
02 - Waters Edge (4:30)
03 - Path Fades Into Forest (5:59)
04 - Lit By Moonlight (5:40)
05 - Brook And Burn (5:12)
06 - Sentiero (5:17)
07 - Clear Space (5:23)
08 - Reflections And Shadows (5:00)
09 - Distant Sounds Of Summer (5:20)
10 - Floating Moon (2:29)


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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 !

Rhotation (46) Into BPM

Hello, it's been a busy week, with almost 1400 unique visits per day, and poor me having to get through all that re-uploading besides posting. Well the show must go on, and so here we are at the start of another Rhotation, and that means going into BPM . Todays post is all about a big favorite of mine, Richie Hawtin, some of you will remember this is not the first time i'm plugging him, i did so months ago here. Three more monikers and titles which show you what he can do, coming up. The range is 12 years, but if anything, he sounds even more essential in 2005 then during his early nineties breakthrough days. A true artist being DJ...

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While original Detroit technocrats like Juan Atkins and Derrick May were changing the face of electronic music in the mid-'80s, Richie Hawtin was growing up across the river in Windsor, Ontario. A British native born in Banbury 1970, he moved to Canada with his family at the age of nine. Introduced to '70s electronic/minimalist pioneers Kraftwerk and Tangerine Dream by his father (who was a robotics engineer for General Motors), Hawtin began DJing at the age of 17 -- as DJ Richie Rich -- and soon landed gigs at Detroit hot-spots like the Shelter and the famed Music Institute, home to all-night club sessions by May and Kevin Saunderson.

Hawtin and +8's co-founder, John Acquaviva, began working together in 1989, originally to make a Derrick May megamix for use on the radio; they later emerged from Acquaviva's studio with several original recordings. The duo issued one single, "Elements of Tone" as the first release on +8 Records (credited to States of Mind), and sat back while many in the techno world puzzled over who was responsible. The label's later releases -- by Kenny Larkin, Jochem Paap (aka Speedy J) and Mark Gage (aka Vapourspace) in addition to various Hawtin/Acquaviva projects -- made the label famous for laboratory-precise techno based on slowly evolving and shifting acid lines. The aggressive sound matched the work of the label/artist collective Underground Resistance as the best techno to come out of Detroit in the early '90s.

His style formed by a fusion of the barest acid house and straitjacket-tight Detroit techno, Richie Hawtin became one of the most influential artists in the world of techno during the 1990s, even while sticking to out-of-date synth dinosaurs like the Roland TB-303 and TR-808. Hawtin combined lean percussion and equally spare acid lines into haunting techno anthems that kicked with more than enough power for the dancefloor while diverting headphone listeners as well. While even his early recordings were quite minimalistic, he streamlined the sound increasingly over the course of his recording career; from the early '90s to the end of the decade, Hawtin's material moved from the verge of the techno mainstream into a yawning abyss of dubbed-out echo-chamber isolationism, often jettisoning any semblance of a bass line or steady beat. Hawtin released material on his own +8 Records under several aliases -- some in tandem with co-founder John Acquaviva -- and made the label one of the best styled in Detroit techno of the 1990s. He earned his pedigrees from worldwide fans of techno for his best-known releases, as Plastikman (for NovaMute) and F.U.S.E. (for Warp/TVT).

The Plastikman project debuted in 1993 with two releases for +8: the seminal "Spastik" single and an album, Sheet One. Hawtin's first wide release, however, came with the alter-ego F.U.S.E. (short for Further Underground Subsonic Experiments). A more varied and melodic project than Plastikman (but not by much), F.U.S.E. released the album Dimension Intrusion for the British Warp Records in late 1993. As part of the label's Artificial Intelligence series, Dimension Intrusion was also licensed to Wax Trax!/TVT for release in America. (Hawtin joined such ambient-techno heroes as the Aphex Twin, Black Dog, Autechre and B12, all receiving their wide-issue debuts.) Later, NovaMute signed an agreement with +8 and another Hawtin-founded label, Probe; Sheet One was reissued in 1994, followed by the second Plastikman LP, Musik. Much more restrained than Sheet One, the album fit in well with the growing ambient-techno movement. All told, Hawtin was responsible for the release of three albums and a good-sized EP in the span of just one year.

That impressive schedule was shattered in 1995, when Hawtin was entangled in a silly U.S.labor law that denied him access with his tools.Refused entrance for more than a year, he lost his inspirational grounding with the Detroit scene and found it difficult to continue recording for his third Plastikman album, Klinik. While he waited for re-entry, Hawtin spent time setting up the sub-label Definitive, and continued to DJ around the world. Though he recorded scattered singles for +8 and related imprints, his only full-length release that year was a killer entry in the Mixmag Live! series, taken from a DJ set recorded at the Building in Windsor. By the time he was able to return to America, he had changed his musical direction and eventually abandoned the Klinik album.

In early 1998, he released his third Plastikman LP, Consumed, which proved to be just as brutally shadowed as the Concept 1 material. The continued experimentalist direction showed Hawtin coming full circle, back to his position on the leading edge of intelligent techno. 99;s , Decks, EFX & 909, defacto the first in what has become his DE9 series, is the next step for Richie Hawtin after his Mixmag live album and the increasing minimalism of Consumed .Hawtin displays not only his talents as a mixer but also as a producer, using turntables, an effects processor, and a Roland pedal, plus a TR-909 drum machine for added beats. In May 2000, Hawtin performed at the first Detroit Electronic Festival alongside Derrick May, Juan Atkins and other techno masterminds. More than 200,000 people attended from all over the world.

He spent part of 2002 and 2003 living in New York City, and has since moved to Berlin, Germany.. Hawtin collaborated with choreographer Enzo Cosimi to create a composition called "9.20" for the 2006 Winter Olympics opening ceremony. In 2007, Slices DVD magazine launched a series of biographies called "Pioneers of Electronic Music", with the first issue being a roughly 60 minute documentary dedicated to the life of Richie Hawtin. The film follows his career from his early days crossing the border to Detroit to his current life in Berlin, interviewing many colleagues and family members.

Hawtin has recorded music under the aliases Plastikman, F.U.S.E, Concept 1, Circuit Breaker, The Hard Brothers, Hard Trax, Jack Master, and UP!. He also recorded and performed, in combination with other artists, under group names such as 0733, Cybersonik, Final Exposure, Spawn and States Of Mind.


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FUSE - Dimension Intrusion ( 93 ^ 434mb)

A Richie Hawtin pseudonym which predated even the more famed Plastikman, F.U.S.E. debuted in 1991 with the fourth single on Hawtin's +8 Records, "Approach & Identify." Given wider issue later that year on the +8 compilation From Our Minds to Yours, F.U.S.E. released several more singles during 1992, then the album Dimension Intrusion in 1993. Released on Warp Records, the album gained Hawtin many converts, especially when it was released in America as well, by TVT Records. While Hawtin increasingly concentrated on his Plastikman project, new F.U.S.E. releases became more and more rare. Dimension Intrusion alternates minimalist stompers with more melodic, contemplative material. The latter made Hawtin a perfect match for the other producers in Warp's Artificial Intelligence series (B12, Black Dog, Polygon Window).



01 - A New Day (3:53)
02 - F.U. (7:45)
03 - Slac (3:17)
04 - Dimension Intrusion (4:04)
05 - Substance Abuse (5:09)
06 - Train-Trac.1 (6:42)
07 - Another Time (Revisited) (6:22)
08 - Theychx (13:27)
09 - UVA (8:07)
10 - Mantrax (8:01)
11 - Nitedrive (3:28)
12 - Into The Space (5:30)
13 - Logikal Nonsense (1:13)

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Plastikman - Musik (94 ^419mb)

For Musik, the second full-length album in the Plastikman series, he powers each track with minimal yet harsh 909 percussion and adds plenty of crazed 303 acid lines, wonderfully re-creating the acid techno motifs of Sheet One. This time, however, Hawtin veers away from the pervading ambience of that album, giving Musik a much livelier feel instead, particularly toward the beginning and end of the album, where the tempos reach dancefloor intensity. While the opening 20 minutes had been lively and energetic, the closing 20 minutes are foreboding and dark, even downright chilling at times. Musik masterfully covers all aspects of the minimal techno spectrum, from acidic anthems to ultra-minimal explorations and back, in the process showcasing Hawtin's staggering command of the Roland 303 and 909 drum machines as well as his brilliant grasp of album-level continuity.



01 - Konception (8:11)
02 - Plastique (13:03)
03 - Kriket (5:38)
04 - Fuk (5:05)
05 - Outbak (5:10)
06 - Ethnik (9:05)
07 - Plasmatik (5:23)
08 - Goo (2:00)
09 - Marbles (11:07)
10 - Lasttrak (8:22)

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Richie Hawtin - DE9 | Transitions ( 05 ^425mb)

Extending the concept behind 2001's DE9: Closer to the Edit, Transitions takes advantage of the increased possibilities brought forth by the software Ableton Live. Richie Hawtin further distorts the notion of a standard selection, combining often-treated elements from several tracks at once, to such an extent that he gives the amalgams his own titles. The Detroit Grand Pubahs' "Dr. Bootygrabber," False's "River Camping," Galoppierende Zuversicht's "Linguini al Denta," Heartthrob's "Golum," Ricardo Villalobos' "A5," Sleep Archive's "Elephant Island," and three of Hawtin's own productions are swept into this brand-new vortex and come out as "Minimission," throwing off the common response to hearing a track on a mix and desiring to hunt it down on its original state.

In other words, you won't be able to obtain any of the commercially available tracks within that track and hear them the same way. Villalobos, who shows up over 20 times and probably wouldn't be able to identify all of his appearances, because a lot of sources are used for a single note or blip. But the real testament to Hawtin's vision is that the mix is more linear than any other released in 2005, riding a steady gradient that could fool non-geeks into thinking that this is a standard-form techno mix with no obvious inclusions, even though dozens of up-to-date favorites and a few decades-old classics factor in. Stripped of all context and background information, Transitions remains a thoroughly thrilling, multi-functional disc that places early-2000s minimal techno in the best possible light.



01 - Welcomm(In) (3:48)
02 - TZ Entry Point (2:46)
03 - Adding And (1:07)
04 - Subtracting (2:00)
05 - Prebuild (1:45)
06 - Seiltänzer (3:00)
07 - Visioning (6:52)
08 - We (All) Search (2:45)
09 - Jupiter Lander (0:30)
10 - Reduction And (3:00)
11 - Seduction (1:22)
12 - Minimal Master (4:00)
13 - All 4 Du*** (3:00)
14 - Tonarzt (5:01)
15 - The Tunnel (8:26)
16 - Minimission (5:14)
17 - Noch Nah(r) (4:11)
18 - Weiter Noch (5:44)
19 - Where is Mayday (4:00)
20 - The Hole (2:11)
21 - (D)ecaying Beauty (4:39)

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Into The Groove (45)

Hello, it's time to get back Into The Groove with some great soul /funk acts from the seventies, thats to say that had their formative hey days then..my first band is still on the road, after all these are musicians making music for love and a living. Tower of Power, what a great name i'm sure plenty of hardrock acts would have like to take that one, but then these guys claimed it back in 68. My vinyl had become unusable, so here's the Power from a 98 concert....Slave ..another remarkable name btw was yet another funk band from Ohio that didnt emphasize the horns as much as they did the guitar and keyboards this certainly created their own funk niche...Slide has remained a favourite of mine over the years..finally Rose Royce, guided by the top producer of the decade, Norman Whitfield they were thrown in the spotlights in more ways then one with what was to be their debut album but largely became the soundtrack of the movie Carwash, a real anachronism these days as machines have taken over..anyway they werent a one hit wonder as they scored several more as Wishing on a star here proves..they faded from the spotlights by themideighties still like Tower of Power they're still around and making music....

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Tower Of Power - Live ( 99 ^ 176mb)

In the mid-1960s, 17-year-old tenor saxophonist Emilio Castillo moved from Detroit, Michigan, to Fremont, California. He started a band called 'The Gotham City Crime Fighters' which evolved into 'The Motowns', including bassist Francis 'Rocco' Prestia, specializing in soul music covers. During 1968, Castillo teamed up with baritone saxophonist Stephen Kupka (later to be dubbed 'The Funky Doctor') and trumpet/trombone player Mic Gillette, moved to Oakland, and together began writing and performing original material. One of their early influences was the now late great Soul Pioneer artist James Brown. They changed the band's name to 'Tower of Power' and began playing frequently in the Bay Area. In 1970, Tower of Power (by then including trumpeter/arranger Greg Adams, and drummer David Garibaldi) signed a recording contract and released the debut album, East Bay Grease.

Next, augmented by percussionist/conga/bongo player Brent Byars, they moved to Warner Bros. Records and 1972's Bump City and 1973's self-titled release, Tower of Power, were breakout albums for the band. The former album included "You're Still a Young Man", which peaked at #29 on the Billboard Hot 100 in 1972. The latter album contained possibly their most enduring song, "What is Hip?" The latter album peaked at #15 on the Billboard Pop Albums chart in 1973 and received a gold record award for sales in excess of 500,000. 1974's Back to Oakland spawned another hit, "Don't Change Horses (in the Middle of a Stream)," On some of their releases in the mid-1970s, such as Urban Renewal (1974), the band moved more towards funk from soul; however, they continued recording ballads as well. After vocalist Lenny Williams moved on, the band's days of chart radio airplay declined. During the later 1970s, they briefly tried recording somewhat disco-sounding material.

ToP's horn section has become well-known as a backing unit for other artists. The ToP horn section has appeared on many artists' recordings, including Little Feat, the Monkees, Santana, Elton John, Linda Lewis, RAD. (Rose Ann Dimalanta), John Lee Hooker, Rod Stewart, Jefferson Starship, Heart, Huey Lewis and the News, Spyro Gyra, Lyle Lovett, Poison, Phish, Toto, Pharoahe Monch, and Aerosmith. Tower's early song, 'So Very Hard To Go' was featured in the soundtrack of the 2002 film City of God.

Tower of Power has remained active throughout the years, and still tours extensively and worldwide today. Inevitably, there have been personnel changes, and at least 60 musicians have been touring and/or recording members of the group through its now nearly 40 year tenure (2008) as a funk and soul institution. Tower of Power has released 18 albums over the years (Compilations and regional variations not included). The recordings on Soul Vaccination: Live were made during Tower of Power's 1998 tour. It wasn't a reunion tour, since ToP never really went away, but they nevertheless hauled such staples as "What Is Hip," along with selection from latter-day albums.



01 - Soul With A Capital S (5:04)
02 - I Like Your Style (3:43)
03 - Soul Vaccination (4:56)
04 - Down To The Night Club (Bump City) (3:14)
05 - Willin' To Learn (6:06)
06 - Souled Out (4:58)
07 - Diggin' On James Brown (4:51)
08 - To Say The Least You're The Most (4:35)
09 - You Strike My Main Nerve (3:55)
10 - Can't You See (You Doin' Wrong) (3:26)
11 - You Got To Funkifize (4:46)
12 - So Very Hard To Go (3:49)
13 - What Is Hip (6:01)
14 - You're Still A Young Man (5:59)
15 - So I Got To Groove (6:08)
16 - Way Down Low To The Ground (4:34)

diet version
Tower Of Power - Live ( 99 * 99mb)

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Slave - Slide (77 ^ 99mb)

Slave was an Ohio funk band popular in the 1970s and early 1980s. Trumpeter Steve Washington and Mark Hicks (Drac) formed the group in Dayton, Ohio in 1975. Trombonist Floyd Miller teamed with Tom Lockett Jr. (sax, keyboards), Carter Bradley (keyboards), Mark Adams (bass), Mark Hicks (lead and rhythm guitar, lead and background vocals), Danny Webster (rhythm guitar, lead and background vocals), Orion Wilhoite (sax), and Tim Dozier (drums). Vocalists Steve Arrington, Starleana Young, then Curt Jones came aboard in 1978, with Arrington ultimately becoming lead vocalist. Their first big hit was the single "Slide" in 1977 for Cotillion Records, where they remained until 1984. Their best work was usually based on bass licks and the band's general arrangements emphasis on the rhythm section and soaring lead vocals.

Other Top Ten R&B hits were "Just a Touch of Love" in 1979, "Watching You" in 1980, and "Snap Shot" in 1981. They added Charles Carter on sax and brother William P Carter on keyboards. Young, Washington, Jones and Lockett departed to form Aurra in 1981. Slave added Roger Parker, Sam Carter, Delburt Taylor, and Kevin Johnson as replacements. Arrington himself left in 1982 after the Showtime album. They continued on, though much less successfully, into the late 1980s. They moved to Atlantic Records for one LP in 1984, then switched to the Atlanta-based Ichiban Records in 1986. Their most recent release was The Funk Strikes Back in 1992. Rhino issued Stellar Fungk: The Best of Slave Featuring Steve Arrington, an anthology of their finest cuts, in 1994.



01 - Slide (6:50)
02 - Screw Your Wig On Tite (5:25)
03 - Party Hardy (3:44)
04 - Son Of Slide (5:24)

05 - You And Me (6:41)
06 - Love Me (4:37)
07 - The Happiest Days (5:17)
08 - Separated (5:30)

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Rose Royce - Wishing on a Star ( ^ 152mb)

Formed by trumpeter/vocalist Kenny Copeland, drummer Henry Garner, trumpeter Freddie Dunn and saxman Michael Moore in the early 70s, the group first served as a backup band for Edwin Starr, who introduced them to his "War" producer, Whitfield. This led to regular work with many of Whitfield's other Motown acts, including the Undisputed Truth. In 1977 Whitfield helped the band, which had swelled to nine members (including featured vocalist Gwen Dickey), to get a gig as the lead act on the Whitfield-produced MCA soundtrack to the Richard Pryor movie Car Wash. Whitfield convinced the MCA executives that Rosw Roycw was more than competent for the job. So the material that Whitfield had assembled for the group's debut album became the soundtrack's material. The movie Car Wash and the soundtrack title song with its hand-clapping, funky intro, Dickey's exciting lead vocals and the band's great performance, the title track became one of the biggest dance songs ever, leaping to #1 on the pop and soul charts and taking Rose Royce with it.

To offset any negative rhetoric regarding their legitimacy, the group released its follow-up album, Rose Royce II: In Full Bloom, and bloom it did. The group returned to the Top Ten with "Do Your Dance" and "Ooh Boy," silencing all critics. In 1978, they released their third album, entitled Rose Royce III: Strikes Again!, and it featued "I'm in Love (And I Love the Feeling)" and "Love Don't Live Here Anymore." Both singles cracked the Billboard R&B Top Five. The group followed with a string of hits that roamed the charts, but never gained the chart status that their previous songs did. Unfortunately, Rose Royce's descent on the charts was as quick as its rise, and while the group continued to record, it never again had a substantial hit album or single, despite a 1982 move to Epic Records and subsequent releases on a series of smaller labels. Rose Royce experienced a number of personnel changes over the next two decades, but continues to this day with the foundation of Copeland, Garner and Dunn, who self-released the album Live In Hollywood in 2003.



01 - Wishing on a star (4:01)
02 - R. R. express (12:04)
03 - Do you dance (5:24)
04 - Tell me that i'm dreaming (4:24)
05 - Do it, do it (4:13)
06 - Help yourself (4:01)
07 - Is it love you're after (3:50)
08 - It makes you feel like dancin (4:27)
09 - Help (3:55)
10 - Ooh Boy (3:51)
11 - I wonder where you are tonight (3:40)
12 - I'm in love (3:44)
13 - Love is in the air (3:37)
14 - Love don't live here anymore (3:55)

diet version
Rose Royce - Wishing on a Star (* 99mb)

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Eight-X (45)

Hello, midweek and that means Eight-X , and another mixed bag aswell..First a quote "There're enough happy assholes out there, why should I be another one in the line..." She made a career out of her nihilistic attitude, where elese as in New York where lack of pretence is deadly..Being a muse to the 'boys' set her on a path , build her a name and lunch.... Dutch industrial jazz band KIEM took the scene by storm with their unique sound around a (garbage) metal drum-kit accompanied by a squeaking saxophone sort of got you initially thinking what the f ck whats this but then it turns out it's music after all..the album Keam even contained a hit, moneyman.....finally a great band that didnt want to be happy assholes either, but when their second album failed to produce hit, and despite good reviews,their labels moneyman saidwe can't have that..go away..they did , still they left us with a rare gem..."Song" ...

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Lydia Lunch - Queen Of Siam (80 ^ 77mb)

After arriving in New York City at the age of 16, Lydia Lunch (born Lydia Koch) moved into a large communal household of artists and musicians in NYC, including Kitty Bruce, daughter of Lenny Bruce. Soon after she earned the surname "Lunch" by regularly stealing lunches for her (often starving) artist friends. After befriending the 'godfathers of punk' Suicide at Max's Kansas City, she founded the short-lived but influential No Wave band Teenage Jesus & the Jerks in 1976 with her artistic partner, No Wave punk-funk-jazz musician James Chance. Both appeared on the seminal No Wave compilation No New York. Lunch later appeared on two songs on Chance's album Off White (credited to James White and the Blacks; Lunch used the pseudonym "Stella Rico") in 1978.

She appeared in two films directed by the husband and wife film-making team of Scott B and Beth B; In the short film Black Box (1978) she played an unnamed torturer, and in the feature length, neo-noir thriller Vortex (1983) she played a private detective named "Angel Powers". During this time, she also appeared in a number of films by Vivienne Dick, including She Had her Gun All Ready (1978) and Beauty Becomes The Beast (1979), co starring with Pat Place. In the mid-'80s she formed her own recording and publishing company called "Widowspeak" on which she continues to release a slew of her own material from songs to spoken word.

Her attitude of confrontational nihilism expressed in both her sound and her often violent and/or sexually oriented subject matter. After leaving Teenage Jesus, Lunch first formed Beirut Slump, but departed after one single. Her solo debut, 1980's Queen of Siam, proved to be one of her most acclaimed efforts, as was her next band, the funk-inflected 8 Eyed Spy. However, that band broke up due to the death of bassist George Scott, and Lunch went back out on her own. After 1982's 13.13, which featured former members of the Weirdos, Lunch began a rash of collaborations. Such as J. G. Thirlwell, Kim Gordon, Thurston Moore, Nick Cave, Marc Almond, Billy Ver Plank, Steven Severin, Robert Quine, Sadie Mae, Rowland S. Howard, Michael Gira, The Birthday Party, Einstürzende Neubauten, Sonic Youth, Die Haut, Omar Rodriguez-Lopez, Black Sun Productions and french band Sibyl Vane who put one of her spoken words into music..

Aside from an EP with ex-Birthday Party guitarist Rowland S. Howard in 1991, Shotgun Wedding, plus her acting career in underground films, Lunch has concentrated on the spoken word arena into the '90s; a three-CD retrospective of this aspect of her career, Crimes Against Nature, was issued in 1993, and Lunch has continued her activities throughout the decade. She also acted in, wrote, and directed underground films, sometimes collaborating with underground filmmaker and photographer Richard Kern (including several films such as Fingered in which she performed unsimulated sex acts), and more recently has recorded and performed as a spoken word artist, as well as authoring both traditional books and comix (with award-winning graphic novel artist Ted McKeever). In 1997 she released Paradoxia, a loosely-based autobiography, in which she candidly documented her bisexual dalliances, substance abuse and flirtation with insanity.

"I would be humiliated if I found out that anything I did actually became a commercial success."



01 - Mechanical Flattery (2:46)
02 - Gloomy Sunday (2:57)
03 - Tied And Twist (2:55)
04 - Spooky (2:40)
05 - Los Banditos (3:10)

06 - Atomic Bongos (2:17)
07 - Lady Scarface (3:12)
08 - A Cruise To The Moon (3:54)
09 - Carnival Fat Man (2:11)
10 - Knives In The Drain (4:00)
11 - Blood Of Tin (1:09)

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Kiem - Keam ( 85 ^ 89mb)

Formed 1982 (Rotterdam, The Netherlands), initially as "Pleasant Time Trio" to the occasion of raising the curtain for a performance of jazz artist "George Adams And The Don Pullen Quartet". It inspired them to further the collaboration and start a regular band. "K.I.E.M." is an abbreviation of "Klank Improvisatie Elektronische Muziek" (Sound Improvisation Electronic Music). Their immediate success led to performances on jazz, rock and experimental stages and festivals (Tegentonen, North Sea Jazz, Pandora's Music Box) and modest dance-hits in the Netherlands.

Most remarkable about Kiem is Cees Meurs' metal drum-kit consisting of oil-drums, garbage bin, anvil, anchor-chains and other remains from the wrecked tow-boat "Corrie". This drum-kit –played like normal drums– accompanied by a squeaking saxophone (Ger Van Voorden), a synthetic keyboard and proclaiming vocals (Huub Kentie) result a sound that might be type-casted as industrial, but also has jazz and experimental charactarisics.

Ger Van Voorden leaves the band in 1986 to play with poet/drummer Jules Deelder. He is replaced by Jos Valster.
Growing into a more popular sound, bigger succes followed in Southern Europe (The Moneyman, 1987). After releasing their third album , the slightly poppier "You Should Try" Interest and true appreciation in the Netherlands remained modest, resulting disbandment in 1987.



01 - Moneyman (6:15)
02 - The Real It (5:37)
03 - Bahami (1:36)
04 - Short Memories (5:12)

05 - Clear It Up (4:28)
06 - Pili Pili (Sauce) (5:59)
07 - Just A Song (4:39)
08 - Oej Joej (3:24)

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It's Immaterial - Song (90 ^ 90mb)

It's Immaterial were formed by three former members of Yachts - John Campbell, vocals, Martin Dempsey, guitar, and Henry Priestman, keyboards - in addition to Paul Barlow, drums. By 1984, the band had been reduced to a duo - Campbell and Jarvis Whitehead, guitar and keyboards, who joined in 1982.

It's Immaterial has qualities that can't be discerned from one listen, Musically, their first album, Life's Hard And Then You Die , is all over the place -- new wave, country, blues, folk, and synth pop. Somehow the smorgasbord of styles works, because the bandmembers aren't being eclectic just for the sake of it; they simply have a wide canvas, keeping the album fresh from beginning to end. When Campbell talks, it isn't because he can't sing; the man has a lovely voice, especially during the transcendent chorus of "Space. It's Immaterial manages to stay focused, never allowing its genre-bending to veer out of control, it grows on the listener.

Video for "New Brighton", the first track on "Song"



Well if you liked the 1st album, likely you would enjoy "Song" too. Same wit, fine heart, human touch. But then "Song" is not as diverse, not as pop-oriented as "Life is...". "Song" is dark, brooding, atmospheric, a collection of ten "stories" that take place in the North of England, ten stories of isolation and polite despair: "Song" was to be engineered by Calum Malcolm who, the year before, had produced the surprise million-seller album "Hats" for Scottish indie cult heroes The Blue Nile.. "Song" was released in late August 1990 and commercially, it was a dismal failure, selling less than 7,000 copies in the UK. Why? The reviews were more than positive but Joe Public was startled, there was no hit single in sight and the real point was: who was going to buy that album? Campbell and Whitehead were seen as too old for teenyboppers, too clean for the indie rock scene, too smart for Blue Nile fans, too gloomy for Northerners, etc... Campbell and Whitehead disappeared and were never to be seen in the music business again. Rumour says that at the time Virgin told them to take a walk, they had just completed another album, the 3rd one, that has remained unreleased to this day....



01 - New Brighton (5:51)
02 - Endless Holiday (5:35)
03 - An Ordinary Life (5:04)
04 - Heaven Knows (4:29)
05 - In The Neighborhood (5:20)
06 - Missing (5:20)
07 - Homecoming (4:36)
08 - Summer Winds (4:40)
09 - Luife On The Hill (6:12)
10 - Your Voice (5:18)


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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 (45)

Hello, Around the Worldmusic stays in the desert, this time with the (last week)Touareg neighbours the Malinese . Ali Farka Touré plays his guitar in sync with desert life and when he recorded this album he was already getting on . for a sixtyfour year old life holds holds little surprises save that what nature displays for enjoyment. His In The Heart Of The Moon, reached the other side of the world that honoured the man. who played his guitar whilst mesmerising, with another Grammy....been on a boat like that (cover) sailing lake Assouan (Egypt Nile reservoir)..wonderful day that was....

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Ali Farka Touré & Toumani Diabaté - In The Heart Of The Moon (05 * 99mb)

Ali Farka Toure was born in 1939 on the banks of the Niger River in northwestern Malian region of Tombouctou. He was the tenth son of his mother but the only one to survive past infancy. His nickname, “Farka”, chosen by his parents, means “donkey” - an animal admired for its tenacity and stubbornness.

As the first African bluesman to achieve widespread popularity on his home continent, Touré was often known as “the African John Lee Hooker”. Musically, the many superpositions of guitars and rhythms in his music were similar to John Lee Hooker’s hypnotic blues style. He usually sang in one of several African languages. His international breakthrough album, Ali Farka Touré (88), established his reputation in the world music community. His 6th World Circuit album 1994’s Talking Timbuktu, a collaboration with Ry Cooder, sold well in western markets and got him his first Grammy Award. After a hiatus from releases in America and Europe Touré reappeared in 1999 with the release of Niafunké.

In 2004 Touré became mayor of Niafunké and spent his own money grading the roads, putting in sewer canals and fuelling a generator that provided the impoverished town with electricity.In September 2005, he released the album In the Heart of the Moon, a collaboration with Toumani Diabaté, for which he received a second Grammy award. On 7 March 2006 the Ministry of Culture of Mali announced Touré 's death at age 66 in Bamako from bone cancer, against which he had been battling for some time. His last album, Savane, was posthumously released in July 2006. It was received with wide acclaim by professionals and fans alike and has been nominated for a Grammy Award in the category “Best Contemporary World Music Album”



01 - Debe (4:55)
02 - Kala (5:06)
03 - Mamadou Boutiquier (5:04)
04 - Monsieur Le Maire De Niafunké (3:58)
05 - Kaira (6:24)
06 - Simbo (4:00)
07 - Ai Ga Bani (4:34)
08 - Soumbou Ya Ya (3:30)
09 - Naweye Toro (4:23)
10 - Kadi Kadi (3:21)
11 - Gomni (4:17)
12 - Hawa Dolo (5:00)

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Canadia 2056 (04)

Hello, the saga continues and the story unfolds more hilarious reasonings ..be vareful what you wish for..the coming 27 minutes

In the year 2056 the US has declared war on the Ipampilashians and has sent the American armada to destroy their planet. Canada has sent its only ship, The Canadia, in support of the American mission but the Canadia is not a warship. It's a maintenance ship (they change light bulbs and plunge toilets). Max Anderson is the first American ever to be stationed on the Canadia. He was put there by the American admiral (his mother) to toughen him up but keep him out of any real danger. The only thing that Max and the crew of the Canadia agree on is that no one wants him there.

Episode 4 , The Fleet answers a distress call from an alien ship. Faverau tries to figure out what the Canadia can do to help the aliens. Anderson and Skip get to know each other a little better but the Captain has a problem with their relationship.

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Canadia 2056 - 04 (20mb)

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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 (45)

Hello, Sundaze again, and whilst i was working on todays post, i changed my mind and persued a different avenue. I filed two of the planned titles for later use and went with one and drew connections from there...The one left was Tim Story, who's brilliant 84 album Untiteld connects to Roedelius, not just because Story's latest album is a coproduction with Roedelius..It goes much deeper then that, Tim was strongly inspired by the Cluster /Roedelius work of the early seventies, he even went for an audience (wink) when he was in Europe....so with that connection established and having still one ripped Roedelius vinyl on file, Selbstportrait Vol. III ...What's next ?.Coming up with a third connenction was easy, Eno..it seems he's connected to everyone, in this ambient context however, i took the opportunity to post my favorite...On Land a real "Out There" album, true music of the (atmo)spheres....

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Roedelius - Selbstportrait Vol. III ( 80 ^ 187mb)

Hans Joachim is one of the pioneers at the field of the exploitation of electrically generated tones, sounds and noises and belongs to the founders of contemporary popular electronic music. His discografie listes about 80 releases and there are more than 10 productions ready to be released in the next future.

Roedelius was born 1934 in Berlin and lives since 1978 in Baden, south of Vienna. He started to be a professional composer, musician, texter in the late sixties with sound-experiments respectively a sort of "anarchic musical actionism".
He worked with Choreografer Caroline Carlsen for the "Theatro e Danza la Fenice" in Venice, with Esther Linley, Mark Lintern-Harris and Joao de Bruco for the "Wiener Festwochen", the "Donaufestival", the "Eurokaz" in Zagreb, the "Szene Salzburg" and other Festivals. In 1968 Roedelius co-founded the music commune known as "Human Being" and co-formed Zodiak Free Arts Lab, the center of Berlin's Underground Culture at the time, with conceptual artist Conrad Schnitzler. He met Dieter Moebius at the Zodiak. In 1970 Roedelius, Schnitzler and Moebius formed Kluster (later known as Cluster). While he played as a member of Cluster, Roedelius worked in various projects like Geräusche, Plus/minus, Per Sonare, Harmonia, Meeting Point Vienna, Friendly Game, Aquarello and Tempus Transit. He has collaborated with many other composers and performers including Brian Eno.

In the interim, after Cluster went on hiatus in the wake of 1981's Curiosum, he plunged fully into solo work, regularly releasing several new LPs each year. Although most of these projects pursued ambient paths -- the multi-chapter Selbstportrait series, 1981's Lustwandel, 1987's Momenti Felici and 1992's Friendly Game all being good examples -- others like 1982's Offene Türen and 1992's Sinfonia Contempora I explored more dissonant electronic soundscapes. Additionally, Roedelius worked in a series of mediums including theatre, dance and film, collaborating with everyone from Holger Czukay to Peter Baumann; in 1990, he and Moebius also reunited for Apropos Cluster, and the duo continued working together throughout the decade to follow. Roedelius has written poems in English and German, some of which he recites on his albums. His solo albums are collections of quiet atmospheric piano pieces, including solos Momenti Felici (1987), duos Pink, Blue and Amber (1996) or groups of up to four performers Bastionen Der Liebe - Fortress of Love (1989).



01 - Sonntags (3:45)
02 - Geburtstag (1:50)
03 - Fieber (6:06)
04 - Hochzeit (3:05)
05 - Geradewohl (3:50)
06 - Erinnerung (3:25)

07 - Zuversicht (11:05)
08 - Stimmung (9:50)

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Brian Eno - On Land (Ambient 4) (82 ^ 179mb)

Determining his creative pathways with the aid of a deck of instructional, tarot-like cards called Oblique Strategies, Eno championed theory over practice, serendipity over forethought, and texture over craft; in the process, he forever altered the ways in which music is approached, composed, performed, and perceived. Born, May 15, 1948, Brian Peter George St. Jean le Baptiste de la Salle Eno, sometimes simply Eno, started his musical career with Roxy Music. He then went on to produce a number of highly eclectic and increasingly ambient electronic and acoustic albums. He is widely cited as coining the term "ambient music" in his Ambient series (Music for Airports, The Plateaux of Mirror, Day of Radiance and On Land). He collaborated with David Byrne, formerly of Talking Heads, on My Life in the Bush of Ghosts which was one of the first albums not in the rap or hip hop genres to extensively feature sampling. Eno collaborated with David Bowie as a writer and musician on Bowie's influential "Berlin trilogy" of albums, Low, Heroes and Lodger, on Bowie's later album 1. Outside, and on the song "I'm Afraid of Americans". Eno has also collaborated with Robert Fripp of King Crimson, Robert Wyatt on his Shleep CD, with Jon Hassell and with German Cluster. Eno has acted as a producer for a number of bands, including U2 and Devo. He won the best producer award at the 1994 and 1996 BRIT awards. He is an innovator across many fields of music and recently he has collaborated on the development of the Koan algorithmic music generator. He has also been involved in the field of visual arts. In 1996 Brian Eno, and others, started the Long Now Foundation to educate the public into thinking about the very long term future of society. Brian Eno is also a columnist for the British newspaper, The Observer.

On Land represented a significant move away from the strategies Brian Eno had employed in earlier ambient releases such as Discreet Music and Music for Airports. Here he uses a more intuitive approach, creating dreamy pictures of some specific geographical points or evocative memories of them. It's quite easy to imagine these works as soundtracks to mysterious footage of imprecisely glimpsed landscapes. The music is unobtrusive, warm, relaxed, shining, earthy. The first piece, "Lizard Point," includes an early recorded performance of Bill Laswell on bass, and one imagines that his association with Eno was a crucial factor in the ambient directions his later work would sometimes take. On Land remains a landmark event in the genre, as well as one of its high-water marks, and sounds entirely up to date 25 years after its initial release... Daze away



01 - Lizard Point (4:34)
02 - The Lost Day (9:13)
03 - Tal Coat (5:30)
04 - Shadow (3:00)
05 - Lantern Marsh (5:33)
06 - Unfamiliar Wind (Leeks Hills) (5:23)
07 - A Clearing (4:09)
08 - Dunwich Beach, Autumn, 1960 (7:13)

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Tim Story - Untitled (84 ^ 99mb )

Tim Story was born in 1957 in Philadelphia, and currently lives in the small river town of Maumee, in northwest Ohio.
In the mid 70's he landed a record store job, the holy grail, and into contact with the really exciting, if obscure, European music of the time. Robert Wyatt, Can and he gobbled up everything he could afford: King Crimson, Terje Rypdal, Roxy Music, Brian Eno, Klaus Schulze, Tangerine Dream, Hatfield and the North, Mahavishnu Orchestra, Miles Davis.." I remember Cluster and Roedelius' records were revelations to me, as was Robert Wyatt's "Rock Bottom". Here were these very iconoclastic, very personal, very individual recordings coming from small European labels, and it was incredible to discover there were people actually making this kind of music, and, possibly, an audience for it as well. So it was probably this period which had a significant impact on my own music, even if it was hopefully more an ideological than stylistic one".

Tim's intensely personal style as a composer, synthesist and pianist evolved from years of experimentation in his home studio, and a love of composition. Along with his self-taught, idiosyncratic approach to the piano, Story saw the great potential of the new breed of electronic music instruments that were appearing in the early 70's. This affinity for synthesizers, as well as electric guitars, tape loops and kitchen utensils, is evident in the early recordings. The careful juxtaposition of acoustic instruments with electronic textures, and an inventive approach to composition are common threads running through most of Story's work.

Tim Story's work has garnered an international reputation for its haunting elegance and meticulous compositional detail. When writing and recording, he often spends months carefully working and refining the shape of each composition until he achieves the desired emotional and intellectual effect. His seemingly effortless pieces distill harmonic and melodic ideas that are often quite complex.

"I like to work with a finite palette of sounds and keep paring things down to a pure, though often ambiguous, expression. Simplicity without simplemindedness. Like the deceptively unadorned, ironic pieces of Erik Satie, or the lovely yet challenging piano music of Debussy. The work of these guys appears so effortless and perfect that the pieces seem as if they've existed forever - they've created this unique, timeless world..." Story also cites a diverse range of musical touchstones including Bartok, Arvo Part, Miles Davis, Coltrane, Steve Reich, Dwight Ashley, Can, Cluster and Robert Wyatt.

" ...a goal of mine is to get the listeners to put something of themselves into the music. I want to prod the listener to find his or her own feelings about a piece, even if those feelings are sometimes uncomfortable. As Charles Ives said, 'Beauty in music is too often confused with something that lets the ears lie back in an easy chair.' I like to think of good music as a sculpture or a Japanese garden, where you can never experience the whole from any one point. Music that insinuates, you must move through it, live with it for a while, before it yields its secrets." As Philadelphia's City Paper described it, "Story’s unsentimental blend of still-life piano and eerie synthetics conjures without explaining. His instrumental music comes at the listener subtly yet subversively...."

In addition to nine solo albums and dozens of compilation appearances, Story's work has appeared on numerous television and film soundtracks, including the original score for the popular NPR documentary “In Search of Angels” (1994), and “Caravan” (2005) , a feature-length documentary from the production company of acclaimed Spanish film director Pedro Almodovar. Story's music has been nominated for a Grammy award (for 1988's "Legend of Sleepy Hollow", a children's recording with Glenn Close), and a NAIRD "Best Album" award (for "Beguiled"). Notable collaborations include three acclaimed cd's with Hans-Joachim Roedelius (including "Lunz", named by the editors at Amazon.com as one of the year's "Top 5"), and 3 with Dwight Ashley. Tim's music has consistently landed on critics' annual "Best Of" lists, and his 3 most recent solo releases were called "one of the finest trilogies in contemporary instrumental music" (Wind and Wire, USA)
Latest 2008 release is Ínlandish"a another collaboration with Roedelius, music that makes you stop and listen. Tim Story, has received worldwide acclaim for his haunting compositions which blend orchestral acoustic instruments and elegant electronics.



01 - The Hold (4:08)
02 - A Promise And A Plea (3:38)
03 - In This Small Spot (4:07)
04 - Shadows In The Cracks (2:23)
05 - Sargasso (5:09)
06 - City Of Scaffolds (3:42)
07 - November's Eve (3:12)
08 - Untitled (4:01)
09 - Her Lost Fleet (3:39)
10 - Plucking Islands From The Sea (4:18)
11 - Out Like A Whisper (4:52)
12 - The Seventh Chance (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 !

Rhotation (45) Into BPM

Hello again and it's Rhotation 45 this week, last week Rho-Xs got hit 13,000 times, and just one comment, auch ! Looks i got to do all the writing here. It was republicans week too, Cain & Pain the latter, what i've read about her, is a very vindictive bitch, who went thru no less then 5 different highschools, flew supposedly 8 months pregnant (no one noticed) around the country, and had her daughter isolated the 5 months before. I guess the gullibility of the american electorate knows no limit. The way things are going at the moment, the electronic voting riggers will be able too steal a third consecutive presidential election. Those rednecks and deluded creationists might very well set the world ablaze this time next year with the motto if i cant have it ..no one else will. Armageddon here we come, and the Lord will set us free and more of that pathetic nonsense.

Into BPM goes into trance again and some of Gods priests come by first up DJ Darude which certainly looks better then Da Rude, anyway they love to get together and dance in Finland too-despite Nokia- and he became Finlands star Dj when he scored a big hit with, oh irony ...Sandstorm i wonder if any Fin ever saw one up there.....that brings me to the current highpriest The no uno after several years on no 3 ..he is of cause Armin van Buuren ..what is it with those trance dj's from the Netherlands ? Is it because their homepublic is so opened up by MDMA , mushrooms or weeds that they soak up that spirit and mood and later transform it into music and then spin it back to us....Finally Jam & Spoon the godfathers of trance, Spoon is no longer with us unfortunately...Remixes & Club Classics was released as a testament and celebration of their work and you will find some real jewels on the 143 min compilation..enjoy..... Hmm thats 1 gig i uploaded for todays post, i wonder ...

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Darude - Before The Storm (00 ^ 155mb)

Darude is none other than Finnish wonder boy Ville Virtanen, which doesn't sound half so hard. His career in music started back in school when he used his PC, using his PC's tracker software to wile away his hours making happy hardcore tunes, however the limits of the PC [and happy hardcore] soon started to frustrate Ville and he moved onto creating sounds in the studio. All this time he was DJ-ing at school parties, and it was here that he got his artist name, simply by playing one track rather a lot. 'Rude Boy', by Leila K, was a big track in Sweden at the time and it became an early signature tune in Ville's crowd-pleasing sets. After repeated playings, friends started calling him 'Rude Boy', then 'The Rude' and finally 'Da Rude' - which of course became Darude.

Although Darude might well have been in demand at the school disco, his musical career really took off when he sent Finnish producer Jaakko Salovaara (JS16) a demo tape with Sandstorm on it. Jaakko liked what he heard and signed Darude up to 16 Inch Records. The single Sandstorm was the first release on the label and was a massive hit in Finland - going directly to number one in the dance chart and staying in the charts for 16 weeks. .

Darude started to conquer the dance world with two hit singles, after "Sandstorm" he released "Feel the Beat." Those songs might be very attractive and rhythmic, but unfortunately Darude's debut full-length lacks variation. This monotony may be due to Jaakko Salovaara's presence -- JS16's house is also monotonous; with no diversity whatsoever. Whether this is a good thing or not just depends on the context in which one hears the music. Darude's debut album Before the Storm may work well on the dancefloor, or rallying thru the country side but less so at home.

Two years later Darude returned with Rush, building upon the dynamics of Before the Storm, he raises the pressure, and fuels the flame for an electrifying dozen-track set. Darude's talent in keeping the energy at an elevated level without losing touch with the album's overall ambience is what makes him a star and an integral part of the new-millennium dance scene. His classy of mix of techno and trance is perfected into a fashionably slick spiral of synthesized heat. In 2007 he released his thusfar last album, Label This !



01 - Sandstorm (3:45)
02 - Burning (7:09)
03 - Feel The Beat (4:19)
04 - Out Of Control (5:01)
05 - Touch Me Feel Me (6:14)
06 - Calm Before The Storm (4:53)
07 - Let The Music Take Control (5:46)
08 - Drums Of New York (6:05)
09 - The Flow (3:51)
10 - Sandstorm (JS16 Remix) (7:21)
11 - Feel The Beat (JS16 Dark Mix) (7:06)

diet version
Darude - Before The Storm (* 99mb)

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Armin Van Buuren - Shivers (05 ^ 169mb)

Armin van Buuren pursued his career as a professional musician despite the promise of a career in law in his native country, the Netherlands, where he completed his law degree in 2004. Armin started working as a DJ in a local night club called Nexus, finished high school in 1995 and went on to university to study law. Meanwhile, he moved his studio equipment from his bedroom to a 'real' studio. The first tracks he produced in his new studio were, among others, tracks like "Touch Me" and "Communication".He has described his musical style as "liberating, euphoric, uplifting, melodic and energetic."

He hosts a weekly radio show A State of Trance, which mostly consist of trance and other genres . The show completed its 350th episode in May 2008, running for over 7 years. In October 2002, van Buuren was voted Number 5 in the DJ Magazine 100 top DJs. The following year, he jumped up to the #3 spot, and held 3rd place for the next 3 years. His work left him at the #2 spot, just below Paul van Dyk in the 2006 polls, and in 2007 Armin reached Number 1, heading the 2007 DJ Mag Top 100.

Since 1995, van Buuren has released many tracks on different labels with increasing success. His first big success was "Blue Fear" on Cyber Records at the age of 19. This 'Euro Trance blueprint' made it into the UK Chart. "Communication" was released on the same label, and had a huge impact on Ibiza, Spain in the summer of 1999. After being signed to AM PM Records, this track entered the UK Chart at #18 in 2000.

In the beginning of 1999, van Buuren started his label Armind together with United Recordings. The first release, Gig - "One", was well received. The second release "Touch Me", under the name Rising Star was signed to Ministry Of Sound in the UK, before the record was released. By the time of his third release, Gimmick - "Free" was signed to R&S Records, van Buuren had managed to make his label popular very quickly. Under the surname Gaia he released "4 Elements" on Captivating Sounds, a sub-label of Warner Brothers. Teaming up with DJ Tiësto, two new projects were born: Major League - "Wonder Where You Are?" was released on Black Hole Recordings and Alibi - "Eternity" was released on Armind. "Eternity" received club and chart success and was signed to Paul van Dyk's imprint Vandit Records. Another major collaboration followed this. Together with Ferry Corsten, van Buuren recorded a riff-classic titled "Exhale" for the System F. album. Released as a single, this track reached gold status in less than a month.

In 2000 van Buuren started his own AVB compilation series. He managed to find a balance between progressive, techno and trance music styles. AVB001 - "A State of Trance" (not to be confused with his weekly ASOT radio shows) sold more than 10,000 copies and contains van Buuren's well known remix of Moogwai - "Viola." AVB002 "Basic Instinct" featured a new track: Perpetuous Dreamer - "The Sound Of Goodbye". This track entered the Dutch charts in June 2001 at number 26. Later in the year the track hit #1 on the Hot Dance Music/Club Play chart. AVB003 - "In Motion" was released August 6th 2001. This album contained the real trance sound and was very popular in the US. AVB004 - "Transparence" followed in 2002.

In March 2001 van Buuren started his own radio show on ID&T Radio. In this weekly two-hour show, entitled 'A State of Trance', he plays the latest popular trance music tracks. His show and the artists he features are popularized by publishing the artists and track titles on his website. This radio-show/website combination has proven popular internationally. When ID&T Radio changed genres in 2004, van Buuren left and took A State of Trance with him. The show then moved to Fresh FM, a Dutch radio station. A complete list of stations that broadcast ASOT can be found at the ASOT section of Armin's website. Also in 2004, van Buuren remixed the 24 Theme into a trance hit.

Van Buuren has played a record-breaking nine-hour set for Dancetheater in The Hague (Holland). In the United Kingdom one can see him perform regularly at Passion (resident 2002), Godskitchen, Gatecrasher, Slinky, Peach and Golden.In 2002 he had a residency at Glow in Washington D.C., and he has played in Houston, Boston, Chicago, Atlanta, Austin, Denver, New York City, Los Angeles, Istanbul, and St. Louis. He has also regularly appeared at Amnesia on the island of Ibiza. On November 11, 2006 he had a live performance called Armin Only in Ahoy Rotterdam for the second time (after Nov 12, 2005) with a 9 hour solo set, where he performed to over 11,000 fans.

In the summer of 2007, van Buuren recorded and released a live set at Amnesia, Ibiza. "Universal Religion Chapter 3, Live from Amnesia at Ibiza" was released on September 28th 2007 as a mix compilation on Armada Records and in the US as "Universal Religion 2008" on Ultra Records on December 4th 2007. April 19 2008 saw the 3rd edition of Armin Only, this time in the Jaarbeurs in Utrecht Holland. The event was visited 16.000 fans and (partly) broadcast live on Dutch National TV. During the second half of 2008 van Buuren will take this show abroad, with planned visits to Australia and Romania and expected editions in Poland, Canada, Mexico and Czech Republic.



01 - Wall Of Sound (Feat. Justine Suissa) (6:25)
02 - Empty State (Feat. Mic Burns) (7:29)
03 - Shivers (Voc.Susana) (7:32)
04 - Golddigger (Feat. Martijn Hagens) (4:46)
05 - Zocalo (Feat. Gabriel & Dresden) (8:39)
06 - Gypsy (Feat. Ray Wilson) (5:24)
07 - Who Is Watching (Feat. Nadia Ali) (5:08)
08 - Bounce Back (Feat. DJ Remy & Roland Klinkenberg) (7:33)
09 - Control Freak (8:07)
10 - Serenity (Feat. Jan Vayne) (8:25)
11 - Hymne (Feat. Jan Vayne) (2:40)


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Jam & Spoon - Remixes & Club Classics ( 06, 143min ^ 339mb)

Heralded among the pioneers of trance, Jam & Spoon (Rolf Ellmer, classically trained composer) and Markus Löffel ( aka DJ Mark Spoon) are a duo from Frankfurt, Germany. They also worked under the pseudonyms Tokyo Ghetto Pussy, Storm and Big Room. Their first album, BreaksUnit1, was released in 1991.They made an enormous impact in 1992 with their groundbreaking remix of the self-titled single by Age of Love. After the Jam and Spoon EP, Tales from a Danceographic Ocean -- which contained their influential hit "Stella" -- the duo unleashed a barrage of remixed material for Moby ("Go"), Frankie Goes to Hollywood ("Relax"), Deep Forest and others, all to massive club play; the single "Right in the Night (Fall in Love with Music)" followed in 1993, the first of several of the duo's recordings to feature the American-born vocalist Plavka.

The first of Jam & Spoon's separately released but thematically linked Tripomatic Fairytales focuses on uptempo eco-techno and trance. The albums Tripomatic Fairytales 2001 and Tripomatic Fairytales 2002 , a landmark in tech-ambient, were released in 1994, followed by Disco 2001 (1995) as Tokyo Ghetto Pussy, Kaleidoscope (1997), Stormjunkie (2000) as Storm, and finally Tripomatic Fairytales 3003 (2005). In 2000 they remixed "The Chase," a 1979 Giorgio Moroder track. Credited to "Giorgio Moroder vs. Jam & Spoon", the song hit number 1 on the U.S. Hot Dance Music/Club Play chart. In June 2002 "Be.Angeled" hit number 4 on this chart. Markus Löffel died of a heart attack in his Berlin flat on 11 January 2006 at the age of 39. September, 2006, a two compact disc set titled Remixes & Club Classics was released to celebrate Mark Spoon. It is the first compilation of the duo's collected works, and features an exclusive track Be.Angeled - Tribute to Mark Spoon, performed live at the 2006 Love Parade in Berlin.



Jam & Spoon - Remixes ( ^ 166mb)

1-01 - Age Of Love - The Age Of Love (Watch Out For Stella Club Mix) (6:48)
1-02 - Moby - Go (Jam & Spoon's Delirium Mix) (6:08)
1-03 - Dr. Alban Feat. Leila K - Hello Afrika (Tech-Makossa Mix) (7:42)
1-04 - Giorgio Moroder - The Chase (Jam & Spoon Club Mix) (8:46)
1-05 - Quincy Jones - Back On The Block (Club Trip Part One) (9:11)
1-06 - Pet Shop Boys - Yesterday, When I Was Mad (Jam & Spoon Mix) (9:21)*
1-07 - Frankie Goes To Hollywood - Relax (Jam & Spoon Trip-O-Matic Fairytale Mix) (7:50)
1-08 - Enigma - Age Of Loneliness (Jam & Spoon Remix) (6:30)
1-09 - Marilyn Manson - The Nobodies (Burn 36 Mix) (5:41)
1-10 - Jam & Spoon 's Hands On Yello - You Gotta Say Yes To Another Excess (Great Mission) (3:57)

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Jam & Spoon - Club Classics ( ^173mb)

2-01 - Follow Me! (12:29)
2-02 - Odyssey To Anyoona (10:00)
2-03 - Can You Feel It (9:22)
2-04 - My First Fantastic F.F. (7:23)
2-05 - I Pull My Gun Once (5:04)
2-06 - I Pull My Gun Twice (4:18)
2-07 - Stella (Original Mix) (6:19)
2-08 - Be.Angeled (Tribute To Mark Spoon) (Loveparade-Mix 2006) (7:55)
2-09 - Hispanos In Space (8:16)

diet versions
Jam & Spoon - Remixes ( * 99mb)
Jam & Spoon - Club Classics ( * 99mb)

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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 !