RhoDeo 1403 Roots

Hello,

Tanganyika and Zanzibar merged on 26 April 1964 to form the United Republic of Tanganyika and Zanzibar. On 29 October of the same year, the country was renamed United Republic of Tanzania. Over 100 different (tribal) languages are spoken in Tanzania, the first language typically learned by a Tanzanian is that of his or her ethnic group, with Swahili and English learned thereafter. Zanzibar is about 97 percent Muslim. On the mainland, Muslim communities are concentrated in coastal areas, with some large Muslim majorities also in inland urban areas especially and along the former caravan routes. The country is rich in wildlife and natural resources, much of it's arable land is still underused, in short plenty of potential for Tanzanians future, that is if its muslims can keep the fundamentalists at bay if not, there's plenty of old hatred left towards the muslim slavetraders of old and how quickly Christian and Muslim populations can be at eachothers throat can be seen currently in the Central African Republic.

The first popular music craze in Tanzania was in the early 1930s, when Cuban Rumba was widespread. Young Tanzanians organized themselves into dance clubs like the Dar es Salaam Jazz Band, which was founded in 1932. Local bands at the time used brass and percussion instruments, later adding strings. Bands like Morogoro Jazz and Tabora Jazz were formed. The 1970s saw the popularization a laid-back sound popularized by Orchestre Safari Sound and Orchestre Maquis Original. These groups adopted the motto "Kamanyola bila jasho" (dance Kamanyola without sweating). Maquis hailed from Lubumbashi in southeastern Zaire, moving to Dar es Salaam in the early 70s. This was a common move at the time, bringing elements of soukous from the Congo basin. Maquis introduced many new dances over the years. The most recent permutation of Tanzanian dance music is mchiriku. Bands like Gari Kubwa, Tokyo Ngma and Atomic Advantage are among the pioneers of this style, which uses four drums and a keyboard for a sparse sound.

Taarab music is a fusion of pre-Islamic Swahili tunes sung in rhythmic poetic style spiced with general Islamic melodies. It is an extremely lively art form springing from a classical culture, still immensely popular with women, drawing all the time from old and new sources. Taarab forms a major part of the social life of the Swahili people along the coastal areas; especially Zanzibar, Tanga and even further in Mombasa and Malindi along the Kenya coast. Wherever the Swahili speaking people travelled, Tarabu culture moved with them. These days a taarab revolution is taking place and much heated debate continues about the music which has been changed drastically. Today, taarab songs are explicit - sometimes even graphic - in sexual connotation, and much of the music of groups like Melody and Muungano is composed and played on keyboards, increasing portability, hence the group is much smaller in number than 'real taarab' orchestras and therefore more readily available to tour and play shows throughout the region and beyond.

Global popular culture, particularly U.S. hip hop, has played a major role in influencing Tanzanian culture since its independence. This is most evident among Tanzanian urban youth, who have absorbed global hip hop music and produced their own varieties... Bongo Flava

....N'joy

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A strong sampling of the popular and traditional music of these East African coastal neighbors, this covers most of the waterfront, although at least three omissions are worth noting -- the great Hukwe Zawose from Tanzania, probably the country's greatest living traditional musician, singer Remmy Ongala, and Kenya's Ayub Ogada, who's gone on to become quite a name on the European world music circuit. Get past that, however, and there's plenty to go at. It starts off with some engaging pop music from the grea Simba Wanyika, and contiues to get dancier and jazzier as the CD progesses. Listening to the first few songs, its easy to draw some parralels between this music, and say, Jazz or Carribean music, as well as certain west African music traditions (juju and afro-beat spring to mind). The Victoria Kings provide some driving benga music, perfectly typical of Kenya's most popular sound, while Simba Wanyika offers his personal take on the Swahili rumba he played for more than two decades. Singer Samba Mapangala has the title cut to his 1996 album Vunja Mifupa, with some fabulous guitar work and horns behind Kenya's greatest modern voice. From their own country, Mlimani Park Orchestra offer a quintessential Tanzanian dance music experience, with three guitars, horns, and some exquisite vocal harmonies propelling traditional melodies for an irresistible fusion. There's a strong Swahili culture (Taarab) across the countries, and stretching into Zanzibar, and this compilation does achieve balance by having that represented from the Culture Music Club (who do actually hail from Zanzibar) and Mombasa's Zein Musical Party. So while it may not be the all-inclusive album to do full justice to the region, it remains an excellent introduction, which was always the aim.

The Rough Guide To The Music Of Kenya and Tanzania   (flac  406mb)

01 Simba Wanyika - Mwongele 5:28
02 Victoria Kings - V.B. Pod Wamol 4:55
03 Samba Mapangala - Vunja Mifupa 5:31
04 D.O. Misiani & Shirati Jazz - Piny Ose Mer 5:49
05 Abana Ba Nasery - Esiesi Siolle 5:19
06 Henry Makobi - Likuta Bibi 3:52
07 Ogwang Lelo Okoth With Paddy J. Onono - Jacob Omolo 3:53
08 Master Musicians Of Tanzania - Tanzania Yetu 8:35
09 'Moheme' Dance Tanzania - Wagogo Initiation Dance 6:44
10 Milimani Park Orchestra - Edita 5:31
11 Juwata Jazz Band - Usia Kwa Watoto 6:30
12 Zein Musical Party - Mtindo Wa Mombasa 5:06
13 Culture Musical Club - Sibadili 4:51

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The East African nations of Kenya, Mozambique, Tanzania, Malawi, Uganda and Southern Somalia were all either a part of or heavily influenced by the Swahili civilization, whose prototype emerged as an indigenous civilization as early as 100 BC. The civilization flourished independent of foreign political domination until 1500 AD, when the combination of European Imperialism and Middle Eastern expansionists raped and pillaged the Swahili and forced them into a cycle of destruction against themselves and their neighbors inland. Regardless, the East African spirit has perservered and found independence through unity. Like Mali, whose ancient heritage has created a sophistication in their music that they lead Africa's musical creativity, the combined legacy of Tanzania's Swahili civilization and their remarkable inland people such as the Maasai can bring forth this country for the rest of the world to hear. If you want to hear the development of such unity in the form of classical Swahili music alongside Maasai youth embracing African American culture through Hip Hop, then there is no better place to start than this compilation.

On the East African coast, Tanzania has recently emerged from State control of its music to much greater independence. These days, instead of one mainstream -- muziki wa dansi -- there are three, including the Arabic-sounding taarab and the younger bongo flava that includes singers like Saida Karoli. On Rough Guide to the Music of Tanzania, Karoli performs in a spare, acoustic setting. The disc includes the R&B (with local influence) of Dataz and the hip-hop of X Plastaz. What sticks in the mind for than anything else, however, are the bands like Ottu Jazz Band or the late Ndala Kasheba, whose 12-string guitar powered his band on music influenced by Congolese soukous. The taarab really stands alone, a style utterly apart, and quite beautiful in its ornamentation. Compiler Werner Graebner has included a pair of more traditional tracks, one from the Master Musicians of Tanzania, founded by the late, great Hukwe Zawose.

Rough Guide To The Music Of Tanzania  (flac 398mb)

01 Vijana Jazz Band - Tambiko 5:59
02 X Plastaz - Dunia Dudumizi 4:25
03 Saida Karoli - Omukaile Kilinjwi 5:45
04 Ikhwani Safaa Musical Club - Vingaravyo 6:15
05 Mlimani Park Orchestra - Rehema 5:47
06 The Master Musicians Of Tanzania - Lukunzi 4:44
07 Mohammed Issa Matona - Msumeno 6:46
08 Ndala Kasheba - Nimlilie Nani? 5:27
09 Dataz - Mume Wa Mtu 4:33
10 Nia Safi & Imani Ngoma Group - Kibati 6:35
11 Ottu Jazz Band - Piga Ua 8:35

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Afric Simone (born 17 July 1956) is a singer, musician, and entertainer from Mozambique.[1] He entered the European charts with his first hit "Ramaya" in 1975, which was followed by another well-known song "Hafanana" (1975). He was very popular from 1975 to 1980 on both sides of the iron curtain. Simone toured the USSR, Poland, the GDR, and Czechoslovakia in the Eastern Bloc.
He was born in Brazil, to a Brazilian father and Mozambique-origin mother, but at the age of 9 (after his father's death) he and his mother had to move to her motherland Mozambique on the east coast of Africa, in the capital city Lourenço Marques, now Maputo. Once, when he appeared on stage in Maputo, his manager asked him to come to London. With first steps in show business in London, he has gathered invaluable experience for appearances in other European capitals. He gathered experience in doing gigs all over Europe. He was lucky that Eddie Barclay, the French record tycoon went to see a show in Paris. They immediately signed the contract.

Afric Simone speaks German, English, Portuguese, French, Spanish and various African languages, however his songs are written in the mixture of Swahili and few words from other languages. This idea resulted in a mixture of his own native tongue and European Happy Sound. Simone is also said to have pioneered the arts of Break Dancing and Beat Boxing as can be seen in his live performances, for instance in the televised performance of his song Playa Blanca c. 1975.Recently he settled in Germany (in Berlin) with a Russian wife whom he met a few years ago at the music festival "Discoteque 80's" in Moscow, and has been appearing in TV shows in France, Italy, Germany and Lithuania. The album here, Hafanana is defacto a reshuffled version of Afric's 75 album Ramaya

Afric Simone - Hafanana (flac  230mb)

01 Hafanana 2:59
02 Ramaya 3:29
03 Jumbo Jet 3:03
04 Vagabundo 3:42
05 Mira El Toro 3:15
06 Curare 4:51
07 Sahara 3:25
08 Salome 3:49
09 Wakididi 2:49
10 Piranha 2:52
11 Todo Pasara Maria 3:18

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RhoDeo 1403 LOTR 02

Hello,  just to put out some worrying news our governments aren't responsible for...the sun looks set to give planet earth a little less of its energy. No need to go apeshit but the case for global warming looks not really urgent the coming decades, in fact in Europe people can expect more of a freeze as on top of the suns minimum the warm gulfstream looks to get weaker and weaker this means Canadian style winters-and summers...skating away on the thin ice of a new day..lalalala


In 1981, the BBC again tackled "The Lord of the Rings", this time in a serial of twenty six 30-minute episodes.  This production was not
a condensed version, although it does leave out a number of events. Still, it is about as faithful to the book as one could reasonably
expect. The characterizations are excellent and music is very nicely done.  NJoy

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In 1981 the UK radio station BBC Radio 4 broadcast a dramatisation of J. R. R. Tolkien's The Lord of the Rings in 26 half-hour stereo installments. The serial was originally broadcast from 8 March to 30 August 1981 on BBC Radio 4 on Sundays from 12 Noon to 12:30pm.
The radio series follows the plot of the original novel (revised 1951 version) very closely, except for the addition of The Tale Bearer, a narrator whose account of the story is often interrupted and embellished by the protagonist Bilbo Baggins in the role of secondary narrator. The 1981 trilogy was adapted for radio by Brian Sibley and Michael Bakewell.  It was directed by Jane Morgan and Penny Leicester.  It is
voiced by some very fine British actors including Ian Holm as Frodo, Michael Hordon as Gandalf and Peter Woodthorpe as Gollum among others.

The 26-part series was subsequently edited into 13 hour-long episodes broadcast from 17 July to 9 October 1982, restoring some dialogue originally cut for timing (since each hour-long episode is actually around 57 minutes, as opposed to 54 minutes for two half-hour episodes with overlaps and extra credits removed), rearranging some scenes for dramatic impact and adding linking narration and music cues.

The re-edited version was released on both cassette tape and CD sets which also included the soundtrack album (noticeably taken from a vinyl copy). Incidentally, episode 8 of the series, The Voice of Saruman was labelled as The Voice of Sauron on the cassette & CD box sets.

Cast and credits

Narrator: Gerard Murphy
Frodo Baggins: Ian Holm
Gandalf the Grey/Gandalf the White: Michael Hordern
Aragorn (Strider): Robert Stephens
Sam Gamgee: Bill Nighy
Meriadoc Brandybuck (Merry): Richard O'Callaghan
Peregrin Took (Pippin): John McAndrew
Legolas: David Collings
Gimli: Douglas Livingstone
Boromir: Michael Graham Cox
Galadriel: Marian Diamond
Celeborn: Simon Cadell
Arwen Evenstar: Sonia Fraser
Saruman the White: Peter Howell
Elrond: Hugh Dickson
Bilbo Baggins: John Le Mesurier
Gollum/Sméagol: Peter Woodthorpe

Dramatisation: Brian Sibley and Michael Bakewell
Music: Stephen Oliver
Radiophonic sound: Elizabeth Parker
Produced and directed by Jane Morgan and Penny Leicester

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Lord Of The Rings 02 - The Black Riders (56 min 64mb)

2-01 Frodo sets out his long journey 7:16
2-02 Shadowfax 5:44
2-03 The Road Goes Ever On & On 25:04
2-04 Frodo Entertains at the The Pra 12:05
2-05 Gandalf's Letter 5:34

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previously,
Lord Of The Rings 01 - The Shadow Of The Past (56 min 65mb)


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Sundaze 1403

Hello,  one of those things I come across when researching the web is how many acts fail to put any information out there, it's not as if it's expensive or terribly timeconsuming, it's stupid that's what it is. So you get together and record something in order to be able to share it with the rest of the world and then ...nothing, nobody get's to hear about it. Admittedly many bands think it's the label's job but a lot of labels fail big time, they simply lack the insight and willingness to spend time and money and make use of the internet to reach their potentially huge client base and so it's up to the band to do their own thing , have a facebook account, twitter away, post vids on youtube, accumulate reviews hell it ain't exactly brainsurgery. Alas todays artist and his label are typical of this shortfall


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Harald Karla aka Jonson is an electronic music artist from germany who released his three albums Chiplandschaften, P_Composing and Mindlook on Mikrolux – a sublabel of Elektrolux. He's a seeker, constantly working the circuits and codes of his computer to elicit emotional as possible sounds.   ... N'Joy

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The Mikrolux label once again proves itself as an outstanding talent factory. The new member of the label’s artist family is named Jonson and is presenting a strong first release called „Chiplandschaften“.(=Chip environments)

More than two and a half years of work were invested into this debut and a great deal of this time, producer Harald Karla has put into the breathtaking production technique of his music: all tracks are based on 8-bit sounds only which the computer fetishist has exclusively created with an Commodore Amiga 1200. Step by step, the Amiga sounds then have been recorded manually with an Yamaha A5000 sampler and in another step have been further worked on. In this very rangy kind of work process, Jonson has produced all thirteen tracks plus two bonus tracks of his debut.

Not surprisingly, the album shows an incredibly unique sound, quiet, harmonic tracks are being mixed with subtle grooving beats („Autumnbits“), weightless worlds of sound („Tiefszene“, „r.e.s.a.m.p.l.e.“, „Prozessordenken“) invite you to float thoughtlessly. Finally, with the beautiful, song-like melodies of „Chiplandschaften“, Smallbitter“ or „Recyclestep“ it goes unsaid that Jonson already must be looked at as the uncrowned king of computer soul. Peaceful, harmonious together with grooving beats invite you into a thoughtless absent music.

Jonson - Chiplandschaften (flac  415mb)

01 8 Versus 16 6:27
02 Wide Chip 7:30
03 Chiplandschaften 1 4:46
04 November's Visitor 5:01
05 Tiefszene 2:58
06 R.E.S.A.M.P.L.E. 3:32
07 Autumnbits 1 7:05
08 8B-SQ 6:14
09 Prozessordenken 5:48
10 Smallbitter 2:54
11 Freeware 6:27
12 Recyclestep 6:52
13 Autumnbits 2 2:56
14 Chiplandschaften 2 5:09
15 Tiefszene Plugged 2:55

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Do computers have a soul? Are they able to create emotions by all those zeroes and ones and to develop an aesthetic interface for poetry and music? By his second album for Mikrolux, the Niederrhein-based sound researcher Harald Karla again explores the emotional subtext and harmonies in the binary code of his computer. This time, however, he strikes less strictly technical paths as with his 2005 debut album „Chiplandschaften“ completely made of Commodore Amiga 1200 samples (also released on Mikrolux). Thus, the natural romance of tracks like 'D.A.Y.R.A.I.N.', 'A.I.R.P.O.R.T.', 'S.Y.N.C.E.D.', 'A.K.U.S.T.I.K.E.R.' or 'B.R.I.T.T.L.E.' is even more surprising. These sounds are bewitching the listener and take him to sensual depths with apparently agravic ease. Selected from more than thirty productions from the past two and a half years, the fourteen tracks of 'p_composing' all represent the vision of reproducing ambient jazz by means of downtempo elektro.

Jonson - P Composing (flac 397mb)

01 S.C.E.N.E. O.N.E. 3:59
02 N.O. R.E.T.U.R.N. 4:56
03 S.C.E.N.E. T.W.O. 5:42
04 A.R.P.P.L.A.Y.I.N. 4:08
05 Q.U.I.N.T.U.M. 5:20
06 D.A.Y.R.A.I.N. 6:18
07 S.I.G.H.T.S.E.E.I.N.G. 3:10
08 A.I.R.P.O.R.T. 5:10
09 M.O.O.N.D.A.Y. 4:56
10 S.Y.N.C.E.D. 4:51
11 A.K.U.S.T.I.K.E.R. 5:13
12 W.H.E.R.E.O.N.E. 4:59
13 B.R.I.T.T.L.E. 7:37
14 N.O.V.E.M.B.E.R. N.I.G.H.T. 6:36

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Jonson is the alter ego of Harald Karla who has released three albums so far, Mindlook being the third and most prolific one, capturing a dark and arcane atmosphere. The themes of darkness and mystery are coupled with an aquatic setting that is aurally presented with synthesizer raindrops and low bass lines in many a song. Although comparisons with Vangelis wear thin, Mindlook sounds like it was written specifically for an unreleased Blade Runner entry that takes place primarily underwater. The permanent deep drones and the echoey fizzles evoke the feeling of being trapped in a submarine. Even though these elements sound rather clichéd as they have been featured time and again in movies about submarines, vaults and aliens, a whole album without distracting pictures is a totally different and paradoxically enhancing experience. Though not all track titles refer to the wettest of all ancient elements, the whole album is bursting due to the implied water masses that are in the mix. Jonson doesn‘t realize them with field recordings or synthesizer bubbles, but with whirling soundcarpets and deep rumbles that evoke the feelings of loneliness and amplify the raw power of the prevalent pressure underwater.

Fishsoup breathes and exemplifies the spirits which I have described heretofore: Deeply trembling bass lines, a submerged atmosphere and the hollow surroundings of a submarine mark the cinematic beginning. A beautiful piano melody is played, and though it is clear cut, it remains fragile and weak as the permanently heavy rumbles and incisive brake noises cause a richly textured, but lonely mood, as if the listener were swallowed by the ocean. Shine features eerie bass pulses and a distant blizzard. Synth vibes, reverberated strings and cold electronic howls create a feeling of calmness at first, but the tension rises with the addition of a short but pressing 4-note loop that is played along the other textures. Both tracks so far are really dark and intimidating. This doesn‘t change at all when Electro Rain begins with its rhythmical staccato of muffled rain drops and slow strings in the background. Sizzles wash over the listener and the permanent rumbles add deepness to a song which is otherwise illuminated with brighter elements, without being playful, naturally. From Here To Here, however, changes the formula for the first time by introducing a soothing coldness that is realized with synth strings, angelic synth pads and the omission of overly deep basslines or intensifying sibilance. Foretime is an ethereal Ambient tune similar to Thom Brennan‘s Vibrant Water album with a despaired mood, sublime synth pads and cold upswells and downfalls of synth strings. This song is rich in sound and doesn‘t leave room for empty spaces; every second is filled with ample synths, further broadening the range of style on Mindlook without causing a break in style.

In tranquillity lies the key to strength. After his releases „Chiplandschaften“ and „p_composing“,  sound searcher Jonson slowly but surely starts a new ambient decelerating process on his new album „Mindlook“. He uses spherical elements rather than beat and rhythm to consciously take a look inside and concentrating on the essential without red herring. His typical melodies which take some time to their full development, the individual tracks bring about sound images evoking very different associations in the respective listener. When getting totally involved with the album and finding yourself in atmosspheric sound scapes far away from the fast-paced everyday life, you will get to the very deepness of your inner soul

Jonson - Mindlook (flac 288mb)

01 Fishsoup 4:26
02 Shine 5:00
03 Electrorain 6:20
04 Fromheretothere 5:47
05 Moontoearth 5:53
06 Foretime 5:33
07 Septemberswinter 5:15
08 Reasonofsenses 7:05
09 Sleep 7:25
10 Fromtheoutside Part One 5:48
11 Futurewillbethepastofthepresent 7:10
12 Fromtheoutside Part Two 10:27

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RhoDeo 1402 Beats

Hello, not sure why but i watched another movie yesterday- this time I downloaded a dvd screener a format thats around a lot this time of the year as awards are being given, clearly illegal but hey so was the movie subject I tried to watch. It was tedious beyond belief why this director is worshipped so much in the US is beyond me. To me he's a sad little man who's lost all self respect and or respect for his public. After an hour i got irritated I forced myself to watch another 30 min and by that time i reached halfway and decided..enough! Doubtful i will ever see the other half of The Wolf Of Wallstreet, however Americans seem to love this kind of shite and have given it an 8.7 at IMDB thusfar. I guess some of them thought they were watching a modern Robin Hood fairy tale. Based on a true story, it was a tale of mindless low lives ripping off dumbasses, mr Scorsese seems to feel right at home with those kind of scumbags. I suppose Leonardo DiCaprio considered playing a bad guy for once was good for his Hollywood image, without any competition in the limelight and an A list director what could go wrong ? Being the lead in a immoral tale full of debauchery, fueled by greed and portraying this lowlife as an all american hero which considering the positive feedback this movie got from the American audience he did rather well, but I doubt it's a role he'll be proud of when he'll look back at his career one day.


These months Frenchies rule the beats and they have plenty to offer even though not that much reaches the world as  the music scene is rather dominated by the Anglo - American industry. Meanwhile the French enjoyed themselves in their own niche so to speak, and they did rather well. Today's artist, comes across as a lost but fancy hippy. His long hair, his strange but open-minded sense of humour and a life dedicated to art are the marks the French songwriter. Musically he is deep into elegant pop, inspired by soundtracks, classical composers as well as contemporary styles. ....... N'joy

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Sébastien Tellier is a multifaceted instrumentalist/singer from Paris, France's 17th Arrondissement, an elongated arts-and-culture-rich territory located near the Arc de Triomphe and the Champs Élysées. After Tellier's "Fantino," a forlorn and beautiful pop confection, appeared on the Source label's 1999 Source Material various-artists compilation, it caught the ear of fellow labelmates Nicolas Godin and Jean-Benoît Dunckel, better known as Air. The duo and their management team eventually signed Tellier to their own Record Makers imprint. Tellier recorded the tracks for his debut album, L'Incroyable Vérité (The Unbelievable Truth), between September 1999 and March 2000, playing most of the instruments and producing the sessions. L'Incroyable Vérité was released in June 2001.

Tellier's first album, L'incroyable Vérité (The Incredible Truth), was released in 2001. Tellier went on tour with Air in support of the album and was joined on stage by theremin player Pamelia Kurstin. L'incroyable Vérité is a pop album featuring styles from lo-fi electronica to bizarre cabaret tunes.Its sleeve featured Tellier in full evening dress on the front, while the back of jacket had a shot of him cavorting in a playboy's pool. He instructed listeners only to listen to the album by candlelight.

Tellier followed L'incroyable Vérité with his second studio album Politics (2005). A particularly popular song from Politics was "La Ritournelle", a string-led tune, which featured Nigerian drummer, Tony Allen who worked with Fela Kuti. "La Ritournelle" was remixed by various artists, notably in Britain by Metronomy.

Since the release of Politics, Tellier has also recorded an acoustic album of his more popular songs, Sessions (2006). The album was repackaged for the British market as Universe (2006), to include both highlights from the French CD, as well as compositions from Tellier's score for the film Narco. This compilation included a cover of La Dolce Vita, a song originally by French singer Christophe.

His third studio album Sexuality was produced by Guy-Manuel de Homem-Christo of Daft Punk. Like his previous album Politics, Tellier used a single term as title and theme of the album. Tellier's label Record Makers collaborated with retailer American Apparel for an exclusive three month pre-release of the album, whilst American Apparel sold limited edition versions of the Sexuality CD, LP and "Divine" 7" and 12" single through their North American stores and website.

On 7 March 2008, it was announced by Bruno Berberes, head of EBU delegation in France, that Tellier would represent France in the Eurovision Song Contest 2008. It was held in Belgrade on 24 May 2008. Tellier sang "Divine". This was the first time in the history of the contest that the nominated French entry was to be performed largely in English, which caused controversy, leading to Tellier pledging to increase the amount of French in the song prior to the competition itself. In total, the entry received 47 points.

In 2010 Tellier released an album of remixes of songs from Sexuality titled Sexuality Remix. He returned with new material in 2012 with My God Is Blue, a spiritually minded set of songs that featured a collaboration with de Homem-Christo on the title track. The following year saw the release of Confection, a collection of romantic instrumentals similar to his earliest albums, it was released in October 2013. The album was partially inspired by the death of Tellier's grandmother. Some of the music on it was intended to appear on a film soundtrack, but ended up not being used. In an interview with artistxite, Tellier noted: "You can say my grandmother's death as well as this nonexisting soundtrack had an impact on “Confection“. To me this has been a super strange situation. I was full of love for my grandmother and full of dedication to this soundtrack; "Confection" is the result of both of these emotional conditions."


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When Tellier set out to make an album, he didn't just want one that worked as a humorous concept album, but a good album as well. The problem is that the overly simplistic color scheme with which his protagonists paint the world aren't the best to use for a smart and intriguing album. In satire or parody (besides concept albums), there is always a straight man to frame and contrast the outlandish character or characters with whom he or she shares the stage. We sympathize with the straight man, but in this, we are the straight men, and thus contrast most the songs that work conceptually the best - and are inherently disinclined to enjoy them on a purely musical level.

But, again, Tellier is talented and did want to make a good album. Hence songs like La Ritournelle, the previously mentioned single and a beautiful stand out track on the album. Since it was made outside of the conceptual confines of Politics it is justifiable that it wouldn't fit the mold. However, I think that La Ritournelle's placement on the album is less of something we should look at as the focus of the struggle that any artist has in that sort of situation - quality vs. concept - and instead group it together with the songs that were made explicitly for placement on Politics yet have nothing political about them.

Wonderafrica, Zombi, Ketchup vs. Genocide and Benny perfectly embody the same spirit as the album art - blind patriotism and ignorance of anything negative. But there are two things wrong with these songs - firstly, Tellier compromises their musical quality in favor of their conceptual strength, and secondly, they all fit so poorly together that it's a wonder they're on the same album. Wonderafrica - a Disney-esque portrait of the continent from which its name derives - is synthetically chipper and full of awe in the way that someone might be in a Zoobooks ad; Zombi features militant radicals overtaking an apparently prominent news station; and Ketchup vs. Genocide is a disco-influenced piece about Native Americans and consumerism.

Then there's League Chicanos and Bye-Bye. Tellier gets his message across in LC and the music is quite enjoyable, and they both work, but they don't work together. They just happen to be part of the same song. It's quite a chaotic world into which Tellier brings us. Unfortunately, though, the good music isn't quite good or consistent enough to save the album, and its failure as a tight, coherent conceptual piece is disappointing enough to cast a shadow on the album. There's some gold in that mess, true enough, but whether you'll want to sift through to find it is more of a tough call.

Sebastien Tellier - Politics ( flac 256mb)

01 Bye-Bye 2:18
02 League Chicanos 3:12
03 Wonderafrica 5:07
04 Broadway 4:03
05 La Ritournelle 7:34
06 Benny 3:10
07 Slow Lynch 1:20
08 Mauer 3:18
09 La Tuerie 2:57
10 Ketchup Vs Genocide 3:45
11 Zombi 3:21

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Universe is not quite Sebastien Tellier's third album: in the great tradition of the Beatles' Yesterday...and Today, it's actually a compilation of all but one of the songs from Tellier's real third album, 2005's Sessions (the dropped song, "Kissed by You," is a perhaps overdramatic piano and voice ballad that's no big loss, and can be purchased online from the usual sources), and about half of his soundtrack to the 2006 film Narco. The latter songs include a beat-heavy remix of the hypnotic instrumental "La Ritournelle," which also appears here in its unadorned original form from Sessions. Yes, it's a bit confusing, but surprisingly, the moody, often orchestral instrumentals from Narco fit perfectly with the more traditional piano-driven singer/songwriter vibe of the songs from Sessions: it's not a stretch to imagine that all 14 of these songs were recorded in the same sessions. Besides "La Ritournelle," which quickly became both Tellier's signature song and a popular tune for licensing for film and TV use, highlights include a tender version of the cabaret classic "La Dolce Vita" recorded in tribute to the song's original singer Christophe, whom Tellier has called one of his biggest influences. The stripped down feel of much of the album, consisting mostly of Tellier's warm, close-miked vocals and a variety of electronic and acoustic keyboards, may be a surprise for those used to the more elaborate chamber pop feel of his earlier records, but it suits the simple, direct songs quite well.

Sebastien Tellier - Universe  (flac 271mb)

01 La Ballade Du Georges 4:24
02 La Ritournelle (Mr Dan's Mix) 3:21
03 Black Douleur 2:33
04 Dixi 2:23
05 Broadway 4:19
06 Le Long De La Rivière Tendre 3:05
07 La Dolce Vita 4:14
08 Le Démon Pupkin 3:34
09 Universe 4:14
10 Fantino 3:30
11 League Chicanos 4:08
12 La Ritournelle 5:36
13 Classic 2:45
14 Bye Bye 2:06
 
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Sebastien Tellier has, as the British music mags of the '70s used to put it, heavy friends: in his native France, he's signed to Air's boutique label, and this, his fourth album, was produced by Daft Punk's Guy-Manuel de Homem-Christo. Previous records have been intriguing and fitfully great mergings of modern French electronica and sophisticated chamber pop, but Sexuality is built almost entirely on the Air/Daft Punk model of vintage synthesizer sounds melded to canny pop songwriting. Unfortunately, it hews so closely to that concept that most of Tellier's own personality is lost. Nominally a concept album concerning the titular topic, Sexuality is too chilly and cerebral to be particularly erotic: even on "Pomme," the requisite homage to Serge Gainsbourg's sleaze pop epic "Je T'Aime, Moi Non Plus," the anonymous female moans in the background are curiously overt in their utter fakeness. There are some very good tracks here: the light-hearted "Divine" is a brilliant homage to early-'80s synth pop built on sampled voice fragments (like most of Trevor Horn's productions for the Art of Noise, Yes, and others circa 1984) and featuring the album's most immediately arresting melody. The Art of Noise comparison is even more apparent later, on the languid "Manty," which is built on loops of wordless female harmonies and a woman's fetching giggle that make it sound like a close cousin of the epic "Moments in Love." Elsewhere, the album's first single, the seven-minute instrumental "Sexual Sportswear," sounds like Air's take on vintage '70s synthesizer records like Jean-Michel Jarre's Oxygene, and is as curiously irresistible as that description suggests, and the equally retro clavinet sound that drives the hushed closer "L'Amour et la Violence" is pretty swell too. But too much of Sexuality consists of rote dance-pop songs like "Kilometre" and the utterly average slow jams "Elle" and "Une Heure,": pleasant enough tracks, but with little of the wit and invention of Tellier's best work.

Sebastien Tellier - Sexuality (flac 312mb)

01 Roche 5:01
02 Kilometer 4:18
03 Look 4:34
04 Divine 3:04
05 Pomme 3:31
06 Une Heure 3:51
07 Sexual Sportswear 7:17
08 Elle 4:37
09 Fingers Of Steel 5:15
10 Manty 3:31
11 L'Amour Et La Violence 5:22

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RhoDeo 1402 Goldy Rhox 143

Hello, today the 143rd post of GoldyRhox, classic pop rock in the darklight an American folk rock vocal group that recorded and performed from 1965 to 1968, reuniting briefly in 1971. They released five studio albums and seventeen singles, six of which made the top ten, and sold close to 40 million records worldwide. The group comprised John Phillips (1935–2001), Canadian Denny Doherty (1940–2007), Cass Elliot (1941–1974), and Michelle Phillips née Gilliam (b. 1944). Their sound was based on four-voice two-part vocal harmonies arranged by songwriter and leader, John Phillips, an innovator who adapted folk to the new "beat" style of the early sixties.

By the end of 1968 it appeared that the band was no more. Its chart performance had become increasingly erratic, with three of its last four singles failing on both sides of the Atlantic. As John Phillips recalled, "Times had changed. The Beatles showed the way. Music itself was heading toward a technological and compositional complexity that would leave many of us behind. It was tough to keep up. The group "made it official" at the beginning of 1969: "Dunhill released us from our contracts and we were history, though we still owed the label another album. It warned that each member of the group would be sued for $250,000 if they did not deliver . Thus the last album of new material, People Like Us, was released in November 1971.

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Most of the albums i 'll post made many millions for the music industry and a lot of what i intend to post still gets repackaged and remastered decades later, squeezing the last drop of profit out of bands that for the most part have ceased to exist long ago, although sometimes they get lured out of the mothballs to do a big bucks gig or tour. Now i'm not as naive to post this kinda music for all to see and have deleted, these will be a black box posts, i'm sorry for those on limited bandwidth but for most of you a gamble will get you a quality rip don't like it, deleting is just 2 clicks...That said i will try to accommodate somewhat and produce some cryptic info on the artist and or album.

Today's mystery album was released march 1966 it's the debut album by today's artists. The quartet's debut album, became its only number-one on the Billboard 200. The third and final single from the album, "Monday, Monday", was released in March 1966. It became the band's only number-one hit in the US, reached number three in the UK, and was the first number-one on Spain's new Los 40 Principales. "Monday, Monday" won the Grammy Award for Best Pop Performance by a Duo or Group with Vocals in 1967. It was also nominated for Best Performance by a Vocal Group, Best Contemporary Song, and Record of the Year. In 2003, today's mystery album was ranked #127 on Rolling Stone magazine's list of the 500 greatest albums of all time.

Today's mystery album is one of the first to have several different covers. The first cover featured the group in a bathroom sitting in a bathtub with a toilet in the corner. The album with this cover was pulled from stores after the toilet was declared indecent. The remaining covers featuring the toilet have since become collector's items. A second album cover was then released with a scroll over the toilet listing the presence of "California Dreamin'" on the album. Two more songs were later added to the scroll/box over the toilet. Still later, a Gold Record Award blurb was added (in black) to the left of the group. Finally, a later album cover was released with a closely cropped shot of the band surrounded by a black border that removed any hint that the picture was taken in a bathroom. Whatever, it remains a completely  banal cover.


Goldy Rhox 143   (flac 196mb)

Goldy Rhox 143   (ogg 82mb)

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RhoDeo 1402 Aetix

Hello, saw the movie 'Her' tonight , interesting view of the near future, to be honest i found it slightly frightening these AI OS's, far to 'smart' to stand idle these OS's go past serving their owner searching for their own meaning of life and let's face it we humans are hardly a good example, neuroses all over the place what else is there to talk about (think lauded HBO series Girls). Anyway Her that is Samantha the AI OS has many human 'avatars' she plays with...ah yes sentimental existentialism, anyway good consistency and worth the time.


Today's artists were one of the two American post-punk bands of the '80s that changed the direction of rock & roll. R.E.M. became a superstar band; They never was more than a cult favorite. Nevertheless, their albums between 1981 and 1987 have proven remarkably influential; they provided the sonic blueprint for the roaring punk-pop hybrid that crossed over into the mainstream in the early '90s. Not only did they shape the sound of the music, they shaped the way independent bands made the transition to the major labels; they showed other bands that it was possible to record uncompromising music on a major label without losing any integrity or creative control. Nearly every major and minor band that appeared in the alternative underground in the late '80s and '90s owed a major debt to them, whether they were aware of it or not. . . ....N'Joy

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The band's two songwriters, guitarist Bob Mould and drummer Grant Hart, both had a knack for writing songs that essentially followed conventional pop structures, complete with memorable melodies, but were still punk songs. Hüsker Dü took the Buzzcocks' pioneering punk-pop and made it harder, both musically and lyrically. Throughout their career, Hüsker Dü never lost their edge, never turned down their amplifiers, never compromised their music. While Hart and bassist Greg Norton were an unfailingly strong rhythm section, Mould would prove to be one of the most influential guitarists of the decade. With his slashing rhythms, distorted strumming, and blazing leads, he set the stage for the alternative guitar heroes of the late '80s and the '90s.

Hüsker Dü formed in Minneapolis, MN, in 1979. Guitarist/vocalist Bob Mould was studying at Macalester College in St. Paul, MN, and working at a record store, which is where he met drummer/vocalist Grant Hart and bassist Greg Norton. The three musicians had diverse tastes, but all shared a love for hardcore punk rock. Naming themselves Hüsker Dü after a '50s Danish board game (the name means "do you remember"), Mould has commented that they liked the somewhat mysterious qualities of the name, and that it set them apart from other hardcore punk groups with names. Mould also reported that while Hüsker Dü enjoyed much hardcore punk in general, they never thought of themselves as exclusively a hardcore group, and that their name was an attempt to avoid being pigeonholed. Hart, Mould, and Norton fired Pine during their first official performance, on March 30, 1979, and continued as a trio under the new name.

In the early '80s, Hüsker Dü developed a strong local following; nearly every local band, from the Replacements to Soul Asylum, sounded like the Hüskers. Both Mould and Hart wrote songs and sang lead. In 1981, they released their first single, "Statues," on the local label Reflex, which was quickly followed by their debut album, Land Speed Record, which was released on New Alliance Records. Recorded live, Land Speed Record boasted 17 songs that lasted a full 26 minutes. Later that year, they released an equally fast and hard EP, In a Free Land. In 1982, they moved backed to Reflex, where they released Everything Falls Apart, their first album recorded in a studio. By this time, Hüsker Dü had begun touring the United States relentlessly, traveling across the country in a van and playing small clubs. Along with the Minutemen, R.E.M., Black Flag, the Meat Puppets, and the Replacements, Hüsker Dü formed the core of a group of independent rock & roll bands that carved out a reputation for touring ceaselessly and getting their records played through college radio stations; they formed the core of the American rock underground in the mid-'80s. Hüsker Dü concerts were a nonstop barrage; the band rarely spoke to the audience and each song segued directly into the next, without interruption. In addition to touring constantly, Hüsker Dü was recording quickly, turning out the Metal Circus EP in 1983.

After Metal Circus, Hüsker Dü developed musically at a rapid pace, with Mould and Hart coming into their own as songwriters on 1984's Zen Arcade, their first album for SST Records and their critical breakthrough. Hüsker Dü recorded the double album Zen Arcade in 45 hours for the cost of $3,200. Zen Arcade is a concept album following a boy who leaves home to face a harsh and unforgiving world. Its artistic and conceptual ambitions were a great stretch, given the purist sentiment then prevalent in U.S. punk rock. Zen Arcade was a double album -- something that was completely unheard of in the underground -- that showed the band stretching out musically, writing sharper pop songs as well as lengthy abrasive instrumentals. It received critical praise and significant mainstream music press attention, ending up on several year end best-of lists; it also helped expand the band's audience beyond the punk community.[

Hüsker Dü continued to record and tour at a blindingly fast speed throughout 1984 and 1985. Mould and Hart were beginning to develop an unspoken rivalry as well as a dependency on alcohol and speed. Nevertheless, the group was at its peak in 1985, turning out two albums. The first, New Day Rising, was released in the spring and showed the band moving closer to concise pop songwriting while accentuating their fierce sonic barrage. Flip Your Wig, released late in 1985, featured their cleanest, most accessible production, without making any concessions to mainstream rock. Both albums received excellent reviews, both in fanzines and some mainstream rock publications. Some fans attending shows during '85-'86 may have been alienated by so much material, wanting to hear favorite hits. However, Husker Du was an example of a band that wanted to keep evolving, and perform new material.

During the recordings sessions for Flip Your Wig major label Warner Bros. Records approached Hüsker Dü and offered the group a recording contract. The band felt it had hit a sales ceiling that it could break through only with the help of a major label. The promise of retaining complete creative control over its music convinced the band to sign with the label. Mould also cites the distribution problems with SST as a reason for the move, mentioning that there would sometimes be no records to sign when the band would show up for promotional events. Hüsker Dü was not expected to sell a large amount of records. Rather, Warner Bros. valued the group for its grassroots fanbase and its "hip" status, and by keeping the overhead low the label anticipated the band would turn a profit. Ultimately they became the first of the mid-'80s independent post-punk bands to sign a contract with a major label, as they closed the deal with Warner Bros. Candy Apple Grey, the band's first major-label album, appeared in 1986, though Warner Bros. had initially lobbied to release Flip Your Wig until the band decided to let SST have it. Candy Apple Grey was the first Hüsker Dü album to chart on the Billboard Top 200, but despite receiving exposure on radio as well as MTV, it could get no higher than No. 140.

During that year, tensions between Mould and Hart escalated. Mould began to clean up and Hart continued to sink further into drug and alcohol addiction. Nevertheless, they managed to write and record another double album, Warehouse: Songs and Stories. Although Warner didn't want the band to release another double record, Warehouse was released in the spring of 1987, to uniformly positive reviews.
Hüsker Dü was preparing to launch a series of concerts to support Warehouse when their manager, David Savoy, committed suicide the night before the start of the tour. Hüsker played the tour anyway -- they ran through the new album in order every night, without interruption -- but Savoy's suicide helped the inner-band turmoil reach a peak. Hart showed no signs of sobering -- he was developing a heroin addiction -- while Mould was clean. The band dissolved after a show at The Blue Note in Columbia, Missouri on the 1987 tour. Hart was trying to quit heroin using a supply of methadone, but the bottle had leaked. Hart played the show, but Mould and Norton were concerned Hart would soon be suffering from withdrawal and thus would be unable to play the next few shows. While Hart insisted he could perform, Mould had already cancelled the dates. Hart quit the band four days later. Mould has said that the breakup was about "three people going their separate ways" at that time, referring to Hart's drug use and a new relationship, Norton's recent marriage and starting a new business, and Mould himself having just quit a lifelong drinking habit.

The Living End, a live collection taken from the band's final tour, was released after the band's demise. When asked to review the album, Mould asked his guitar tech to do so instead. He says he has never listened to the album.


Hart released a solo EP, 2541, on SST later that year, followed by a full-length album called Intolerance a year later. After its release, Hart shook loose his addictions and formed a new band, Nova Mob. Nova Mob released their debut album, The Last Days of Pompeii, in 1991; a self-titled second album appeared in 1994. Norton became a chef in Red Wing a restaurant he runs with his wife. Immediately after the breakup of Hüsker Dü, Mould embarked on a solo career. After releasing two solo albums -- Workbook (1989) and Black Sheets of Rain (1990) -- he formed a trio called Sugar in 1992. Between 1992 and 1994, Sugar released two albums: Copper Blue (1992) and File Under: Easy Listening (1994). Mould broke up the band in 1995 and returned to a solo career the following year, releasing to date 7 more solo albums, Bob Mould (1996)
The Last Dog and Pony Show (1998), Modulate (2002), Body of Song (2005), District Line (2008), Life And Times (2009) and Silver Age (2012).

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Spot -- SST's house producer who manned the boards for Zen Arcade and New Day Rising -- didn't produce Flip Your Wig, Hüsker Dü's second album of 1985, and the difference is immediately noticeable. Everything on Flip Your Wig is cleaner and brighter than on its two immediate predecessors, which is appropriate, considering that Bob Mould and Grant Hart have only increased their debt to '60s pop. The hooks and melodies are on the surface, right from the kick-start call-and-response of the title track. On paper, it might sound as if Hüsker Dü have watered down their hardcore ideals, but it doesn't play that way. Flip Your Wig is pop played as punk, as if this is the only time these songs could ever be heard. Which means Hart's love song "Green Eyes" and Mould's pure pop single "Makes No Sense at All" are delivered with the same rage and passion as Mould's blistering "Divide and Conquer" and Hart's "Keep Hanging On," or the pair of surging, neo-psychedelic and noise-wracked instrumentals that close the album. Flip Your Wig would be a remarkable record on its own terms, but the fact that it followed New Day Rising by a matter of months and Zen Arcade by just over a year is simply astonishing.

Hüsker Dü - Flip Your Wig  (flac 275mb)

01 Flip Your Wig 2:33
02 Every Everything 1:56
03 Makes No Sense At All 2:43
04 Hate Paper Doll 1:52
05 Green Eyes 2:58
06 Divide And Conquer 3:42
07 Games 4:06
08 Find Me 4:05
09 The Baby Song 0:46
10 Flexible Flyer 3:01
11 Private Plane 3:17
12 Keep Hanging On 3:15
13 The Wit & The Wisdom 3:41
14 Don't Know Yet 2:14

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Moving to a major label doesn't affect Hüsker Dü's sound greatly -- although the production is more full-bodied than Spot's razor-thin work, the Hüskers don't change their blazing attack at all. Much of Candy Apple Grey charges along on the same frenzied beat that propelled New Day Rising and Flip Your Wig, and both Bob Mould and Grant Hart are in fine form, spinning out fine punk-pop with "Sorry Somehow" and "Don't Want to Know If You Are Lonely." However, the sound is beginning to seem a bit tired, which is what makes Mould's two acoustic numbers, "Too Far Down" and "Hardly Getting Over It," so welcome. Demonstrating that punks can mature without losing their edge, Mould inverts the rules of conventional confessional singer/songwriter songs with these two haunting numbers, and in doing so, he illustrates the faults with the relatively staid post-hardcore punk that dominates the remainder of the record.

Husker Du - Candy Apple Grey  (flac 259mb)

01 Crystal 3:28
02 Don't Want To Know If You Are Lonely 3:29
03 I Don't Know For Sure 2:27
04 Sorry Somehow 4:25
05 Too Far Down 4:37
06 Hardly Getting Over It 6:02
07 Dead Set On Destruction 2:59
08 Eiffel Tower High 2:49
09 No Promise Have I Made 3:39
10 All This I've Done For You. 3:09

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It's cleaner and more produced than any of their records, which is one reason why many Hüsker Dü fans have never fully embraced their second double album, Warehouse: Songs and Stories. Granted, Warehouse boasts a fuller production -- complete with multi-tracked guitars and vocal, various percussion techniques, and endless studio effects -- that would have seemed out of place a mere two years before its release. However, Flip Your Wig and Candy Apple Grey both suggested this full-fledged pop production, and it's to Hüsker Dü's credit that they never sound like they are selling out with Warehouse. What they do sound like is breaking up. Although there was a schism apparent between Bob Mould and Grant Hart on Candy Apple Grey, they don't even sound like they are writing for the same band on Warehouse. But the individual songs on the album are powerhouses in their own right, as both songwriters exhibit a continuing sense of experimentation -- Hart writes a sea shanty with "She Floated Away" and uses bubbling percussion on "Charity, Chastity, Prudence, and Hope," while Mould nearly arrives at power pop with "Could You Be the One?" and touches on singer/songwriter-styled folk-rock with "No Reservations." Warehouse doesn't have the single-minded sense of purpose or eccentric sprawl of Zen Arcade, but as a collection of songs, it's of the first order. Furthermore, its stylish production -- which makes pop concessions without abandoning a punk ethos -- pointed the way to the kind of "alternative" rock that dominated the mainstream in the early '90s. In all, it was a fine way for one of the most important bands of the '80s to call it a day.

Hüsker Dü - Warehouse Songs and Stories  ( flac 499mb)

01 These Important Years 3:49
02 Charity, Chastity, Prudence And Hope 3:11
03 Standing In The Rain 3:41
04 Back From Somewhere 2:16
05 Ice Cold Ice 4:23
06 You're A Soldier 3:03
07 Could You Be The One? 2:32
08 Too Much Spice 2:57
09 Friend, You've Got To Fall 3:20
10 Visionary 2:30
11 She Floated Away 3:32
12 Bed Of Nails 4:44
13 Tell You Why Tomorrow 2:42
14 It's Not Peculiar 4:06
15 Actual Condition 1:50
16 No Reservations 3:40
17 Turn It Around 4:32
18 She's A Woman (And Now He Is A Man) 3:19
19 Up In The Air 3:03
20 You Can Live At Home 5:25

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RhoDeo 1402 Roots

Hello, today we move out of the environment that gave rise to the worlds monotheistic religions be that on the Arabian peninsula, here we stay in the Saharan/Sahel band stretching from the West-Atlantic coast to the highlands of Ethiopia in the east of the continent where we find the human voice creating joyous and sometimes eerie music, polyphony by people who learn from an early age to sing together out there on the Ethiopian highlands. Then we move south to Kenia

N'joy

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The Ari are highland farmers from the northwest corner of Ethiopia, and their community songs are simply remarkable. Making use of the full range of possibilities in the human voice by varying registers, timbres, and vowel resonance, they weave two or more countermelodies into grand polyphonies that are startling in their intricate, endlessly unfolding patterns. Occasionally accompanied by handclaps, tambourines, zithers, or flutes, it is difficult to not think of tape loops or synthesizers while listening to these 20 tracks, but it is human voices making this joyous, eerie music. The use of flutes here is also interesting, since generally there are two flutes moving in staggered melodies against and across each other, at times managing to sound somewhat like a wheezing calliope. Scholars and ethno-musicologists will undoubtedly get the greatest use from this disc, but it is stirring and strange enough to intrigue the casual listener as well.

Ethiopia - Ari Polyphonies  (flac 335mb)

01 Alla Killa 1:43
02 Shungi Ashta 3:37
03 Ishka 4:14
04 Babi Weyssa 3:31
05 Gogi Weyssa 1:29
06 Weya 6:08
07 Shungul Atri 3:44
08 Alla Geyscha 3:41
09 Shungi Gogi 3:18
10 Weyssa 9:24
11 Anipuq 2:44
12 Woni Lekha, Chant De Fauchage 5:12
13 Yesso 4:56
14 Shungul Shambuko 3:23
15 Lalare 5:10
16 Shungi Weya 1:06
17 Shungi Gayl 2:59
18 Shungi Dinkti 2:11
19 Shungi Ishka 2:14
20 Alla Killa 2:41

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The music of East Africa is far less familiar to most international aficionados those of Mali, Senegal, Congo or South Africa. But Kenya, in particular, offers a cornucopia of indelible grooves that demand to be heard and celebrated. Sultry yet sparkling Swahili rumba and local variations on the ubiquitous Congolese soukous trend (both descended from Cuban sources) exist side-by-side with crisp, throbbing Benga combos and graceful, earthy, Indian/Islamic-influenced Taarab orchestras. All make elegant, delicious listening but modern trends from the USA and elsewhere are also seeping in. Nyota Ndogo's sexy lead singer sounds like a saltier Sade on "Chereko" while Gidi Gidi Maji Maji's rap track "Ting Badi Malo" sounds like, well, hip-hop in another language. Pick hit: Suzzana Owiyo's "Kisumu" wherein dueling male and female lead singers and a sweet-sour chorus are underpinned by acoustic guitars and what sounds like Pygmy flutes, a Brazilian surdo drum and shrieking cuica. -

The detailed annotations by music compiler, Douglas Paterson, help even the seasoned world music listener to better tackle the daunting task of deciphering this record's varied music styles. Eleven featured artists represent four distinct Kenyan music styles namely, 1). Western Kenyan roots benga (D.O. Misiani & Shirati Jazz, Queen Jane, Kakai Kilonzo); 2). Mombasa or coastal Taarab (Miraj Juma & Jauhar Orchestra, Zuhura Swaleh & Mombasa Party); 3). Swahili Rhumba (Gelden Sounds Band) and, 4). Kenyan rap or the sounds of the new `hip-hop' generation (Nyota Ndogo, Gidi Gidi Maji Maji, Yunasi, Suzzana Owiyo, Kenge Kenge Orutu Systems).

No one's going to deny that the music of Kenya can be complex, drawing from many sources, but this compilation successfully and credibly reduces it to four main elements -- the home-grown, guitar and bass-driven benga sound, East African rhumba, which takes its inspiration from Congolese rhumba (which in turn is rooted in Cuban rhumba), the coastal Islamic taarab music, and some newer material which offers ideas ranging from updates of traditions to hip-hop. For Western listeners, the benga pieces are possibly the easiest on the ear, pulsing and rhythmic, with elastic basslines that curiously recall South Africa. It's infectious and very danceable, from the pioneering work of D.O. Misiani (who still presides over the genre), to singer Queen Jane. There's only one example of the rhumba style, which has mainly been the province of older musicians like the no longer extant Golden Sounds Band, whose "Hasidi Hana Sababu" is a prime example of the laid-back style. Rhumba does still exist in Kenya, but it's very much a dying art. That's not true for taarab, which is far more hypnotic, inflected with Arab and even Indian modes. Uniquely Swahili, it's most evident on the coast and in Zanzibar, and although it's most often heard at weddings, it's become a popular recorded music. Thankfully, a good portion of this CD is reserved for younger artists who are leading the way into the future. Nyota Ndogo, for instance, updates the taarab sound gorgeously, while Suzzana Owiyo proves to be a wonderful singer with a strong acoustic and traditional base to her music while still sounding contemporary. Gidi Gidi Maji Maji opt for hip-hop, and have become very popular in Kenya. However, the track included here seems to be nothing special, drawing more from America than anything at home. The excellent liner notes are succinct and straightforward, while still offering full explanations and background.

There is so much to be had on this introduction into the world of Kenya and East Africa. It provides many starting points into entirely separate tribal musics and styles, so that, for instance, a new benga fan can seek out the history of this traditional music’s heritage, digging deep for its forebears. Providing perspective and creating respect for other cultures’ music is the most important role in bringing this music to an international audience.

The Rough Guide To The Music Of Kenya (flac  383mb)

01 Queen Jane - Nduraga Ngwetereire 5:10
02 GidiGidi MajiMaji - Ting' Badi Malo 4:26
03 Nyota Ndogo - Chereko 3:16
04 Kakai Kilonzo - Mama Sofi, Pt. 2 4:00
05 Miraj Juma & Jauhar Orchestra - Muhogo 4:02
06 Suzzana Owiyo - Kisumu 100 6:33
07 Golden Sounds Band - Hasidi Hana Sababu 7:50
08 Yunasi - Yamala (Responsibility) 4:31
09 Daniel Owino Misiani & Shirati Jazz - Beatrice #4 7:21
10 Mombasa Party / Zuhura Swaleh - Tweta 4:43
11 Kakai Kilonzo - Mama Sofi, Pt. 1 5:11
12 Kenge Kenge Orutu Systems - Obura Jabilo 8:20

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Zairean vocalist and band leader Samba Mapangala has been a dominant figure in East African music since the mid-1970s. Arriving in Kampala, Uganda with his group, Les Kinois in 1975, they eventually made their way to Nairobi in 1977. The beginnings of the famous Virunga sound were already evident in their recordings prior to the breakup of Les Kinois in 1980. Shortly after that, Samba recorded the now famous Malako recordings in Nairobi with his newly formed Orchestra Virunga. The Malako LP was one of the pioneering releases of the newly emerging world music scene in Europe in the mid-1980s and an instant favorite. The style was typical of other East African groups of the time: a lean sound with complex, interlocking guitar lines; rapid-fire bass; light, fast-paced percussion; with horn or sax overlays. What was different about Samba and Virunga was the quality of the product. The songs began with Samba's catchy melodic lines and evolved over a nine or ten minute period through beautiful vocal harmonies and brilliant guitar and horn soloing. Samba's voice, even today, is unique among African vocalists for its pleasing quality and versatility.

Virunga's East African roots are, no doubt, one of the primary factors that set them apart from other Zairean bands. At the same time, it is perhaps because of their East African base that they haven't really had a chance to develop on the world music scene. The band has been hampered by work permit problems, Nairobi's deteriorating but expensive recording facilities, and Kenya's shrinking live music market that makes it difficult to keep a large band together. Samba Mapangala and Virunga went to UK in April 1991 and played 23 concerts, not surprisingly causing a terrific buzz. After celebrated journeys through Africa, Europe and North America, Virunga last toured in 1997. Samba then settled with his family in Washington D.C. Samba Mapangala made a triumphant return with his CD Ujumbe (The Message). Samba's albums to date include Virunga Volcano (1990), Evasion (1983), Feet on Fire (1991), Karibu Kenya (1995) recorded in Paris with Les Quatres Etoiles and other veteran musicians, Vunja Mifupa (1997) released on cassette in East Africa as Confusion and in 2001, Ujumbe. Virunga Roots Volume 1, featuring songs from the Orchestra Virunga archive, was released in 2005.

In 2000 Samba's presence at the Kenyan Jamhuri celebrations in London was one of the major highlights. His music is timeless, sounding as fresh after the 100th hearing it as it did the 1st. The lyrics, often containing advice or social commentary, are charming and interesting, the melodies  delightful, energetic and exuberant. In May 2004 Samba went on a 2-week concert tour in Tanzania after a 7-year absence. He performed with an all-star lineup of musicians based in Kenya and Tanzania. Samba's latest album is Song and Dance (2006) on virungarecords featuring Bopol and other great members of Orchestra Virunga. They promoted the album and other great hits during a very energetic UK tour in March 2006. Samba was in Kenya for a major event, Ecofest, on 4th June 2006 alongside other well-known Kenyan musicians. Samba and Orchestra Virunga were back in East Africa early in 2009 as they performed in Nairobi and at Zanzibar's Sauti za Busara festival. Towards the end of 2009 Samba joined forces with World Wildlife Fund and released a free mp3 download 'Les Gorilles des Mantagnes' (The Mountain Gorillas). The song calls for support of endangered and rare mountain gorillas in Virunga National Park.

Samba Mapangala xxxxx (flac 244mb)

01 Malako 9:03
02 Ahmet Sabit 9:21
03 Virunga 8:55
04 Yembele 10:08


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RhoDeo 1402 LOTR 1

Hello,  i was wondering if i should have a break in the Middle Earth saga's afterall according to it's creator Tolkien we jump 60 years when the story of 'precious' picks up again, Bilbo is still alive thanks to the life enhancing qualities of the ring and it's creator wants it back, which brings us to our first moral dilemma Sauron is the legitimate owner of the ring, however he intends to use it to destroy the good creatures of Middle Earth. Yes he's a very bad boy, it's decided his ring is to be destroyed by throwing it into the only working volcano at hand, which surprise surprise is smack in the middle of Sauron's powerbase, Bilbo's nephew Frodo takes it upon himself to keep under the radar and destroy the ring, obviously not without plenty of dangerous adventures and even his initial companions find plenty of misery on their path Ours lasts 3 months ..

In 1981, the BBC again tackled "The Lord of the Rings", this time in a serial of twenty six 30-minute episodes.  This production was not a condensed version, although it does leave out a number of events. Still, it is about as faithful to the book as one could reasonably expect. The characterizations are excellent and music is very nicely done.  NJoy

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In 1981 the UK radio station BBC Radio 4 broadcast a dramatisation of J. R. R. Tolkien's The Lord of the Rings in 26 half-hour stereo installments. The serial was originally broadcast from 8 March to 30 August 1981 on BBC Radio 4 on Sundays from 12 Noon to 12:30pm.
The radio series follows the plot of the original novel (revised 1951 version) very closely, except for the addition of The Tale Bearer, a narrator whose account of the story is often interrupted and embellished by the protagonist Bilbo Baggins in the role of secondary narrator. The 1981 trilogy was adapted for radio by Brian Sibley and Michael Bakewell.  It was directed by Jane Morgan and Penny Leicester.  It is
voiced by some very fine British actors including Ian Holm as Frodo, Michael Hordon as Gandalf and Peter Woodthorpe as Gollum among others.

The 26-part series was subsequently edited into 13 hour-long episodes broadcast from 17 July to 9 October 1982, restoring some dialogue originally cut for timing (since each hour-long episode is actually around 57 minutes, as opposed to 54 minutes for two half-hour episodes with overlaps and extra credits removed), rearranging some scenes for dramatic impact and adding linking narration and music cues.

The re-edited version was released on both cassette tape and CD sets which also included the soundtrack album (noticeably taken from a vinyl copy). Incidentally, episode 8 of the series, The Voice of Saruman was labelled as The Voice of Sauron on the cassette & CD box sets.

Cast and credits

Narrator: Gerard Murphy
Frodo Baggins: Ian Holm
Gandalf the Grey/Gandalf the White: Michael Hordern
Aragorn (Strider): Robert Stephens
Sam Gamgee: Bill Nighy
Meriadoc Brandybuck (Merry): Richard O'Callaghan
Peregrin Took (Pippin): John McAndrew
Legolas: David Collings
Gimli: Douglas Livingstone
Boromir: Michael Graham Cox
Galadriel: Marian Diamond
Celeborn: Simon Cadell
Arwen Evenstar: Sonia Fraser
Saruman the White: Peter Howell
Elrond: Hugh Dickson
Bilbo Baggins: John Le Mesurier
Gollum/Sméagol: Peter Woodthorpe

Dramatisation: Brian Sibley and Michael Bakewell
Music: Stephen Oliver
Radiophonic sound: Elizabeth Parker
Produced and directed by Jane Morgan and Penny Leicester

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Lord Of The Rings 01 - The Shadow Of The Past (56 min 65mb)

1-01 Opening Titles 13:10
1-02 A Long-Expected Party 8:13
1-03 Curse The Baggins 12:55
1-04 One Ring To Rule Them All 8:02
1-05 Frodo The Ring Bearer 13:56

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previously, that is The Hobbit

The Hobbit 01 An Unexpected Party (25mb)
The Hobbit 02 Out of the Frying-Pan into the Fire (25mb)
The Hobbit 03 Riddles in the Dark (25mb)
The Hobbit 04 Strange Lodgings (24mb)
The Hobbit 05 Barrels Out of Bond (24mb)
The Hobbit 06 A Warm Welcome (24mb)
The Hobbit 07 The Gathering of the Clouds (24mb)
The Hobbit 08 The Cloud Bursts (24mb)

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Sundaze 1402

Hello,  one of those things I come across when researching the web is how many acts fail to put any information out there, it's not as if it's expensive or terribly time consuming, it's stupid that's what it is. So you get together and record something in order to be able to share it with the rest of the world and then ...nothing, nobody get's to hear about it. Admittedly many bands think it's the label's job but a lot of labels fail big time, they simply lack the insight and willingness to spend time and money and make use of the internet to reach their potentially huge client base and so it's up to the band to do their own thing , have a facebook account, twitter away, post vids on youtube, accumulate reviews hell it ain't exactly brain-surgery.


Meanwhile N'Joy the fruits of a trio that when they started out described themselves as "abstract floating percussive illbient". Ah yes and out came something different as the working title, Drøn became their name on insistence of label boss Azary something that later came to haunt them.. Drøn gaves us 3 albums early this century, these are all here to ... N'Joy

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Ingo zobel, christoph abert and frederik dahlke. christoph and ingo were both born near frankfurt (1973 / 1969), frederik dahlke in munich (1973). all three discovered their passion for electronic music in the late eighties and early nineties. they frequently went to the legendary dorian gray, a techno club located in the catacombs of the frankfurt international airport. ingo also filtered into the underground electronic music scene with it's hidden party locations. frederik and christoph met ingo 1995 in a - by that time among producers well known - synthesizer store near frankfurt, where ingo worked. after a initial jam session they discovered, that despite different affections towards music, there was a common understanding, once described by the trio as "abstract floating percussive illbient". the first project was named "drøn", which initially was only a working title. but elektrolux' alex azary liked the name so much that it became the official project name. in 1999 the first track was released on a compilation, that track's name was "fortune cookie". another track from the same vintage was "rem", which finally became the opener of earth views 7, a german late night tv broadcast, playing electronic music while showing pictures and videos of the earth, taken from space. rem was also published on the spacenight no. 6 soundtrack cd and drøn's debut album "parsec". the basic synth pattern of the track is the sound of an ensoniq asr-10 sampler. the drum patterns were programmed on a roland tr 909 and manually altered during the recording of the track. drøn's second album "xenologix" delivered an unprecedented atmosphere. the third album "homeworld" was listed no. 1 of the german chillout album charts for several weeks. drøn's 12" "eve shores" stayed at no. 1 of the german chillout charts for three months in a row.

christoph, ingo and frederik started the project "signalform" in 2004. in contrast to drøn, signalform provides a more challenging and daring listening experience, incorporating recent influences from the equipment park of the three producers. the signalform debut album "private channel" was published in 2006 on shima records. the signalform studio is jammed with analogue synthesizers of all eras. the analogue modular system incorporates more than 200 modules of various, even exotic manufacturers. one of most interesting signalform projects is the remix battle with tachikoma, released on the spanish label "love the chaos" under the title "signalform vs tachikoma - understanding media".

drøn was formed by christoph abert, ingo zobel, frederik dahlke in summer 1997 and is still progressing.drøn chronicle
 1983 ingo got his first computer (c-64).
 1983 christoph got in touch with music via doing mix-tapes, first by cutting using one turntable and record/pause-technique, later trying ´real´ mixes.
1987 ingo started mixing and djing.
1989 frederik discovered music with a commodore amiga 4-track sequencer.
1992 frederik and christoph recorded their first collaborative track with a roland d-5 and a tr-909.
1992 christoph caught the virus and started collecting analogue equipment together with his brother.
1993 ingo bought his first musical instrument, an ensoniq asr-10 sampler.
1994 christoph and frederik did some parties together with other friends at various locations and one time they played a live set there, using an eps-sampler with a tr-909, tb-303 and a dj-mixer.
1995 frederik and christoph met ingo in a synthesizer store, where ingo worked.
1996 ingo started the spaced out club parties together with some close friends.
1997 christoph and frederik joined ingo at the spaced out club. they decided to do some music together. drøn was founded.
1997 september 1997 the spaced out club opened the last time.
1998 ingo had various dj-approaches at the orbital jazz club, located at cafekesselhaus darmstadt. drøn finished their first demo-cd.
1999 first compilation track released on elektrolux records.
1999 drøn did their first live set together 24.07. in wiesbaden.
2000 debut album, Parsec, released on elektrolux records.
2000 first radio dj set broadcasted at german hr-xxl chillout, aired 16.07. playlist
2000 first television broadcast 24.02. at br3 spacenight tv.
2001 2nd album, xenologix, and first remix released on elektrolux records.
2002 3rd album, Homeworld, and first 12", Eve Shores, released on mikrolux records.
2004 started the project "signalform"
2006 debut signalform with Private Channel  ‎
2007 release of Signalform vs. Tachikoma - Understanding Media

No known activities by the boys, looking at their age I would say most likely being daddy time, after all the fatherland needs men to procreate

2013 release of  Hd 188753 through own Drøn Release Network

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Producers Christoph Abert, Ingo Zobel and Frederik Dahlke are connected with one of the best known clubs around Frankfurt/Germany, the Cafe Kesselhaus in Darmstadt. With their project Drøn, they've already released one track on the latest Space Night, now their album Parsec is released on Elektrolux and brings more excursions between the worlds of Ambient, Listening and Drum & Bass.

Drøn - Parsec (flac  395mb)

01 Trilian 5:38
02 Rem 8:02
03 Kito 4:22
04 Gnat 7:58
05 Reboard 7:51
06 Wahtak 6:49
07 Taerk 10:11
08 Jabha 9:20
09 Pheon 11:16

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Dron offers some skittering electronic music on their album Xenologix. Although most of the tracks are backed by rhythmic elements (the peppy "Ski," for instance, skates by on icy percussion), others (like "Enhale") drift by entirely on ambience. Sustained chords and tinkling melodies prove for enjoyable music -- something best listened to late at night, preferably on headphones. On "Caltron," the humming tones and crackling sounds, like chitinous insects breaking apart, are both calming and disturbing. "Toob" is darker and slightly faster, while "3 AM Drive" retains the darkness but not the velocity. Go ahead, invite Xenologix into your home.

Drøn - Xenologix (flac 384mb)

01 Spool 4:14
02 Ski 4:13
03 Silkey 3:56
04 Enhale 6:55
05 Geos 6:00
06 Tubek 4:48
07 Flor 5:47
08 Caltron 7:05
09 Toob 3:22
10 3 A.M. Drive 4:57
11 Statik 5:04
12 (=dne 5:30
13 Plateau 7:14

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After two well received albums on Elektrolux ('Parsec’ and ‚Xenologix’) have gained them worldwide attention, Drøn come up with their third longplayer - this time to be released on Elektrolux’ sublabel Mikrolux. Never short of pushing and redirecting musical boundaries, production trio Drøn aka Frederik Dahlke, Christoph Abert and Ingo Zobel have always been frontrunners in the electronic listening community. „Homeworld“ showcases their musical development as well as their trademark sound by offering some deep floating electronica with a sophisticated edge. Sketching tomorrow’s soundtrack by bringing in a funky industrial and futuristic approach, spacey atmospherics and chopped up beats accompanied by quirky sounds. Their luscious dreamy vibe stands out from the tepid backround of modern music, fusing classic sounds with the latest cutting-edge electronic listening styles. Elegant in their composition and inspirational in their delivery, and like nothing else that you’ve ever heard. With „Homeworld“ Drøn are sure to strike new territory in the international music circuit.

Drøn - Homeworld (flac 380mb)

01 Base 54 5:36
02 Hamaya Beach 5:18
03 Halo 6:05
04 Aerosol 5:11
05 Nano 5:26
06 Impulse 6:29
07 Recon Sat 5:39
08 Bleen 4:00
09 Lag 7:15
10 Lander 6:42
11 Probe 7:21

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