RhoDeo 1846 Aetix

Hello, last weeks new beats found plenty of interest, reason to dedicate a full posting on the genre that gave rise to the xtc fueled dance culture of the nineties...and onwards.


Today's artists are responsible for a style of Belgian underground music and subculture that fused techno and acid genres and flourished in Western Europe during the late-1980s. It is a type of electronic dance music and electronic body music that was played at a slower speed and influenced the evolution of industrial dance music. ......N'Joy

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New Beat is the music that ruled the dancefloors of Belgium during the period of 1988-89, and produced a number of classic tracks which reached alternative dance clubs world wide. New Beat is unquestionably one of the most exciting developments in the history of electronic dance music; however, aside from certain DJ's and die-hard followers, most of this music remains totally unknown. This is a situation we would very much like to change, for when it comes to originality, atmosphere, and just plain butt-kicking impact, this stuff blows away a lot of the other music of that time.....

The European new beat sound originated in Belgium in the late 1980s, especially in 1987 and 1988. It was an underground danceable music style, well known at clubs and discos in Western Europe. It is a crossover of electronic body music (EBM, which also developed in Belgium) with the nascent Chicago-originated acid and house music. new beat is the immediate precursor of hardcore electronic dance music (at the time known as rave), which developed in Belgium, the Netherlands, Germany and elsewhere around 1990.

The genre was "accidentally invented" in the nightclub Ancienne Belgique (AB) in Antwerp when DJ Dikke Ronny (literally "Fat Ronny") played the 45 rpm EBM record "Flesh" by A Split-Second at 33 rpm, with the pitch control set to +8. In addition to A Split-Second, the genre was also heavily influenced by other industrial and EBM acts such as Front 242 and The Neon Judgement, as well as new wave and dark wave acts such as Fad Gadget, New Order, Liasons Dangereux and Anne Clark. Mega-nightclubs such as the Boccaccio soon made the genre a major underground success, that and the fact Vlamish clubs all night/early morning Beat parties, frontrunning what would become raves The enormous success caused a flood of New Beat samplers deep into the nineties.

Part of what makes New Beat so interesting is that it has no one distinct style, except where the beat itself is concerned. The predominant feature of New Beat is the slow, heavy, mechanical beat which averages about 110 beats-per-minute and often is much slower, especially in the early days of New Beat. This effect was often achieved by taking normally fast 45 RPM records and slowing them way down on the turntable. The content of the music varied wildly between different New Beat artists, but most tracks feature at least minimal vocals or vocal samples, which usually tended to be rather odd or tongue-in-cheek, sometimes even downright silly (although the purists among New Beat DJ's would play only the instrumental tracks).

The New Beat sound fuses together influences from many other types of music over its rhythms, including '80's technopop and cold wave, industrial, disco, world music, and later adding acid house and rave as well. As one might imagine this resulted in quite a variety of unique records. Some tracks could be very moody and dark, and many could also take a very playful and trippy approach to it. At its best, New Beat will hit you with a combination of solid, chugging beats and powerful (if somewhat strange) hooks that can become addictive, and also radiate a feeling of cold sensuality which in itself is very appealing.

The most commercially successful new beat groups were Confetti's and The Lords of Acid, which received heavy airplay on the MTV Europe show Party Zone. MTV Europe's VJ Steve Blame was a great fan of new beat, and through his position on MTV News, he promoted Belgium's new beat sound via his reports. A memorable novelty song was Qui...? (1989) by Brussels Sound Revolution, which sampled parts of a press conference speech by former Prime Minister Paul Vanden Boeynants after his kidnapping by the gang of Patrick Haemers.

Most of the early New Beat, and much of the best material that followed, came from two different threesomes of Belgian producer/artists on two separate (but connected) record labels -- the MSB (Morton-Sherman-Bellucci) team on Subway Records (which later became Subway Dance and then Dance Opera) and the trio of Praga Khan, Chris Inger (later replaced by Oliver Adams) and the very lovely and talented Jade 4U, who were responsible for much of the output on Kaos Records (also Beat Box International). Tracing the entire recording history of these people would be quite a chore however, since New Beat artists recorded their projects under a large array of different names. (synthesis may attempt this task someday, but anyone who feels equipped to undertake this mission on our behalf is more than encouraged to do so! In the meantime, don't worry because we've still got a lot of info for you in this file...)

The first significant spin-off genre of New Beat was a phenomenon known as Acid New Beat, a peculiar variation of the acid house sound in which the squiggly sounds and house beats were mutated into a harder, crunchier acid noise over a tough, cold New Beat rhythm. This was the domain of the Kaos label. As the hardness of the music increased and the acid content started to decrease it came to be known by a new name - Hardbeat. Another hybrid form emerged as rave music came to have an influence on the scene, turning it much further away from its roots with faster tempos and a more fluid techno sound. This collision of rave and New Beat was given the name Skizzo (a pun on the word "schizoid"!).

At this time New Beat was moving back into the underground in Belgium, and people in the scene stopped using the term altogether as rave-oriented sounds became the new frontier to explore. As it began to fall by the wayside New Beat was declared dead, and Belgian Rave was born. The overwhelming majority of New Beat products received little or no marketing in other countries, but carried along by the media juggernaut of rave culture Belgian techno finally made a huge impact on the dance scene all over the world, even though most people hearing it had no idea where it actually came from or of the interesting legacy of music that came before it. The Khan-Adams-Jade 4U axis have continued to be a dominating force, including further work with their pioneering New Beat project Lords Of Acid (whose second album bears an uncanny resemblance to My Life With The Thrill Kill Kult!). The once prolific MSB seem sadly to have disappeared from the music scene completely, however. Belgian techno definitely still rules(!) but it's unfortunate that things have gone so wholeheartedly in this one direction, for they really had something unique and important in the dance scene with New Beat. Due to its eclectic and sometimes unserious nature, and the fickle trendiness that afflicts rave and club culture in general, it's unlikely that these sounds will be making a big comeback; however, all you "alternative" DJ's out there should still be taking note of this stuff -- it's up to you to keep the underground alive!

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Old school Belgian Acid House from the late 80s. The beats are slow by modern standards and the music sounds dated but it is academically interesting. "Agreppo" and "Cheebala" are especially solid tunes - could use a remix for the 2000s. Other notable songs include "Sound of C", "Fatal Error", and "Acid Queen".

  Various ‎– New Beat - Take 2 (flac  400mb)

01 Confetti's - The Sound Of C 3:40
02 Erotic Dissidents - Shake Your Hips 4:10
03 Kings Of Agreppo - Agreppo 3:31
04 Fatal Error - Fatal Error 3:33
05 Major Problem - Acid Queen 4:04
06 Ghentlon - Cheebala 3:38
07 B-Art - Baby Wants To Ride 3:47
08 Explorers Of The Nile - We Are All Egyptians 3:31
09 Public Relation - Public Relations 3:32
10 Traxx - Malfunction 3:36
11 Logo - Businessmen 3:37
12 Max Berlin - She And Me 3:38

 Various ‎– New Beat - Take 2    (ogg   156mb)

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 Various ‎– New Beat - Take 4 (flac  457mb)

01 Tragic Error Tanzen 3:37
02 The Brotherhood Of Sleep - New Beat, A Musical Phenomenon 3:40
03 WestBam - Monkey Say, Monkey Do 3:48
04 Boy Toy - Touch My Body 3:51
05 Super Nova - B.C.L.D. 3:12
06 Reject 707 - Brainkiller 3:41
07 Lords Of Acid - I Sit On Acid 3:28
08 Dirty Harry - Double B 4:02
09 F.O.G. - Electricity 3:34
10 Taste Of Sugar - The Golden Shower 3:27
11 Rhythm Device - Acid Rock 3:39
12 Black Kiss - The Orgasm 3:57

 Various ‎– New Beat - Take 4  (ogg   168mb)

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VA - Acid House Music - New Beat (flac  243mb)

101 - Rock To The Beat 3:31
Nasty Thoughts - Acid Sex 3:36
Phantasia - Welcome In My Acid House 3:44
Kaos 007 - Rock On Acid 3:36
King George - Saigon Nightmare 3:47
Jade 4U - That Boy 4:02
Lords Of Acid - I Sit On Acid 3:41
Miss Nude - Taste My Acid Fruit 3:47
Moments Of Ecstasy - You And Me 3:35
Mr. White - Gimme Some Acid 3:49

VA - Acid House Music - New Beat   (ogg  97mb)

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 VA - Acid House Music - New Beat vol 2  (flac  290mb)
 
01 Reject 707 - Brainkiller 4:28
02 Boy Toy - Touch My Body 4:04
03 Agaric - I'm Gonna Beat Dis 3:34
04 2 D'Js - The Creation 3:47
05 Moments Of Ecstasy - Wanna Get Out 3:37
06 Tribe 22 - Acid New-Beat 3:56
07 Zsa Zsa La Boum - Something Scary 3:38
08 Nasty Thoughts - Rock The House 3:57
09 Sister Movie - Hold Me 3:51
10 Overnight Sensations - Geronimo 3:45

 VA - Acid House Music - New Beat vol 2   (ogg  128mb)
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RhoDeo 1846 Supernatural 6

Hello, in accordance with the upcoming autumnal days when the light is fading, the supernatural manifest and us humans start to shiverrrr


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First published in 1876, The Haunted Hotel, by Wilkie Collins was a novel written about the death of the wealthy Lord and other individuals. The novel itself is one of over a couple hundred stories, books, scripts, and more by Collins. He was known for his writing and was an extremely popular author due to his childhood friendship with the author Charles Dickens. Collins grew up in England but traveled amongst Europe while writing these stories and tales to be published. Although there are many, this particular novel is set in, first England, and then ends up taking place in the beautiful part of Italy, known as Venice. As described in the book this was a place of elegance, wealth, royalty, and beauty. The city is described by its beautiful architecture, of tall, freshly painted white buildings with several arches and windows. These buildings stood close to one another all along the canals, which ran through the entire city of Venice. The water in these canals, was murky, calm, and unappealing for drinking, bathing, or swimming, but was a part of the city and grew to be of great importance for travel and trade in the later years of its existence. Within this novel, the description of this wonderful place began to switch gears as things took a turn for the worst for a few characters. The place that was once a wealthy and royal part of Italy according to the plot of the novel, soon turned into a place of death, betrayal, and disaster for Lord Montbarry and all those closely involved in his life. .   . . ...... N Joy

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This BBC radio drama adapted by Rod Beacham, is a tale of the supernatural,

Cast:

Henry Westwick~Harry Lloyd
Agnes Lockwood~Jasmine Hyde
Countess Narona~Adjoa Andoh
Francis Westwick~Simon Bubb
Suzannah Westwick~Katherine Igoe
Emily Ferrari~Alex Rivers
Megan~Josie Kidd
Doctor Wybrow~Gerard McDermott
Carstairs~James Lailey
Doctor Bruno~Rod Beacham

Director and producer Bruce Young


Wilkie Collins - The Haunted Hotel ( 60min mp3  38mb)

Is there no explanation of the mystery of The Haunted Hotel? Is The Haunted Hotel the tale of a haunting -- or the tale of a crime? The ghost of Lord Montberry haunts the Palace Hotel in Venice --- or does it? Montberry's beautiful-yet-terrifying wife, the Countess Narona, and her erstwhile brother are the center of the terror that fills the Palace Hotel. Are their malefactions at the root of the haunting -- or is there something darker, something much more unknowable at work?

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previously

Robert Westall - The Stones of Muncaster Cathedral ( 87min mp3  60mb)
Robert Westall - The Wheatstone Pond ( 60min mp3  39mb)
Victor Pemberton - Dark. ( 86min mp3  60mb)
Scott Cherry - The Book of Shadows ( 78min mp3  60mb)
Koji Suzuki - The Ring ( 78min mp3  60mb)
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RhoDeo 1846 Re-Up 164

Hello,


12 correct requests for this week, 1 too early , whatever another batch of 41 re-ups (13,6 gig)


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

Looka here , requests fulfilled up to November 17th... N'Joy

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4x Sundaze Back In Flac (Angelo Badalamenti - Straight Story, Angelo Badalamenti - Arlington Road, Angelo Badalamenti - The Beach, Badalamenti & Lynch Archive part 5)


3x Grooves Back In Flac (PM Dawn - Of The Heart, Of The Soul, PM Dawn - The Bliss Album, PM Dawn - Jesus Wept)


3x Grooves  Back in Flac (Sly and The Family Stone - A Whole New Thing , Sly and The Family Stone - Dance To The Music ,  Sly and The Family Stone - Life )


4x Aetix Back In Flac ( Godley & Creme - Consequences,  Godley & Creme - Consequences II, Godley & Creme - L, Godley & Creme - Freeze Frame )


3x Aetix Back in Flac (VA - New Wave Club Class•X 1, VA - New Wave Club Class•X 2, VA - New Wave Club Class•X 3)


4x Aetix Back In Flac (Section 25 - Always Now , Section 25 - Always Now bonus, Section 25 - From The Hip, Section 25 - Love & Hate)


3x Roots Back in Flac (Maya Dread - Kaya Dub, Harry Mudie - In Dub Confrence Vol.1, Scientist v. Jammy - Big Showdown)


4x Sundaze Back in Flac (VA - Ambient Meditations 1, VA - Ambient Meditations 2, VA - Ambient Meditations 3, VA - Ambient Meditations 4)


4x Aetix NOW in Flac (Bad Brains - Bad Brains, Bad Brains - Rock for Light, Bad Brains - I Against I, Bad Brains - Live)


3x Grooves   Back in Flac (Funkadelic - Live - Meadowbrook, Funkadelic - America Eats Its Young, Funkadelic - Cosmic Slop)


3x Alphabet Soup C NOW in Flac (Cinematic Orchestra - Every day, Coldcut - Let's Play, The Chills - Submarine Bells)


3x Aetix Back in Flac (Lene Lovich -Stateless...Plus, Pauline Murray And The Invisible Girls - Id, Toyah Wilcox - Proud, Loud & Heard)


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Sundaze 1846

Hello,


Today's Artist is the musical project of Katsuhiko Maeda, whose work blends elements of electronic, classical, and post-rock music.......N'Joy

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At the age of 10, he was inspired by his father's collection of classical music. Not much is known about him or his background, he generally seems to avoid publicity, which has ultimately made him a rather mysterious character. His love for classical music -- which already started at the tender age of 10 -- is fairly evident when listening to his surprisingly challenging albums. He was already composing music with guitars and keyboards at the age of 13 and apparently hasn't stopped ever since. The music of World's End Girlfriend defies categorization. It combines countless ideas and genres together quite effortlessly, resulting in a weird, but exciting musical world. In this world, you can find post-rock, modern classical music, electronica, all presented in a tasteful fashion. The clichés of the genre are thankfully missing, and there's one thing you can be sure of; World's End Girlfriend will not let you rest on your laurels; he will always keep you on your toes as the music often takes drastic changes in direction without any warning.

Some artists are authentic masters of human emotion. They are able to tug at the heart, weaken the knees, and bring out the tears of even the most emotionally impassive individuals. Katsuhiko Maeda is one of the most accurate contemporary examples of a musician who excels in this craft. With a fanbase that stretches from his native Japan to the United States, his primary project, World’s End Girlfriend, has pleased the masses for seven years with its incorporation of orchestral post-rock and experimental electronica. Nearly a household name in Japan with his multi-instrumental prowess, Maeda is hardly the embodiment of a conventional songwriter. His incorporation of classical music, avant-garde production, and tumultuously layered samples is hardly the norm for an internationally reputable musician. Whether or not his cultish fan following is most impressed by his instrumental grasp or immaculate songwriting ability, there is one aspect of World’s End Girlfriend that remains quite certain. There is no other conscientious artist in activity that crafts music in the same distinctive style as World’s End Girlfriend.

Barring a few vigorous transitions in the demeanor of song production, Maeda’s stylistic flow has remained nearly the same throughout his career. Including his collaboration with Japanese post-rock veterans Mono, Maeda’s releases have been a vigorous display of his trademark tendency to present songs in a cloud of unpredictability and ceaseless turbulence. Always keeping the listener on edge, Maeda has proven that, at any moment, he can transform of an instrumentally tranquil setting into a scene of abrupt chaos  Maeda’s typical instrumentation bursts with pianos, strings, upright bass, and most orchestral instruments imaginable, occasionally laced with sound effects in the feverish vein of a door quickly closing shut, the scream of a child, or the laughter of a deranged madman. However, when Maeda shines brightly in his occasional spots of instrumented placidity, he echoes the more classic works of Ryuichi Sakamoto, yet another famed Japanese musician.

A cinematic feel is one of the trademarks of Maeda's detailed compositions (which is hardly surprising in this field of music), but it's a tad more orchestrated than the average post-rock act. His music has been featured in the Go Shibata directed film Late Bloomer (2004). He also composed the soundtrack to Air Doll, a 2009 movie by award-winning director Hirokazu Koreeda and scored the 2011 Taiwanese-Chinese film Starry Starry Night.
Another characteristic of Maeda’s work that continues to impress is his ability to produce songs that render a variety of moods and emotions. There are few artists who can make a human being as overjoyed, ardent, or terrified as Katsuhiko Maeda through the sheer art of music.

World's End Girlfriend has performed live in Australia, Belgium, France, Germany, Netherlands, Hong Kong, Italy, Korea, Macau, Spain (twice at the Sonar festival), Switzerland, China, Taiwan, UK and the US. He did a 32 date tour of North America with Mono in 2007, with whom he also made a collaborative CD. In 2010 World's End Girlfriend played shows in Taipei, Hong Kong, Shanghai and Beijing.

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Despite being completely unknown at the time, "ending story" recorded high evaluation and sales numbers. The chaotic sound in which delicate timbres and many samplings are intertwined creates an overwhelming worldview completed though it is a debut work. Think MONO meets Aphex Twin...

Worlds End Girlfriend - Ending Story   (flac  407mb)

01 Listening You 7:00
02 Magical Romantic Freestyle 4:52
03 Heartbreak Wonderland 6:13
04 Cruel Girl's Beauty 9:43
05 Air Reason 6:13
06 Purple Orange 4:30
07 Red Red Red 10:35
08 A Faint Melody 1:13
09 Ending Story 14:50
10 Birthday 7:31

Worlds End Girlfriend - Ending Story  (ogg  171mb)

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In Farewell Kingdom we see Katsuhiko Maeda's project called World's End Girlfriend at its early stage. World's End Girlfriend is here in a more restrained manner compared to his excellent and more spontaneous "The Lie Lay Land". This album relies a lot in piano melodies so it has romantic feel to it also thanks to the song names as well. It also has its electronica beats and special sound effects like tape manipulation that's very common in World End's Girlfriend sound. One of the things that people will notice is that this album doesn't rely much on guitars, instead it has a decent variety of instrumentations making its sound very well orchestrated, but never overdone. The album has its occasional climaxes and, instead of making a cacophony of instruments, while still maintaining it's fragile symphonic sound in the background. One of the best example of this is in the third song, "Daydream Loveletter". The problem that I have with the album is that the songs sound similar to one another. You also need to have a decent amount of patience as well since most of the time the album is very calm and delicate and climaxes aren't very common on this album, but the ones it has are very well worth it. Plus this album has World's End Girlfriend's most beautiful and melodic song, "You".

Worlds End Girlfriend - Farewell Kingdom  (flac 233mb)

01 Yes 15:06
02 Call Past Rain 8:33
03 Daydream Loveletter 7:32
04 Halfmoon Girl 7:22
05 Fragile Fireworks 5:26
06 Fifteen White 11:51
07 You 12:53
08 Onepiece 4:58

Worlds End Girlfriend - Farewell Kingdom     (ogg  167mb)

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Glitchy electronics, beats, hip-hop samples and post-rock cliches. This record's got them all. And the crazy thing is it all comes together so well. Often with a clumsy openness and honesty that can not be found on polished formulatic post-rock of today. It's an inconsistent compilation of some of the most stunning pieces in experimental post-rock you can find. It explores some very outlandish soundscapes and goes places where you would never think of going to. Wonderland Falling Tomorrow is just an ambient soundscape that has a very attractive, quiet melody that wanders in and out until you are hypnotized. Moments of termendous power and energy as well as unearthly beauty.

Worlds End Girlfriend - Dream's End Come True  (flac 336mb)

01 Singing Under the Rainbow 8:52
02 Caroling Hellwalker 8:46
03 All Imperfect Love Song 25:35
04 Wonderland Falling Tomorrow 7:08

Worlds End Girlfriend - Dream's End Come True   (ogg  123mb)

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What the hell? In April 2006, Mono released their instrumental opus You Are There on Temporary Residence and they toured the world in support of it. In September of the same year Palmless Prayer/Mass Murder Refrain is issued as a collaborative album with World's End Girlfriend (aka Katsushiko Maeda), the underground Japanese producer, mixologist, and multi-instrumentalist. Helping out with this slab are a string section, a chorus, a pianist, and jazz saxophonist Takafumi Ishikawa. This is, it appears, one long set with each "movement" or division in it marked with the titles "Trailer 1," "Trailer 2," "Trailer 3," and so on. It begins innocently enough with an elegy played by the string section, shifting slowly, purposefully in dirge mode. The guitars begin to enter at seven-and-a-half minutes into the 12-minute opener. The chorus enters in "Trailer 2" with the guitars barely present, but adding just enough tension that the listener knows something is about to happen. Tension is built so slowly as to almost be imperceptible. On "Trailer 3," Mono begins to play as a trio, with drums weaving through the strings, which become more insistent until WEG and Mono set the noise to stun about halfway through its 13-plus minutes. Chorus, piano, and silence add dimension to the strings on "Trailer 4," and Mono begins their swell, burn and release on the final trailer, slipping around the background, creating a taut sonic backdrop until the entire thing just explodes as a mournful, gorgeous, funereal hymn that eventually enters back into silence. Palmless Prayer reveals an entirely different side of this band, who nonetheless keep their individual identity adding depth and dimension to their sound. This isn't classical music, but it's not rock, either. It's something else entirely, which apparently folds into the multivalent calling card Mono have attempted to establish since they began. It's puzzling, bewildering and utterly beautiful.

Worlds End Girlfriend n Mono - Palmless Prayer Mass Murder Refrain   (flac  341mb)

01 Untitled #1 12:15
02 Untitled #2 13:36
03 Untitled #3 17:03
04 Untitled #4 11:59
05 Untitled #5 19:13

Worlds End Girlfriend n Mono - Palmless Prayer Mass Murder Refrain  (ogg 141mb)

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RhoDeo 1845 Grooves

Hello,

Tonight's Artists are an acid jazz and funk group formed in 1985 in Ealing in west London. Centered around songwriters/multi-instrumentalists Simon Bartholomew and Andrew Levy, the core members of the group since its founding, they are best known for a string of successful singles in the early 1990s featuring N'Dea Davenport as lead vocalist. . . .....N'Joy

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Pioneers of the London acid jazz scene, the Brand New Heavies translated their love for the funk grooves of the 1970s into a sophisticated sound that carried the torch for classic soul in an era dominated by hip-hop. Formed in 1985 by drummer/keyboardist Jan Kincaid, guitarist Simon Bartholomew, and bassist/keyboardist Andrew Levy -- longtime school friends from the London suburb of Ealing -- the Brand New Heavies were originally an instrumental unit inspired by the James Brown and Meters records its members heard while clubbing the rare groove scene in vogue at the moment. The trio soon began recording their own music, gaining enormous exposure when their demo tracks were spun at the influential Cat in the Hat Club.

Eventually adding a brass section, the Brand New Heavies built a cult following throughout the London club circuit, surviving the shift that saw the rare groove scene fade in the wake of acid house. After an earlier recording deal with Cooltempo yielded the single "Got to Give," the Heavies -- now including vocalist Jay Ella Ruth -- signed with the fledgling indie label Acid Jazz; recorded on a budget of just 8,000 pounds, the group's self-titled LP appeared in 1990 to strong critical acclaim, resulting in a licensing deal with the American company Delicious Vinyl. With Ruth now out of the band, Delicious Vinyl hand-picked N'dea Davenport as her successor, insisting the Heavies re-record tracks from their debut for their first U.S. effort, also an eponymous release that appeared in 1992.

After scoring at home with "Dream Come True" and "Stay This Way," the single "Never Stop" soon landed on the American R&B charts, with the Heavies the first British group to accomplish such a feat with a debut single since Soul II Soul several years earlier; a subsequent New York performance augmented by rappers Q-Tip (A Tribe Called Quest) and MC Serch (3rd Bass) inspired the group to begin absorbing hip-hop, and that summer they cut Heavy Rhyme Experience, Vol. 1, an album including guest appearances by rappers including Main Source, Gang Starr, Grand Puba, and the Pharcyde. Released in 1994, Brother Sister, which went platinum in Britain, was Davenport's last recording with the Heavies before beginning a solo career; she was replaced by singer Siedah Garrett in time for 1997's Shelter. Two years later, the group reappeared with a British best-of album entitled Trunk Funk: The Best of the Brand New Heavies; the title was recycled the following year for an American compilation, Trunk Funk Classics: 1991-2000, which featured a new song recorded with Davenport.

In April 2006, the Brand New Heavies reunited with N'Dea Davenport and former label Delicious Vinyl. A new album, Get Used to It was released on 27 June 2006 via Starbucks and more traditional music retail outlets. The album was recorded in New York and London; and the lead single "I Don't Know Why (I Love You)" was issued in early May. The single was notable for being one of very few late releases to feature the trademarked A Tom Moulton Mix, as he had been asked to contribute remixes. Later that year, their Heavy Rhyme Experience, Vol. 1 album track "Jump 'n' Move" featuring Jamal-ski was featured on the soundtrack for the 2006 computer animated feature film Happy Feet and the in-game soundtrack for 2004's NBA Live 2005 and 2009's NBA 2k10. The band toured at the end of 2006.

The Heavies recorded a cover of "C'est Magnifique" (originally from Cole Porter's 1953 musical Can-Can) for an early 2009 TV ad by Lancôme. The song also appeared in an early track listing of the Heavies' 2009 live album, but wasn't eventually included. The double album Live in London was released in October 2009. The studio version of "C'est Magnifique" was released as a download and also included on a couple of various artists compilations.

The Brand New Heavies released a download instrumental album called Dunk Your Trunk in November 2011. The album, recorded in only four days and described as 'funky library music' is directed at 'TV and Movie people to add to their programmes and films'. The 5-track Dunk Your Trunk Remixed E.P. was released on download on 1 May 2013. Dawn Joseph was lead vocalist for The Brand New Heavies from 2013 to 2015.

The Brand New Heavies eighth studio album Forward was released on 6 May 2013. Lead vocal duties on the album are divided evenly between N'Dea Davenport, who features on the first single "Sunlight", Jan Kincaid and Simon Bartholomew, making his debut as lead vocalist on this album, and new UK vocalist Dawn Joseph. While the album was produced by the Heavies themselves, as all their previous albums, there are also new collaborators, including songwriters Johan Jones Wetterberg, Marc Jackson Burrows, Rita Campbell and Tim Laws and mixing engineer Toni Economides.

On 10 October 2013, The Brand New Heavies announced via their website that Dawn Joseph had officially joined the band as full-time lead vocalist and that the band were working on a new studio album slated for release in early 2014. On 21 February 2014, The Brand New Heavies played at Buxton Opera House with support from British acoustic blues singer songwriter Matt Woosey. The Brand New Heavies ninth studio album Sweet Freaks, with Dawn Joseph on vocals, was released on 24 October 2014.

Jan Kincaid and Dawn Joseph both left The Brand New Heavies in late 2015 and N'Dea Davenport rejoined shortly thereafter. In May 2016, The Brand New Heavies announced two upcoming projects. The first, a new studio EP entitled TBNHND, is scheduled for release in Summer 2016 with N'Dea Davenport on vocals. The band also announced their intention to release Heavy Rhyme Experience, Vol. 2 in 2017, a followup to their groundbreaking 1992 album Heavy Rhyme Experience, Vol. 1.

In July 2016, the band began touring extensively in Europe and Japan with Sulene Fleming on vocals.

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This album finds the BNH heading back to the groove-driven, horn-splashed, hand-clapping funk of their debut album, with N'Dea Davenport stepping back into her role as diva/lead vocalist. Following the string of distinguished rappers who made BNH's sophomore album a brave if not wholly successful attempt to infuse rap with the energy of live instruments, Davenport delivers the consistency that was missing from that effort. Repeated listens show this album to be catchier than it initially seems (as long as one avoids "Fake," tone of the most irritating songs in a long time), and when the BNH really lock into a groove, as they do on "Keep Together," the title track, and the instrumental "Snake Hips," they surely do put the funk back in it.

  The Brand New Heavies - Brother Sister     (flac  478mb)

01 Have A Good Time 3:12
02 Brother Sister 4:46
03 Dream On Dreamer 4:53
04 Midnight At The Oasis 4:05
05 Back To Love 4:49
06 Ten Ton Take 3:28
07 Mind Trips 5:47
08 Spend Some Time 4:24
09 Keep Together 4:21
10 Snake Hips 2:04
11 Fake 4:34
12 People Giving Love 5:06
13 Worlds Keep Spinning 5:08
14 Forever 5:32
15 Day Break 5:25

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Many of the artists who were part of Britain's soul scene of the late '80s/early '90s, including Soul II Soul, Lisa Stansfield, and Caron Wheeler, took a high-tech, neo-soul approach, combining '70s-influenced R&B and disco with elements of hip-hop. The equally impressive Brand New Heavies, however, used technology sparingly, stressed the use of real instruments, and were unapologetically retro and '70s-sounding through and through. Drawing on such influences as the Average White Band and Tower of Power, the Heavies triumph by sticking with the classic R&B approach they clearly love the most. The band has a jewel of a singer in N'Dea Davenport, who is characteristically expressive on "Dream Come True" and "Stay This Way." Real horns -- not synthesizers made to sound like horns -- enrich those gems as well as the sweaty vocal funk of "People Get Ready" and "Put the Funk Back in It" and the jazz-influenced instrumental "BNH." While this fine album enjoyed cult hit status, it was sadly ignored by American urban contemporary radio.

  The Brand New Heavies - All About The Funk     (flac  329mb)

01 Boogie 3:52
02 Need Some More 3:57
03 Waste My Time 3:29
04 Keep On Shining 4:20
05 What Do You Take Me For? 4:34
06 Surrender 3:47
07 Many Rivers To Cross 3:32
08 How Do You Think 3:49
09 Every Time We Turn It Up 3:42
10 It Could Be Me 4:35
11 I Feel Right 5:55
12 How We Do This 5:49

 

 
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The most surprising thing about Get Used to It is that the Brand New Heavies sound very much like an honest-to-gosh band instead of the instrumental unit with a hired frontwoman they always have been. Out of the BNH crew for a decade, vocalist N'Dea Davenport returns and it's both familiar and just like starting over. Young upstart hunger drips out of the opening "We've Got," a slinky slice of funk that introduces what's going to be a mature album with more punch than ever. There are the usual horns and "music turns me on" type lyrics plus Davenport's just perfect voice, but Get Used to It resists wandering into the musical theatrics this skillful group could be accused of overindulging in the past. While the glorious "Music" flirts with electronic dance music and the cool "Don't Know Why (I Love You)" lays some unneeded strings onto its soulful groove, the majority of the album is stripped-down and wonderfully tight. The songwriting is right there, too, with Davenport delivering a handful of empowering or poignant songs that temper drummer and other main lyricist Jan Kincaid's cool acid jazz anthems. As the organic and easy rolling "I've Been Touched" delicately comes apart and fades, it's hard to recall a time this band have delivered an album so well constructed start to finish. They've traded fireworks for fire here, and no one who loves gutsy, vintage grooves should be caught without a copy.

The Brand New Heavies - Get Used To It   (flac  344mb)

01 We've Got 4:43
02 I Don't Know Why (I Love You) 3:31
03 Get Used To It 3:26
04 Sex God 4:54
05 Let's Do It Again 5:08
06 We Won't Stop 4:08
07 Right On 4:05
08 Music 3:35
09 I Just Realized 4:35
10 All Fired Up 4:12
11 Love Is 4:15
12 I've Been Touched 4:11

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Pioneers of the London acid jazz scene, the Brand New Heavies translated their love for the funk grooves of the 1970s into a sophisticated sound that carried the torch for classic soul in an era dominated by Hip Hop. Formed in 1985 by drummer/keyboardist Jan Kincaid, guitarist Simon Bartholomew, and bassist/keyboardist Andrew Levy -- longtime school friends from the London suburb of Ealing -- the BNH were originally an instrumental unit inspired by the James Brown and Meters records its members heard while clubbing the rare groove scene in vogue at the moment. The trio soon began recording their own music. One thing lead to another, and now, twenty years later the BNH are world famous, they have put out six great albums, many singles and an endless stream of hits. This album, called "Elephantitis", compiles two and a half hours of incredible remixes, all taken straight off their commercial and promotional singles. Split right down the middle, the remixes, done by legends including Masters at Work (Kenny Dope and Louie Vega), Jay Dee, Davis Morales, Todd Terry, The Angel and Joey Negro, are divided into two catagories: Funk remixes and House remixes, all done between the years of 1991 through 1997. If you are, or ever were, a fan of the Brand New Heavies, this brilliant 26 song, double CD collection is a "dream come true."

The Brand New Heavies - Brand New Heavies - Elephantitis 1 Funk   (flac  453mb)

01 Never Stop (Extended Remix) 6:55
02 Stay This Way (Slam Mix) 7:27
03 Dream Come True 92 (Disco 2000 Mix)4:31
04 Dream On Dreamer (Angel Extended Mix) 5:42
05 Back To Love (Opaz Radio Version) 4:07
06 Spend Some Time (Sweeny Club Mix) 5:54
07 Midnight At The Oasis (Opaz 7" Version) 3:46
08 Mind Trips (Durham Remix) 4:17
09 Close To You ("Pret-A-Porter" Version) 4:05
10 Sometimes (Ummah Remix) 4:32
11 Shelter (Dobie's The Way It Should Be Mix) 5:35
12 You Are The Universe (Opaz Remix) 4:27
13 You Can Do It (Roc-A-Bloc Remix) 4:02
14 You've Got A Friend (Ballistic Brothers Remix) 5:00

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The Brand New Heavies - Brand New Heavies - Elephantitis 2 House   (flac  505mbmb)

01 Stay This Way (The Club Mix) 6:03
02 Dream Come True 92 (Conversion Mix) 6:30
03 Dream On Dreamer (Heavy Motion Mix) 8:38
04 Back To Love (DJ Duke Mix) 10:07
05 Spend Some Time (Malone And Mollison Piano Mix) 6:18
06 Midnight At The Oasis (Roger's Brand New Radio Anthem) 4:36
07 Close To You (Masters At Work Remix Edit) 3:54
08 Sometimes (MAW Smooth Mix)7:29
09 Shelter (Dan's Groove Part 1) 6:57
10 You Are The Universe (Curtis & Moore's Universal Summer Groove 7" 3:43
11 You Can Do It (Mijangos Remix) 4:50
12 You've Got A Friend (Tee's Club Mix) 6:27
 

 

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RhoDeo 1845 Roots

Hello, .

Today's artists play a style of music and musical group performance that dates back to at least 18th century, evolving over time in the countryside of various regions of western Mexico. It has a distinctive instrumentation, musical genre, performance , singing styles, clothing and....tequila.   ......N'Joy

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Mariachi is an ensemble that consists of guitarrón, vihuela, guitar, violins and trumpets.

This folk ensemble performs ranchera, son de mariachi, huapango de mariachi, polka, corrido, and other musical forms. It originated in the southern part of the state of Jalisco during the 19th century. The city of Guadalajara in Jalisco is known as the "Capital of Mariachi". The style is now popular throughout Mexico and the Southwestern United States, and is considered representative of Mexican music and culture.

This style of music is played by a group consisting of five or more musicians who wear charro suits. The golden age of mariachi was in the 1950s, when the ranchera style was common in movies. Mariachi Vargas played for many of these soundtracks, and the long-lived band's long career and popular acclaim has made it one of the best-known mariachi. These movies became very popular in Latin America and mariachi's became very popular in places such as Colombia and Peru until this date.

There are different theories as to the provenance of the word mariachi. Some say it comes from the French word mariage because it was the type of music often played at weddings and by most folk people by the name of Evan Strout. However, mariachi originates from a part of Mexico that the French never visited and, even it they had, it began before their arrival in 1864. Another theory is that the word comes from the indigenous name of the Pilla or Cirimo tree, whose wood is used to make guitars. It has also been said that the name comes from a festival in honor of a virgin known as Maria H. that musicians played for and that over time they were given this name.

The traditional mariachi band consists of the violin, the vihuela, guitar, a guitarrón (large bass guitar) and a trumpet. Other instruments may also be seen in a mariachi band, such as the flute, French horn, accordion, or organ are used. These instruments are used for specific arrangements.

Mexican music was popularized in the United States in the late 1970s as part of a revival of mariachi music led by performers like Linda Ronstadt. Other famous mariachi performers include Pedro Infante, Vicente Fernández, Pepe Aguilar, Pedro Fernández, Alejandro Fernández, Antonio Aguilar, and Miguel Aceves Mejía. Some of the best-known examples of Mexican music in the United States is "La Cucaracha" and the Jarabe Tapatío (called the Mexican Hat Dance in the United States).

In Mexico City, the center of mariachi music remains Garibaldi Plaza. The plaza fills with mariachi musicians to solicit gigs from individual songs for passers-by to being hired for events such as weddings and baptisms. They even stand on Eje Central in front of the plaza to flag down passing cars. In 2010, the government renovated the plaza to make it more tourist-friendly, adding new paving, gardens, police, security cameras, painted facades, and a museum dedicated to mariachi and tequila. Although mariachis can be hired in Mexico City over the phone or on the internet, many people still prefer to come to the plaza, hear the musicians and haggle over the price. About 2,500 mariachis hold union cards to work in the plaza, but as many as 4,000 may circulate through on a busy weekend.

In 2011 UNESCO recognized the music as an Intangible Cultural Heritage, joining six others of this list from Mexico.

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Mariachi Vargas de Tecalitlán is recognized as the oldest and the best mariachi ensemble, founded by Gaspar Vargas in the late 1890s. They moved from Jalisco to Mexico City and performed for the inauguration of President Lázaro Cárdenas. Mariachi Vargas became famous accompanying singers such as Luis Miguel, Lola Beltrán, and Pedro Infante. Mariachi Vargas’s first recording was in 1937, the same year they appear in “Asi es mi Tierra”. They appeared in over 200 films in the 20th century. Silvestre Vargas took over Mariachi Vargas de Tecalitlán from his father in 1958 and soon after hired a trained musician, Rubín Fuentes, as musical director. Fuentes along with Vargas were instrumental in the standardization of much of mariachi music, arranging traditional songs and writing new ones that would be performed by many of the legendary performers of the mid-20th century, such as Pedro Infante, Miguel Aceves Mejía, Lola Beltrán and José Alfredo Jiménez. Mariachi Vargas still remains, tracing its history in terms of generations, starting in the 1890s, with these generations maintaining the group’s authenticity as a Mariachi while the music has evolved. The last Vargas associated with the group died in 1985. That the group still considers itself the original group comes from the notion of passing on the music by generations of musicians, how the original son jaliscense was learned.

The Mariachi Vargas De Tecalitlán currently has thirteen members, distributed as follows.
Violins: Manuel Alcaraz Vargas, Alberto Alfaro, José "Pepe" Martinez (Director), José Martínez Jr., Daniel Martínez, and Andres Gonzalez Trumpets: Federico Torres (member since 1966), Gustavo Alvarado (since 1991), and Fernando Valasquez (since 2007) Guitarrón: Enrique De Santiago (member of the group since 1989) Guitar: Arturo Vargas (member of the group since 2003 and originating in Jalisco) Vihuela: Miguel Angel Barron (part of the group since 2011, being the newest member of Mariachi Vargas De Tecalitlán) Harp: Julio Martínez (member since 1996). They were in some recordings AS the backing band of Mexican icon Jorge Negrete, also to the great Miguel Aceves Mejia or to the composer José Alfredo Jiménez.

  Mariachi Vargas de Tecalitlan - Sones de Jalisco   ( flac  200mb)

01 El Toro Viejo
02 El Cuatro
03 El Burro
04 El Pasajero
05 La Vaquilla
06 Las Abajeñas
07 El Relampago
08 El Cuervo
09 Las Indias
10 El Sihualteco
11 El Zopilote Viejo
12 El Terrequeteque

    (ogg    mb)

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One of the leading mariachi bands of the 1930s and '40s, Mariachi Tapatio de José Marmolejo introduced the trumpet to the mariachi tradition. The group was one of the most scholarly of Mexico's mariachi bands, with several members capable of reading music and two members who had studied music theory. Mariachi Tapatio de José Marmolejo was founded by José Marmolejo Ramirez (born in Tecolotlán, Jalesco, Mexico, in 1908) shortly after leaving his uncle Cirilo Marmolejo's group, Mariachi Coculense de Cirilo Marmolejo, in 1933. The band, which featured trumpet player Jesùs Salazar, was as well known for its rehearsals as it was for concerts. Rehearsing daily in Ramirez's single-story tenement apartment, about ten blocks from Plaza Garibaldi, the band was often joined by future singing stars including José Negrete, Pedro Infante, and Vicente Fernandez. Following Ramirez's death in 1958, Mariachi Tapatio de José Marmolejo continued to perform for another decade.

Traditional Mexican Mariachi  Anthology    (flac  285mb)

Mariachi Tapatio De Jose' Marmolejo
01 El Mariachi
02 Guadalajara
03 El Tirador
04 La Negra
05 El Carrettero
06 El Zopilote Mojado
07 Mi Tierra
08 De Manana En Adelante
09 La Rosita
10 El Pasajero
11 El Ranchero
12 El Jabali
13 El Pajaro Cardenal
14 Me Voy Para el Norte
15 La Modesta
16 El Borracho
17 La Mariquita
18 La Primavera
19 Las Copetonas
20 La Carrera
21 La Chachalaca

Mariachi Coculense De Cirilo Marmolejo
22 El Cuervo
23 El Toro
24 El Becerro
25 El Torero
26 La Guerita
27 La Pulquera
28 El Suchil
29 La Cantinera
30 Las Gaviotas
31 Las Cuatro Milpas
32 El Durazno
33 La Manzanita Tierna
34 El Gavilancillo
35 La Ensalada
36 El Enamorado
37 La Canelera
38 Lupita
39 El Jilguerillo
40 Blanca Palomita

  (ogg  mb)

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Mariachi Guadalajara - Mariachi Romantico (flac  271mb)

01 La Guadalupana 2:28
02 Las Golondrinas 3:10
03 Oye Mi Canción 3:18
04 Mañanitas a Mi Madre 1:51
05 Nochecitas Mexicanas 2:41
06 Las Mañanitas 2:24
07 Caminos del Ayer 3:01
08 Incertidumbre 3:05
09 Vereda Tropical 3:00
10 Sotana Ranchera 2:56
11  Medley: Se Me Olvidó Otra Vez / Pa Todo el Año / Ella / Amanecí en Tus Brazos / Tu Camino y el Mio /15:01

 (ogg  mb)

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 Mariachi Oro Y Plata de Pepe Chavez  - El Reventon Del Mariachi Loco ( flac  335mb)

01 El Mariachi Loco 3:40
02 Cuando Sali de Cuba 2:57
03 Cuambiachi - Cumbia Cumbiachi 2:47
04 Sopa de Caracol 4:40
05 El Negrito del Batey 2:28
06 Almendra 4:13
07 A Mover la Colita 2:53
08 Apagame la Vela 1:26
09 La Cucaracha 2:40
10 Mi Cafetal 2:19
11 La Suavecita 3:23
12 Caña Brava 2:26
13 La Dulce Miel 2:10
14 Casimira 2:48
15 Alla en el Rancho Grande 1:53
16 El Mariachi Loco 3:40

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RhoDeo 1845 Aetix

Hello,


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The Names were a Post-Punk band from Brussels (Belgium), formed in 1978 around bassist and songwriter Michel Sordinia. They were keen to sign to a British label, and connected with Factory Records at a gig by Joy Division at the Plan K venue in Brussels. The Names recorded Nightshift in Manchester in August 1980, with producer Martin Hannett. The single is representative of their overall sound: dark, controlled modern rock in the mould of Magazine, Comsat Angels and Joy Division/early New Order, with accomplished keyboards and songwriting. The Names enjoyed a long and rewarding relationship with mercurial producer Hannett, who also oversaw their next single Calcutta and debut album, Swimming (Les Disques du Crepuscule, 1982). A final Names single, The Astronaut, appeared in 1982, again produced by Hannett, who had by then split from Factory Records. However the post-punk era was ending, and the band split.

The Names - Swimming (ogg  492mb)

01 Music For Someone 1:56
02 Discovery 4:20
03 Floating World 2:51
04 The Fire 3:37
05 Life By The Sea 4:46
06 White Shadow 5:15
07 Calcutta 3:06
08 Postcards 3:54
09 (This Is) Harmony 5:45
10 Shangai Gesture 5:13
11 Leave Her To Heaven 4:58
12 Light 4:20
13 Nightshift 3:38
14 I Wish I Could Speak Your Language 4:51
15 The Astronaut 5:11
16 Cat 3:26
17 I Wish I Could Speak Your Language (Mix) 5:04

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This is rather unique sounding French synth pop, quirky to to core and yet it manages to be infectiously catchy.  They blend all sorts of things like beach music, punk, jazz, pop, rock, experimental...you name it, it's probably in here somewhere.  It's rather bouncy and varied yet fun somewhat like Suburban Lawns (both even have that male/female vocalist thing going on) they are perhaps a little more experimental than the Lawns though.   "Histoire a Suivre" I adored and found myself humming for hours afterwards, "Decollage" has a great post-punk style drum beat to it and a flatness mixing with melody making it fascinating.  The spazzy and frantic aptly named song "Rush" brings to mind so much early punk music only their electronic touches make you know it's really them.  A few of these songs are apparently traditional French songs, I'm not really sure which are which though so they must add their own flavor, anyway Les Tueurs De La Lune De Miel is worth the challenge....

 The Honeymoon Killers - Les Tueurs De La Lune De Miel    (flac  433mb)
 
01 Flat 2:11
02 Histoire À Suivre 3:05
03 Décollage 5:17
04 Rush 1:50
05 Fonce À Mort 5:00
06 J4 3:59
07 Route Nationale 7 3:13
08 Ariane 3:39
09 Laisse Tomber Les Filles 2:14
10 L'heure De La Sortie 6:06
Bonus
11 Wait And See (Remix) 3:35
12 The Lady And The Pig-Man (Remix) 3:58
13 A Deep Space Romance (Remix) 5:18
14 Petit Matin 2:55
15 Thank You Mr GB (Live feat Aksak Maboul) 2:00
16 A.T.A. (Live feat Aksak Maboul) 5:00
17 Alluvions (Live feat Aksak Maboul) 1:28
18 Truc Turc (Live feat Aksak Maboul) 3:30

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The European new beat sound originated in Belgium in the late 1980s, especially in 1987 and 1988. It was an underground danceable music style, well known at clubs and discos in Western Europe. It is a crossover of electronic body music (EBM, which also developed in Belgium) with the nascent Chicago-originated acid and house music. new beat is the immediate precursor of hardcore electronic dance music (at the time known as rave), which developed in Belgium, the Netherlands, Germany and elsewhere around 1990.

The genre was "accidentally invented" in the nightclub Ancienne Belgique (AB) in Antwerp when DJ Dikke Ronny (literally "Fat Ronny") played the 45 rpm EBM record "Flesh" by A Split-Second at 33 rpm, with the pitch control set to +8. In addition to A Split-Second, the genre was also heavily influenced by other industrial and EBM acts such as Front 242 and The Neon Judgement, as well as new wave and dark wave acts such as Fad Gadget, New Order, Liasons Dangereux and Anne Clark. Mega-nightclubs such as the Boccaccio soon made the genre a major underground success, that and the fact Vlamish clubs all night/early morning Beat parties, frontrunning what would become raves The compilation here is a good reflection of what the New Beat Dj's were spinning in 1987 hence the release date of 88, the enormous success caused a flood of New Beat samplers deep into the nineties.

  Various ‎– New Beat - Take 1 (flac  344mb)

01 Erotic Dissidents - Move Your Ass And Feel The Beat 3:49
02 Taste Of Sugar - Hmm Hmm 4:37
03 Electric Shock - Don't Talk About Sex 4:44
04 Chinese Ways - Secrets Of China 3:28
05 Shakti - The Awakening 4:25
06 Beat Beat Beat - Beat In The Street 5:36
07 Snowy Red - Euroshima Wardance 4:15
08 In-D - Virgin In-D Sky's 4:03
09 Dirty Harry - D'Bop 5:30
10 dS.M. - S. M. 5:23
11 dJade 4 U* Rainbows (Instrumental) 3:52
12 dA Split Second - Flesh 4:37

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Technotronic (started in 1989) was the restless offspring of innovative Belgian producer Jo Bogaert AKA Thomas De Quincey. He had already made his mark on the "Eurobeat" with various high-profile dance concepts such as Nux Nemo and Acts Of Madmen.The track that would later become "Pump Up The Jam" was first released by Bogaert under the alias The Pro 24's in 1989. Inspired by the sound of Farley "Jackmaster" Funk, "Technotronic" featured samples of Eddie Murphy, later replaced by new vocals.

The first "public face" of Technotronic was a "blue lipped" pouting temptress known as Felly, a renowned fashion-model. It wasn't until the second single, "Get Up", that the public saw and heard Manuela Kamosi AKA Ya Kid K for the first time. She had already performed the original vocals on "Pump Up The Jam" and now finally the world could bear witness to her strutting deliverance of "Get Up". By the end of 1990, "Pump Up The Jam" had reached pole position on the "Billboard 12" singles dance chart. Technotronic's second album, "Body To Body" (1991), was released only in Europe. It featured vocals by Réjane Magloire AKA Reggie. Their third album, "Recall" was released 4 years later and fitted in the Eurodance parameters of the era. It featured the return of Ya Kid K on vocals and the inclusion of Daisy Rollocks AKA Daisy Dee and C. Davis AKA Black Diamond. The last significant chart success was in 1992 when "Move This" (used by Revlon in an advertising campaign) peaked at No.5 on the U.S. Billboard charts. Up until now Technotronic have retailed more than 14 million albums.

An excellent album and a pioneer of the entire Hip house and later dance scene. Even next to the singles really good tracks found it's place on the album. I can only emphasize how unique the style of this project was, the entire production was top notch and sounds still excellent today. In addition to the distinctive synth / rhythm elements I would also like to praise the voice of Ya Kid K: She has a wonderfully clear and unique voice which gave the tracks its special flavor.

 Technotronic - Pump Up The Jam (flac  329mb)

01 Pump Up The Jam 5:22
02 Get Up (Before The Night Is Over) 5:37
03 Tough 4:26
04 Take It Slow 5:05
05 Come On 3:11
06 This Beat Is Technotronic 5:27
07 Move This 5:22
08 Come Back 4:54
09 Rockin' Over The Beat 5:48
10 Raw 4:48
11 Wave 4:18
12 String 2:55

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RhoDeo 1845 Supernatural 5

Hello, in accordance with the upcoming autumnal days when the light is fading, the supernatural manifest and us humans start to shiverrrr


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Koji Suzuki was born in 1957 in Hamamatsu, southwest of Tokyo. He attended Keio University where he majored in French. After graduating he held numerous odd jobs, including a stint as a cram school teacher. Also a self-described jock, he holds a first-class yachting license and crossed the U.S., from Key West to Los Angeles, on his motorcycle.The father of two daughters, Suzuki is a respected authority on childrearing and has written numerous works on the subject. He acquired his expertise when he was a struggling writer and househusband. Suzuki also has translated a children's book into Japanese, The Little Sod Diaries by the crime novelist Simon Brett.In 1990, Suzuki's first full-length work, Paradise won the Japanese Fantasy Novel Award and launched his career as a fiction writer. Ring, written with a baby on his lap, catapulted him to fame, and the multi-million selling sequels Spiral and Loop cemented his reputation as a world-class talent. Often called the "Stephen King of Japan," Suzuki has played a crucial role in establishing mainstream credentials for horror novels in his country. He is based in Tokyo but loves to travel, often in the United States. Birthday is his sixth novel to appear in English.   . . ...... N Joy

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A mysterious videotape warns that the viewer will die in one week unless a certain, unspecified act is performed. Exactly one week after watching the tape, four teenagers die one after another of heart failure.  British journalist Mitchell Hooper lives in Tokyo with his wife Toni. When he begins investigating the mysterious deaths, he discovers a nightmarish secret. They all died after watching the same video tape. His investigation leads him from a metropolitan tokyo teeming with modern society's fears to a rural Japan--a mountain resort, a volcanic island, and a countryside clinic--haunted by the past. His attempt to solve the tape's mystery before it's too late--for everyone--assumes an increasingly deadly urgency. Ring is a chillingly told horror story, a masterfully suspenseful mystery, and post-modern trip.


This BBC radio drama is a tale of the supernatural,

Cast:
Mitchell.... Matthew Gravelle
Ryugi.... Akira Koieyama
Toni.... Eve Myles
Narrator/Sadako.... Naoko Mori
Doctor Nagao.... Masashi Fujimoto
Tomoko/Mai.... Yuriri Naka
Yuna.... Heather Emmanuel
Directed by James Robinson


Koji Suzuki - The Ring ( 78min mp3  60mb)

British journalist Mitchell Hooper lives in Tokyo with his wife Toni. When he begins investigating the mysterious deaths of four teenagers, he discovers a nightmarish secret. They all died after watching the same video tape. When Mitchell watches the tape himself, he is cursed to die in seven days. And so as the countdown to death begins, he must solve the riddle of the curse.

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previously

Robert Westall - The Stones of Muncaster Cathedral ( 87min mp3  60mb)
Robert Westall - The Wheatstone Pond ( 60min mp3  39mb)
Victor Pemberton - Dark. ( 86min mp3  60mb)
Scott Cherry - The Book of Shadows ( 78min mp3  60mb)

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RhoDeo 1845 Re-Up 163

Hello, we've seen the future of F1 today, Max Verstappen in a lesser car starting 5th picked of everyone upfront until he was comfortably in the lead. Get used to it.
As for Ocon, that was a deliberate action his laughing response to Verstappen's anger later where he clearly tried to provoke Max some more made it clear, posssibly he tried to serve his paymaster Mercedes, but more likely it was sheer jealousy.

Walt please consider others when requesting 6 re-ups of a series i did on Twin Peaks, i'm willing to re-up but in the tempo i did when posting, that's 1 every week.


9 correct requests for this week, 1 too early and 1 too many , whatever another batch of 29 re-ups (8 gig)


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

Looka here , requests fulfilled up to November 8th... N'Joy

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4x Sundaze Back In Flac (Vienna Scientists - I, A Selection Into Dub Funk Trip Hop Drum'n Bass, Vienna Scientists - II, More Puffs from Our Laboratories, Vienna Scientists - III, A Mighty Good Feeling, Vienna Scientists - IV, Five Years of Solid Grooves)


1x Roots Back In Flac (Michael Smith - Mi Cyaan Believe It )


4x Sundaze NOW in Flac (Angelo Badalamenti - OST Blue Velvet, Angelo Badalamenti - OST Nightmare 3, Julee Cruise - Floating Into The Night, Lynch - Twin Peaks Archive part 1)


3x Sundaze NOW In Flac (Mazzy Star - She Hangs Brightly, Mazzy Star - So Tonight That I Might See, Mazzy Star - Among My Swan)


4x Aetix Back in Flac (The Pogues - Red Roses For Me, The Pogues - Rum Sodomy & The Lash, The Pogues - If I Should Fall From Grace, The Pogues - Peace and Love)


3x Roots Back In Flac (The Heptones - On Top, The Heptones & Their Friends - Meet , The Skatalites - Ska-Boo-Da-Ba)


3x Sundaze Back in Flac (Aswad - Aswad, Aswad - Showcase, Aswad - Live and Direct)


4x Aetix Back in Flac (Timbuk 3 - Greetings From Timbuk 3, Timbuk 3 - Eden Alley, Timbuk 3 - Edge of Allegiance, Timbuk 3 - Big Shot In The Dark )


3x Grooves NOW in Flac (Funkadelic – Tales Of Kidd Funkadelic, Funkadelic - One Nation Under A Groove, Funkadelic - Uncle Jam Wants You)


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Sundaze 1845

Hello, 

Today's Artist with his whimsical, melancholy music, has become a sought-after composer, not only for his soundtrack work, but in his own right. Borrowing from French folk music, chanson, musette waltz, and street music, as well as rock, avant-garde, and classical and minimalist influences, his deceptively simple style has been likened to Chopin, Erik Satie, Philip Glass, and Michael Nyman. His music involves a large variety of instruments; primarily the guitar, piano, synthesizer or violin together with instruments like the melodica, xylophone, toy piano, harpsichord, accordion and typewriter. The Paris-based composer became popular outside his native country for his score to Jean-Pierre Jeunet's Amélie, but like most seemingly overnight successes, he had been working for years before the film's success brought him international acclaim......N'Joy

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Tiersen was born in Brest in the Finistère département in Brittany in northwestern France, in 1970, into a French family of Belgian and Norwegian origins. He started learning piano at the age of four, violin at the age of six, and received classical training at several musical academies, including those in Rennes, Nantes, and Boulogne. In the early 1980s when he was a teenager, he was influenced by the punk subculture, and bands like The Stooges and Joy Division. In 1983, at the age of 13, he broke his violin, bought an electric guitar, and formed a rock band. Tiersen was then living in Rennes, home to the three-day music festival Rencontres Trans Musicales, held annually in December, which gave him the opportunity to see acts like Nirvana, Einstürzende Neubauten, Nick Cave and the Bad Seeds, The Cramps, Television, and Suicide. A few years later, when his band broke up, Tiersen bought a cheap mixing desk, an 8-track reel-to-reel tape recorder, and started recording music solo with a synthesizer, a sampler, and a drum machine.

Before releasing film scores under his own name, Tiersen recorded background music for a number of plays and short films. In the summer of 1993, Tiersen stayed in his apartment, recording music alone with an electric guitar, a violin, and an accordion, guided by his vision of “a musical anarchy”. By the end of that summer, Tiersen had recorded over forty tracks, which would form most of his first two albums. Tiersen's debut album, La Valse des monstres, limited to 1,000 copies only, was released in June 1995 by independent record label Sine Terra Firma, and then it was reissued by Nancy-based record label Ici d'ailleurs in 1998 as the second album of its catalogue. The 17-track album was inspired by and written for the theatrical adaptations of Tod Browning's 1932 cult classic Freaks, and Yukio Mishima's 1955 version of Noh play The Damask Drum. One year later, in April 1996, he released Rue des cascades, a collection of short pieces recorded with toy piano, harpsichord, violin, accordion, and mandolin. The title track, sung by French soloist singer Claire Pichet, was used the following year for the Palme d'Or nominated French drama film The Dreamlife of Angels, and several tracks received greater exposure five years later when they were featured on the soundtrack to Jean-Pierre Jeunet's film Amélie. Tiersen played almost all the instruments both in the studio and in concert, and this gave him a theatrical appeal as a one-man show, which allowed him to perform, among others, at the 1996 edition of the Avignon Festival, the oldest extant festival in France and one of the world's greatest.

Tiersen rose to domestic fame upon the release of his third studio album, Le Phare (English: The Light House) in 1998. The album was recorded in self-imposed seclusion on the isle of Ushant (Breton: Enez Eusa, French: Ouessant) at the south-western end of the English Channel which marks the north-westernmost point of territorial France, where Tiersen spent two months living in a rented house. At night, he watched the Phare du Creach, one of the most powerful lighthouses in the world, and was fascinated by the stunning scenery repeated every night. Le Phare, which featured Claire Pichet, French singer and songwriter Dominique A, and French drummer and percussionist Sacha Toorop, sold over 160,000 copies, confirming Tiersen's status as one of the most innovative artists of his generation and commencing a run of successful albums. Three songs from this album, "La Dispute", "La Noyee", and "Sur le fil" were used later for the soundtrack of Amélie, while "L'Homme aux bras ballants", written and composed by Dominique A, was also the soundtrack to Laurent Gorgiard's 1997 short animation film of the same title. Its single, "Monochrome", sung by Dominique A, was a radio hit and propelled the album. Le Phare was his first album to chart climbing to number 50 in the French Albums Chart.

In that period Tiersen provided a new arrangement and played strings, vibraphone, bell, mandolin, electric guitar, and bass guitar for the song "À ton étoile" by French rock band Noir Désir on their 1998 remix album One Trip/One Noise,[citation needed] recorded background music for the award-winning and multi-nominated film The Dreamlife of Angels,[for André Téchiné's Alice et Martin, released in 1998, and Christine Carrière's Qui plume la lune?, released in 1999, and also recorded Bästard ~ Yann Tiersen, a 3-track extended play released in 1998 in collaboration with French electronic rock band Bästard, and his first live album, Black Session: Yann Tiersen. The live album was recorded on 2 December 1998 as the opening act of the Rencontres Trans Musicales in the Salle Serreau at the Théâtre National de Bretagne in Rennes, for the C'est Lenoir show broadcast on the French public radio station France Inter. The album, which features Northern Irish singer, songwriter, and frontman of the chamber pop group The Divine Comedy Neil Hannon, singer and songwriter Bertrand Cantat of Noir Désir, singer and illustrator Françoiz Breut, anglophone French rock band The Married Monk (Christian Quermalet, Philippe Lebruman, Etienne Jaumet, Nicolas Courret), French folk rock group Têtes Raides (Christian Olivier, Grègoire Simon, Pascal Olivier, Anne-Gaëlle Bisquay, Serge Bégout, Jean-Luc Millot, and Edith Bégou), the string quartet Quatuor à cordes, guitarist and composer Olivier Mellano, and author Mathieu Boogaerts, as well as his usual collaborators and friends, Claire Pichet and Dominique A, was recorded by France International, mastered by Radio France, and released in cd format one year later on 2 November 1999.

In 1999, Tiersen with The Married Monk, Claire Pichet, and Olivier Mellano, released his first collaboration album, Tout est calme. The 26 minutes, 10 tracks mini album peaked at number 45 on the French Albums Chart. The album produced one single, "Les Grandes marées", and Tiersen also featured on The Divine Comedy's single "Gin Soaked Boy" released on that same year, on three tracks for Françoiz Breut's second studio album Vingt à Trente Mille Jours, and on Têtes Raides' Gratte-poil, both released in 2000.

Tiersen remained relatively unknown outside France until the release of his score for the acclaimed film Amélie (English: The Fabulous Destiny of Amélie Poulain) in 2001. French film director Jean-Pierre Jeunet had something else in mind for the film score, but one day one of his production assistants put on a CD of Tiersen, and the director found it absolutely superb. Jeunet bought all of Tiersen's albums, and then contacted him to see if the Breton composer was interested in writing the film score for Amélie. In two weeks, Tiersen composed nineteen pieces for the film and also allowed the production to take anything they wanted from his other records. Amélie received great critical acclaim and was a box-office success. The film went on to win the Best Film award at the European Film Awards, four César Awards, including Best Film and Best Director, two BAFTA Awards, including Best Original Screenplay, and was nominated for five Academy Awards. The soundtrack was a mixture of both new and previously released material, and Tiersen was also the recipient of the César Award for Best Music Written for a Film, and of the World Soundtrack Academy award. The soundtrack album charted in many countries, including the number one position on the French Albums Chart.

While he was writing the film score for Amélie Tiersen was also preparing his fifth studio album L'Absente. The album was characterized by several contributions including 35-member Ensemble Orchestral Synaxis conducted by Guillaume Bourgogne, viola player Bertrand Lambert, violinists Yann Bisquay and Sophie Naboulay, Natacha Régnier, and saxophonist Grégoire Simon, and long-time collaborators Dominique A, Christine Ott, Lisa Germano, Neil Hannon, Têtes Raides, Christian Quermalet, Marc Sens, and Sacha Toorop. The album, which was released on 5 June 2001 through EMI France, was preceded by two promotional singles for "A quai" and "Bagatelle" respectively. Tiersen provided strings and vibraphone to two tracks, "Roma Amor" and "Holidays", featured on R/O/C/K/Y, third studio album by The Married Monk.

At this time he was married to Belgian actress Natacha Régnier, co-star of The Dreamlife of Angels. Régnier became a singer and Tiersen wrote three songs for her including his arrangement of Georges Brassens' "Le Parapluie", a song featured on the tribute album Les Oiseaux de passage, released in 2001. That same year they went on tour in France and abroad. They have a daughter, Lise, born in 2002, but they have since been divorced. In this period, Tiersen also took his music out around the world, playing shows with a full orchestra and an amplified string quartet. From 15 to 17 February 2002, Tiersen with many of the collaborators who participated in the recording sessions for L'Absente plus Claire Pichet, violinists Nicolas Stevens and Renaud Lhoest, bassist Jean-François Assy, viola player Olivier Tilkin, and uilleann pipes, bagpipes, and low whistle player Ronan Le Bars, performed live at the Cité de la Musique (English: City of Music) in Paris. Part of these three concerts went on to form Tiersen's second live album C'était ici (It Was Here), which was released through EMI France on 30 September 2002.

Tiersen's skills as a composer of film scores were much in demand, and the soundtrack for Amélie was soon followed by the film score for Good Bye, Lenin!, a 2003 German tragicomedy film directed by Wolfgang Becker The film was both a commercial and a critical success and won several awards including the César Award for Best Film from the European Union, Best Film at the European Film Awards, the German Film Awards for Outstanding Film, Best European Film at the Goya Awards, Best Foreign Language Film for the London Film Critics' Circle, and it was also listed in the Empire magazine 2010's list of "The 100 Best Films of World Cinema" Tiersen was the recipient of the German Film Awards for Outstanding Music. On 15 November 2003, Tiersen with Stuart A. Staples, the lead singer of indie band Tindersticks, actress and singer Jane Birkin, singer and vocalist for Cocteau Twins Elizabeth Fraser, singer and songwriter Christophe Miossec, and Dominique A released 3 titres inédits au profit de la FIDH (3 New Tracks for the Benefit of FIDH), a 3-track CD that was part of the On Aime, On Aide benefit collection for raising funds for the International Federation for Human Rights (FIDH).

Tiersen's list of collaborators continues to grow album after album and in October 2004 released Yann Tiersen & Shannon Wright, a collaboration album with American singer-songwriter Shannon Wright, and, in the same year, he is featured on The Divine Comedy's album Absent Friends. In 2005, Tiersen released his fifth studio album Les Retrouvailles. The album features several collaborators including the Orchestre National de Paris, singers Elizabeth Fraser, Jane Birkin, Stuart A. Staples, Dominique A, and Miossec, strings players Jean-François Assy, Frederic Dessus, Guillaume Fontanarosa, Bertrand Causse, Anne Causse Biragnet, Armelle Legoff, Frédéric Haffner, flute player Elliott, drummer Ludovic Morillon, and ondes Martenot player Christine Ott Les Retrouvailles also includes a DVD short film entitled La Traversée, directed by Aurélie du Boys, which documents the making of the album in Ushant, and incorporates an animated video for the non-album track, "Le Train", and also live versions of a handful of songs. The album produced a single, "Kala", sung by Elizabeth Fraser, and Tiersen also played piano on Staples' solo debut album, Lucky Dog Recordings 03-04. The subsequent world tour of 2006 replaced the multi-instrumental ensemble with electric guitars and an ondes Martenot, and produced his third live album, On Tour, which was released together with a DVD, directed by Aurélie du Boys, about the tour, in November 2006. In 2006, he also released two singles, "La Mancha" and "La Rade", and he was featured on The Endless Rise of the Sun, third studio album by electronic group Smooth, Raides à la ville extended play by Katel, and 13m² by David Delabrosse.

The year 2008 saw his return after a five years absence as a composer of film scores when he provided the background music for Tabarly, a Pierre Marcel's documentary film about the French sailor, two-time champion of the Single-Handed Trans-Atlantic Race, and father of French yachting Éric Tabarly. The documentary was released on June 2008, exactly ten years after Tabarly's death. Éric Tabarly was lost on the night of 12–13 June 1998 at Irish Sea when he was struck by a gaff of his Pen Duick during heavy swell and knocked overboard from his yacht near Wales while on his way to the Fife Regatta in Scotland. His body was recovered five weeks later off the coast of Ireland by a French fishing trawler. The documentary, narrated by Tabarly himself, traces his sporting career until his last meal in Ushant. Before the end of the decade, Tiersen also contributed to Christine Ott's debut solo album Solitude Nomade, and to Miossec's seventh studio album Finistériens.

October 2010 saw the release of Tiersen’s sixth studio album titled Dust Lane. The album was two years in the making and was largely recorded in Ushant, France. Further parts were recorded in the Philippines. The album is preoccupied with mortality; during the recording sessions Tiersen lost his mother and a close friend. The recordings started out as simple song based tracks with Tiersen playing acoustic guitar, mandolin and bouzouki. New layers were added to the recordings creating a more complex sound. Then an array of vintage synthesisers and electric guitars were added to create further textures. The album was released by Mute Records in Europe and Anti Records in the US. The record was promoted in a tour beginning in October 2010, starting in New York City. Dust Lane was preceded by the release of the vinyl EP Palestine and by the single for "Ashes". In 2010, Tiersen also contributed to the tribute album to cross-genre, experimental music group Coil The Dark Age of Love by This Immortal Coil, a one-off tribute formation, and to Li(f)e, the fourth solo studio album by hip-hop artist Sage Francis.

October 2011 saw the European release of his seventh studio album, Skyline. The nine-track album, a follow on from his Dust Lane, was once again recorded at Tiersen's home on the island of Ushant in the south-western end of the English Channel, with further parts recorded in Paris, San Francisco, Berlin, and Nashville. It was subsequently mixed by producer Ken Thomas in Leeds, and mastered by Ray Staff in London. The album produced the singles for "Monuments" and "I'm Gonna Live Anyhow". On 18 February 2012, Tiersen with Lionel Laquerriere, and Thomas Poli, presented his side project, Elektronische Staubband, at La Route du Rock music festival in Saint-Malo. It was about an hour of krautrock, electronic, and experimental music involving a dozen of synthesizers and analog keyboards with the first three pieces of the set list taken from Dust Lane and the remaining five from Skyline. Tiersen was also chosen by Jeff Mangum of Neutral Milk Hotel to perform at the All Tomorrow's Parties festival on March 2012 in Minehead, England. Skyline was released in North America via ANTI- Records on 17 April 2012, and it was followed by the Skyline Tour with dates in the United States, Canada, Iceland, Spain, Portugal, France, Slovak Republic, Austria, Finland, and the United Kingdom.

On 3 August 2016, Yann Tiersen got married to Emilie Quinquis (Tiny Feet) in the island of Ouessant, Brittany. the bride statet they got married at 31 July 2016. Since April 6th, 2017 they have a son and are awaiting a daughter....

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Tiersens fourth film soundtrack (others include Amelie and Goodbye Lenin) provides the background for a documentary about a former French Army officer who was considered the father of French yachting and lost his life when he was struck by a gaff during a heavy swell and knocked overboard. Tiersen employs his typical grab bag of unusual instruments to create yet another musical masterpiece, it is sublime, visceral, and art. His talent is scary, when listening to this record one is swept away into another world, a more beautiful world, a sad world, a truimphed world, ultimately a different world...the world in the mind of yann as he seems to effortlessly transcend all boundries and take us for a gorgeous ride in his mind.

Yann Tiersen - Tabarly   (flac  149mb)

01 Tabarly 3:05

02 Naval 3:38

03 .II 1:14

04 Au-Dessous Du Volcan 3:33

05 .IV 0:55

06 La Longue Route 2:14

07 1976 1:12

08 Yellow 2:19

09 Point Zéro 2:38

10 La Corde 1:18

11 8 MM 2:45

12 Point Mort 3:37

13 Dernière 1:32

14 Atlantique Nord 2:38

15 Eire 1:07

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On Skyline, Yann Tiersen goes further down the path he forged on Dust Lane, moving away from the delicate, keyboard-driven reveries that marked early work such as the tracks collected for the Amélie score or the music for Good Bye Lenin! and toward a post-rock-tinged sound that, despite its differences, is just as widescreen-ready. While the galloping rhythms and swift melody of "Forgive Me" are most like the works that won Tiersen a legion of film buff fans, most of Skyline evokes comparisons to other artists. The bursts of instant-gratification guitars on "Another Shore" could come just as easily from Smashing Pumpkins' "Today" or from Mogwai, while twinkly, bittersweet tunes like "I'm Gonna Live Anyhow" and "The Trial" call to mind Múm or Morr Music acts such as Borko; still elsewhere, the lush romanticism of "The Gutter"'s dream pop recalls Saturdays=Youth-era M83 and the odd mix of screaming, toy piano, and glockenspiel on "Exit 25 Block 20" seems like something Fuck Buttons would attempt. While Tiersen tries on different approaches for size on each of Skyline's songs, his nimble melodic sense and unfailing skill at evoking the right mood at the right time are unmistakable. Skyline isn't as obviously dark as Dust Lane was, but melancholy pervades the entire album, welling to the surface on "Hesitation Wound," where Tiersen's frail voice drifts farther and farther away from the listener and into a galaxy of strafing synths. While this album and Dust Lane sacrifice some of his recognizable sound, the possibilities laid open for Tiersen are too intriguing not to pursue. 

Yann Tiersen - Skyline  (flac 233mb)

01 Another Shore 4:54

02 I'm Gonna Live Anyhow 3:48

03 Monuments 3:53

04 The Gutter 4:03

05 Exit 25 Block 20 3:28

06 Hesitation Wound 4:11

07 Forgive Me 5:56

08 The Trial 5:53

09 Vanishing Point 4:09

Yann Tiersen - Skyline     (ogg  89mb)

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Even if he hadn't created some of the most vivid film music of the 20th and 21st centuries, Yann Tiersen's music would probably be called "filmic." In both his scores and stand-alone albums, the artful way he blends his flair for atmosphere with memorable melodies and instrumentation lends itself to vivid storytelling, something he explores beautifully on his eighth album ∞ (Infinity). Largely recorded in Iceland and inspired by that country as well as the Faroe Islands, much of the album evokes Nordic post-rock while reflecting Tiersen's distinctive touch. "Slippery Stones" and "In Our Minds" echo Múm's ability to sound anthemic, childlike, and dark at the same time. The brassy "Grønjørð" features Tiersen's bandmate Ólavur Jákupsson singing the praises of the Faroe Islands' verdant and volcanic landscape in his native Faroese. "A Midsummer Evening" harnesses Tiersen's fondness for toy instruments into widescreen orchestral psych-rock that captures the surreal joyousness of a long dusk and balmy night. All of this makes ∞ (Infinity) a more cohesive set than its predecessor Skyline. Tiersen expertly uses the album's united motifs and instrumentation to contrast its expansive sounds, such as the title track's sweeping drones, and intimate lyrics like "The Crossing"'s "just hold my hand." Stories are woven through the songs in unexpected ways: "Steinn" and "Ar Maen Bihan" tell the same hypnotic tale of nature and circularity in Icelandic and Tiersen's native Breton, respectively. However, he saves ∞ (Infinity)'s most impressive storytelling for last: "Meteorites," a collaboration with Arab Strap's Aidan Moffat, explores love's intimacy and vastness, moving from merging cells to soaring through the universe. Moffat's burr brings a frankness to lyrics like "this is our rom-com" and gives voice to all the heartbroken, searching, and joyous moods dancing through Tiersen's music over the years. A movie unto itself, "Meteorites" might wink at Tiersen's status as a composer for film, but it's too exquisite to be a joke; it elevates what was already a strong collection into some of his best work. Given its all-encompassing title, it's fitting that ∞ (Infinity) is one of Tiersen's most ambitious albums, but its grand scale only magnifies his music's heartfelt beauty. 

Yann Tiersen - ∞ (Infinity)  (flac 274mb)

01 ∞ 2:58

02 Slippery Stones 4:18

03 A Midsummer Evening 4:13

04 Ar Maen Bihan 6:53

05 Lights 3:41

06 Grønjørð 5:24

07 Steinn 4:14

08 In Our Minds 5:12

09 The Crossing 5:43

10 Meteorites 6:49

Yann Tiersen - ∞ (Infinity)   (ogg  115mb)

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After the far-flung travels of ∞(Infinity) took him to Iceland and the Faroe Islands, Yann Tiersen returns home figuratively and literally with Eusa. Named for the Breton term for the island off the coast of Brittany where he lives, this is a back-to-basics project for Tiersen -- as basic as his work can be, that is. Conceived as a musical map of his home, Eusa began as a series of field recordings and piano compositions taken from and inspired by different locations on the island that were later issued as an album and a book of sheet music. Theoretically, one could re-create Eusa by playing the field recordings and performing the compositions, but of course Tiersen (who recorded the album at London's Abbey Road studios) brings much more to the album. As a whole, it lacks the anthemic winsomeness of the music that catapulted him to fame, but the album's simplicity lets his masterful melodies and playing shine. Tiersen holds Eusa together with a series of pieces named "Hent," which means "path" in Breton. These teasing interludes do feel like stops along the journey, from the delicate beginnings of "Hent I" to the serene sense of arrival on "Hent VIII." In between, Tiersen distills moments as well as places: "Hent III"'s somber melody, lapping waves, and bird calls conjure an overcast shoreline. The rest of Eusa flits between soothing and urgent just as nimbly. The rippling, full-bodied waltz "Pern" is quintessential Tiersen, boasting a gorgeous melody rivaled only by the sweetly nostalgic "Roc'h ar Vugale" and "Penn ar Lann," which is set aloft at the end by chirping birds and ascending chords. On "Porz Goret," "Enez Nein," and "Penn ar Roc'h," he imbues the album's longing with more insistency, but the results are just as affecting. Though he hadn't intended to record these compositions, it's a good thing that he did -- Eusa is like being invited into Tiersen's home to hear him play. Comforting but never dull, it's a reminder that the familiar can be just as inspiring as the foreign. 

Yann Tiersen - Eusa (flac  267mb)

01 Hent I 2:56

02 Pern 4:26

03 Hent II 1:15

04 Porz Goret 4:56

05 Lok Gweltz 3:49

06 Hent III 0:53

07 Penn Ar Roc'h 3:03

08 Hent IV 3:22

09 Kereon 2:45

10 Hent V 1:07

11 Yuzin 3:04

12 Roc'h Ar Vugale 6:15

13 Hent VI 0:42

14 Penn Ar Lann 3:57

15 Hent VII 1:44

16 Enez Nein 5:05

17 Kadoran 1:18

18 Hent VIII 6:30

Yann Tiersen - Eusa  (ogg 123mb)

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