Inside Out

Hello, time for me to take a holidaybreak from Rho-Xs, i hope you all have a good summer. I'll be back in August, in the meantime i leave you with an E book by Richard Dawkins and a PDF book by Robert Monroe, aswell as much more information on the next phase of human evolution - astral travel. I couldnt withstand the imputus to throw in some associating music titles Gabriel and Astral Projection provide these (thru Sharebee as Mediafire was upgrading tonight).

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Richard Dawkins - The God Delusion
Peter Gabriel - Shaking The Tree
Astral Projection - The Astral Files
Robert A. Monroe - Journeys out of the body

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Richard Dawkins takes 7 hours and 25 minutes to deprogram you from the God Illusion, peanuts compared to centuries of mis informing and twisting  gospels to suit the powers that be.

He asks the reader to think about it, from the opening preface, when he states without religion we wouldn't have suicide bombers, crusades, no witch hunts, no gunpowder plot, no Indian Partition, no Iraeli/ Palestinian wars no Serb/ Croat massacres, no persecution of Jews as Christ killers, no delibrate and unecessary mutilation of male and female genitals, no NI troubles, no honour killings, no Taliban, no public beheadings of blasphemers, no flogging of the female skin for daring to show an inch of it and arguably best of the lot no televangelists.

Think about the worlds' best selling book by far - The Bible. Whether an atheist an evangelist a priest or a Rabbi one thing that everyone agrees with is that the errr... good book is something by which the practicing religious among us class it as just that- A good book, a book by which we should lead our lives based upon the morals and principles contained within the scriptures. Right? Well...actually no thank you. The good book particularly the Old Testament is littered with appalling immoral acts either condoned or ordered by God, Moses and Abraham including murder, mass murder, genocide, ethnic cleansing, gang rape, rape and child rape. That god must be pleased these days considering what is going on in Palestine and Iraq, anyway Dawkins doesnt go into who these gods were, check the sumerian history files for that and consider that the current poisoning of Iraq with socalled depleted but radioactive for the next billion years or so uranium shells is forever soiling the cradle of our civilization.




Richard Dawkins - The God Delusion (283mb)



Well as it happened i picked this up (a sale) today, and well with all the biblical references associated with the ex-Genesis frontman Peter (apostle) Gabriel (top angel) and with a title as Shaking the tree i'd say enough to add it to Dawkins deconstruction of religion..

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Peter Gabriel - Shaking The Tree (remastered ' 02 ^ 411mb)

Singer, songwriter, producer, multi-instrumentalist and entrepreneur, born May 13, 1950, Surrey, UK. He was the original lead singer of prog-rockers Genesis but left in 1975 to pursue solo projects. As well as becoming a multi-platinum selling albums artist, he was the founder of the annual WOMAD music festival, owns one of Britain's most in-demand recording studios, Real World Studios, and jointly owns the recording studio hardware manufacturer Solid State Logic.



01 - Solsbury Hill (4:20)
02 - I Don't Remember (3:48)
03 - Sledgehammer (4:56)
04 - Family Snapshot (4:25)
05 - Mercy Street (4:44)
06 - Shaking The Tree Ft - Youssou N'Dour (6:24)
07 - Don't Give Up ft Kate Bush(5:56)
08 - San Jacinto (6:41)
09 - Here Comes The Flood (4:31)
10 - Red Rain (5:36)
11 - Games Without Frontiers (3:57)
12 - Shock The Monkey (3:58)
13 - I Have The Touch (3:44)
14 - Big Time (4:26)
15 - Zaar (2:59)
16 - Biko (6:54)

Gabriel @ Base

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Now that you've undone yourself of the sheepcloth , it is time to journey into the otherworlds, yes the ones Jesus talked about with Judas (recently uncovered Gospels). Now we liberated ourselves from the gatekeeper priests imposing a sheep mentality, there's worlds to discover. The Kingdom of Heaven is within you ( Jesus words) I hope some of you will pick up the challenge, it is the ultimate frontier- (as it where).

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Astral Projection - The Astral Files (96 * 492mb )

Well this album doesnt have a connection but in name , that said, they do come from the holy land. Astral Projection are based in Israel and produce Goa Trance music.Its members are Avi Nissim and Lior Perlmutter, although they started out with Yaniv Haviv and Guy Sabbag as well. In addition to an extensive discography (mostly with their own record company, Trust in Trance). They have produced 9 albums, the most recent of which is Ten, released in 2004. With their fast-paced, innovative style, Astral Projection have created such hits as "Kabalah", "People Can Fly", "Mahadeva" and "Dancing Galaxy".



01 - Ionized (7:24)
02 - Zero (5:56)
03 - Enlightened Evolution (Remix) (7:20)
04 - Free Tibet (7:40)
05 - Maian Dream (7:02)
06 - Kabalah (New Age Mix) (9:05)
07 - Time Began With The Universe (The End Of Time Mix) (7:24)
08 - Electronic (9:04)

Astral Projection @ Base
Astral Projection @ MySpace

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Robert A. Monroe - Journeys out of the body (pdf) (3.6 mb)

Robert Monroe was a respected American businessman who spontaneously had an out of body experience. He was unbelieving and thought at first that it was just an hallucination or a dream gone astray When you consider that these experiences happened to him in 50's America. Its understandible he had to overcome a great deal of fears that perhaps do not exist in today's more spiritually open-minded Western culture. In this book he documents his out of body experiences, and the most notable thing is his almost obsessive desire to try and provide proof that these experiences are real, and not just a remarkable variety of dream. This book recounts those earliest experiences, and also shares the techniques he developed. He went on to write other books, and produced many tapes, established an institute to study paranormal activity, and inspired many others to conduct research and share their own paranormal experiences.

Journeys Out of the Body is an important basic work in the field of astral travel and, more generally, the metaphysical perspective on what human beings are, well beyond their physical bodies. This is one of those books that will shift the reader's awareness. . When he got corroboration of his presence at distant places, he decided to document these incidents, look for patterns and commonalities, and develop a technique for leaving his body at will. I think that anyone reading this book with an open mind and who seeks to learn more about human potential and realities beyond the five senses, will come away feeling inspired. I don't think this is his best book, he adapted his ideas as he went along, but you need to read this to have a clue about the later ones ( Far Journeys and Ultimate Journey).




Monroe @ Amazon


Now there's much more to be said about Astral travel and there are different schools (obviously ) Wiki gives an overview here

more sites to check out here ;


Art & Practice of Astral Projection

Out of Body Experiences: How to have them & What to Expect

Bruce on Astral Projection

Never neverland awaits , why spend on environmentally destructive travel when all it takes is some patience and discipline to go beyond the bounderies yourself, remember the Kingdom of heaven is within you !

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

Wavetrain, Wire

Hello, my wavetrain's 14th and last wagon has a bunch of friends that currently have regrouped for the third time in 30 years, overtime they released 9 studio albums aswell as a lot of live albums and meanwhile dvd's. All this between their solo / duo works under a number of monikers, that easily double their musical output. They never had a hit or sold a lot and yet they rank as one of the most influential bands of the past decades. They generated the impetus for a number of very dedicated websites. So who am i talking about, well it's .....

Wire, they formed in London in 1976, after some early line-up changes which resulted in the departure of the hot-headed George Gill (the band's original frontman), a final line-up emerged which consisted of Colin Newman (vocals, guitar), Graham Lewis (bass), Bruce Gilbert (guitar) and Robert Gotobed (drums). Although the members of the group have emphasised the necessity constantly to take on new creative roles, this division of musical labour persisted with only minor variations throughout the band's life. A gig at the Roxy in early 1977 proved auspicious, they met EMI's Mike Thorne, who was recording groups for a live punk album, The Roxy, London WC2. Thorne included two Wire tracks and was then instrumental in bringing the band to EMI in September. By then, with Newman writing most of the music, they were eager to record before they lost interest in material, abandoned it, and moved on; a pattern that would define the group.

Wire's debut, Pink Flag (1977) was a landmark of early punk rock. The songs are very diverse in mood and style, but most use a very minimalistic punk approach, unorthodox structures, and several songs under a minute in length; "Field Day For The Sundays" clocks in at only 28 seconds.Chairs Missing followed in 1978, and found Wire stepping back a bit from the stark minimalism of Pink Flag, with longer, more atmospheric songs and innovative synthesizer parts by producer Mike Thorne. The experimentation was even more prominent on 154 (1979) which found a clear division within the direction of the group. There were some of Wire's poppiest moments in "Map Ref." & "The 15th", but the band started to show an experimental and darker side on tracks such as "A Touching Display" & "The Other Window". Many of the songs also showcased bassist Graham Lewis in a much more prominent role on lead vocals.

In 1979, however, creative differences pulled the band in various directions, culminating in the Document & Eyewitness LP (1981), a recording of a performance that featured almost exclusively new material. The material was much more loose and experimental than before. The LP also came packaged with an EP of a different performance that was also new material, but this was presumably material intended for Wire's never-recorded 4th album. Some of this material ended up being included on Colin Newman's post-Wire solo albums.

There followed a period of suspension (1981-1985) in favour of solo and non-Wire collaborative projects, including Dome, Cupol, Duet Emmo, and several Colin Newman solo efforts. In 1985, the group reformed to renewed critical acclaim, but without carving quite the same niche as in the earlier decade. Reforming as a "beat combo" (a joking reference to early 60's beat music or even possibly beatnicks), the group became increasingly immersed in electronics. The band released It's Beginning To And Back Again, in 1989 as a "live" album of mostly reworked versions of songs from The Ideal Copy and A Bell Is a Cup...Until It Is Struck. Ostensibly a live album IBTABA was in fact based on live recordings, but they were so heavily re-arranged, edited and remixed in the studio that it is doubtful whether IBTABA would qualify as a live album in the most common sense. One of the few new songs on the album, "Eardrum Buzz", became the band's biggest charting single.The increased use of electronics on the album Manscape caused Gotobed to famously fire himself in 1990 when he realised a drummer was unnecessary, even at the band's live gigs. In response to his departure, Wire dropped one letter in their name to become "Wir" (still pronounced "wire"). Wir released The First Letter in 1991, which received a mixed reception, but whose electronics-heavy sound was arguably ahead of its time.
The demise of the group in 1993 was barely noticed by the music press. Around this time there was a brief revival of interest in Wire among British independent bands, some of whom closely mimicked the sounds and structures of the early records. Recent rock critics, however, have often dismissed the group as art-school elitists who disappeared up their own backsides during the 1980s. Yet the public interest in Wire (and their numerous current projects) remains strong for many. Their enduring appeal for other musicians is attested by the release, in 1996, of the deliciously diverse tribute album Whore. As the contributions on that record suggest, Wire are still influential and inspiring. And they remain, in the opinion of many enthusiasts, the most underrated musical and poetic artists of their time.

With Gotobed back in the line-up (now using his birth name, Robert Grey), the group initially reworked a substantial chunk of its back catalogue for a performance at Royal Festival Hall. Great receptions during a short tour of the U.S. and a number of UK gigs convinced the band to continue. The band's sound changed again, to one largely based around clockwork guitar hooks and very fast drum beats. Two EPs and an album Send (2003) followed, as well as live collaborations with stage designer Es Devlin and artists Jake and Dinos Chapman.

Two books about Wire exist: Kevin S. Eden's "Everybody Loves a History" and Alessandro Libutti's "Exploded Views"(written in Italian) . Kevin Eden's illuminating biography (mainly comprising interview material) appeared in Serious Art Form publications in 1991.

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Wire - 154 Pink Chairs (78-79)
Wire - Document And Eyewitness (81)
P'o - Whilst Climbing Thieves Vie For Attention (80)
Gilbert & Lewis - 3R4 (80)
He Said (Lewis)- Take Care (88)
Colin Newman - A-Z (80)
Cupol (Gilbert & Lewis) - Like This For Ages (80)
Wire - A Bell Is A Cup Until It Is Struck (88)

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Pink Flags hurried tracks lack verses or choruses and are often the order of the day (Field Day for the Sundays clocks in at a diminutive 28 seconds), aggressive, grim, unhurried efforts such as Reuters and Strange break up the frenetic nature of the album with a jolt, bringing to mind a punk band marching through treacle. One of Pink Flag's shining stars, however, is the glorious pop of Mannequin. Who would have thought that a band that fashioned the 'aggro' of 12XU could create something so sweet?

Chairs Missing is a quantum leap from Pink Flag. Although the vestiges of Wire's punk roots remain, they are forced into new shapes: Another the Letter largely replaces guitars with arpeggio keyboard loops, while Too Late's dense atmosphere makes most of Pink Flag's punkier numbers seem lightweight by comparison. Elsewhere, Mike Thorne's electronics provide new paths for Wire, enabling the band to produce the chilling, bleak Marooned—one of the most beautiful pieces by the quartet.

154 completed Wire's initial run of albums, before the band spectacularly self-destructed during the live shows that birthed Document and Eyewitness. The cracks were already showing by this point: the coherence so evident in Chairs Missing had been replaced by a schism, with the two sides of the band—the experimental (Gilbert and Lewis) and the pop/rock (Newman and Gotobed)—threatening to tear the album to shreds. The result is an uncomfortable album where a beautiful pop ode to a field rubs shoulders with harrowing experimental compositions.The brutal way in which the album lurches from one end of the music spectrum to the other is fascinating, 154 remains a classic album. In 92 Play it Again Sam released a compilation of Wire's first 3 albums, well here it is.

Wire - Pink Flag (95 Japanese Extended Remaster in Flac  417mb)

01 Reuters 3:03
02 Field Day For The Sundays 0:28
03 Three Girl Rhumba 1:23
04 Ex Lion Tamer 2:19
05 Lowdown 2:26
06 Start To Move 1:13
07 Brazil 0:41
08 It's So Obvious 0:53
09 Surgeon's Girl 1:15
10 Pink Flag 3:47
11 The Commercial 0:49
12 Straight Line 0:44
13 106 Beats That 1:12
14 Mr. Suit 1:24
15 Strange 3:57
16 Fragile 1:18
17 Mannequin 2:37
18 Different To Me 0:43
19 Champs 1:45
20 Feeling Called Love 1:22
21 12 X U 1:55
22 Dot Dash 2:25
23 Options R 1:35
24 Love Ain't Polite 1:07
25 Oh No Not So 1:36
26 It's The Motive 1:22
27 Practice Makes Perfect 3:48
28 Sand In My Joints 1:49
29 Stablemate 2:16
30 I Feel Mysterious Today 1:40
31 Underwater Experiences 3:15
32 Mary Is A Dyke 1:06
33 Too True 1:05
34 Just Don't Care 1:22
35 TV 1:25
36 New York City 1:12
37 After Midnight 1:28
38 Pink Flag 2:35

Tracks 1 to 21 recorded at Advision Studios. Originally released in 1977.
Tracks 22 and 23 originally released 1978.
Tracks 24 to 31 recorded 14th May 1977.
Tracks 32 to 37 recorded 1st April 1977.
Track 38 recorded 4th April 1977.

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Wire - Chairs Missing (94 Remaster in Flac 333mb)

01 Practice Makes Perfect 4:06
02 French Film Blurred 2:34
03 Another The Letter 1:07
04 Men 2nd 1:42
05 Marooned 2:21
06 Sand In My Joints 1:50
07 Being Sucked In Again 3:13
08 Heartbeat 3:15
09 Mercy 5:46
10 Outdoor Miner 1:44
11 I Am The Fly 3:07
12 I Feel Mysterious Today 1:56
13 From The Nursery 2:58
14 Used To 2:20
15 Too Late 4:13
16 Outdoor Miner (Long Version) 2:54
17 A Question Of Degree 3:09
18 Former Airline 3:20

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Wire - 154 (95 Japanese Extended Remaster in Flac 454mb)

01 I Should Have Known Better3:52
02 Two People In A Room2:10
03 The 15th3:04
04 The Other Window2:08
05 Single K.O.2:23
06 A Touching Display6:55
07 On Returning2:05
08 A Mutual Friend4:27
09 Blessed State3:27
10 Once Is Enough3:23
11 Map Ref. 41ºN 93ºW3:37
12 Indirect Enquiries3:34
13 40 Versions3:27
14 Song 13:02
15 Get Down (Parts I & II)4:27
16 Let's Panic Later3:20
17 Small Electric Piece3:32
18 Go Ahead4:00
19 Stepping Off Too Quick1:22
20 Indirect Inquiries3:18
21 Map Ref 41º N 93ºW3:49
22 A Question Of Degree2:56
23 Two People In A Room2:02
24 Former Airline1:12

Tracks 1-13 original 1979 album
Tracks 14-18 bonus tracks
Tracks 19-24 demo versions compiled from Wire 'Behind The Curtain' released 1995, recorded 11th December 1978

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By 1980 Wire's contract with EMI had broken down and the band decided to 'challenge' the audience at what was to be their final gig in five years. What ensued was a set of chaotic, partially improvised pieces alongside rather dubious performance art. Although it's quite interesting to read about this part of Wire's history, it's not quite the same thing to actually listen to it.

The songs from Notre Dame Hall possess an astonishing raw energy. Ally in Exile is as tense as its title and Witness to the Fact thrills with its weird chord progression. Go Ahead gives the unvarnished truth about Wire's increasingly strained relationship with EMI. "We thought of ourselves as geniuses", recalls Newman. Unfortunately, Wire were considered eccentric untouchables by their paymasters. This belief gap between band and label is most apparent in Electric Ballroom tracks such as the protracted, patience-testing 5/10—not without charm to die-hard Wire fans, but a decidedly uncommercial sprawl to unsympathetic ears. The hostility of the Electric Ballroom audience was matched only by the revulsion of the record executives. Perhaps these reactions were justified: the lack of discipline and structure in the Electric Ballroom tracks explains why few of these songs impress like those on Newman's contemporaneous solo effort A-Z. Nevertheless, Wire, in typical style, had done their own thing, regardless of the consequences.




Wire - Document And Eyewitness  ( 81  91cd issue Flac 406mb)

Notre Dame Hall - Live
01 Go Ahead 4:01
02 Ally In Exile 4:20
03 Relationship 1:22
04 Underwater Experiences 2:47
05 Witness To The Fact 2:46
06 2 People In A Room 1:58
07 Our Swimmer 3:01
Montreux - Live
08 Heartbeat 3:12
Electric Ballroom - Live
09 5/10 6:00
10 12XU (Fragment) 1:47
11 Underwater Experiences 2:38
12 Everythings Going To Be Nice 1:04
13 Piano Tuner (Keep Strumming Those Guitars) 5:19
14 We Meet Under Tables 3:05
15 Zegk Hoqp 5:28
16 Eastern Standard 3:03
17 Instrumental (Thrown Bottle) 2:12
18 Eels Sang Lino 3:04
19 Revealing Trade Secrets 2:33
20 And Then ... Coda 9:00
Magritte Studio
21 Our Swimmer 3:34
22 Midnight Bahnhof Cafe 4:33

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P'o - Whilst Climbing Thieves Vie For Attention (80 ^ 69mb)

Originally formed with the intention of being a live band by A.C. Marias, Bruce Gilbert, David Tidball, Graham Lewis and Peter Price, P'o hastily recorded this album when Peter Price announced plans to emigrate. It begins with the laid back Time and Time. If it were not for the industrial noises that appear, this might pass for a pop track. The simple lyric from Graham, coupled with Angela Conway's ghostly vocal textures create an effective 'voice', something of a contrast to the previous Dome release . Back to Back is less melodic but more energetic, highlighting Price's ethnic drumming style which appears in several other tracks. The bulk of this collection is very listenable but too many tracks rely on mangling a pop riff and playing ethnic drumming over it. The album's vague pop leaning (at least in the fact that there's no out and out abstraction) may also tempt more conventional listeners to another side of the 'greater Wire' story.



01 - Time And Time (3:26)
02 - Back To Back (2:57)
03 - Holy Joe (4:00)
04 - Earl (3:38)
05 - Vanite (3:15)
06 - Today's Version (3:09)
07 - I Will (1:07)
08 - Mhona (3:36)
09 - Blind Tim (4:23)
10 - Crystal Streams (2:32)

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During their frighteningly productive period in the early 1980s, Bruce Gilbert and Graham Lewis recorded a shop's worth of albums, staged art exhibitions, and produced Desmond Simmons, A.C. Marias and Michael O'Shea. In the midst of this flurry of activity the duo somehow found the time to make the album 3R4 and release two singles for 4AD

The pick of the bunch is undoubtedly R, which opens with clanking percussive noises before giving way to an extended choral sample. Heavily Eno-influenced, it continues to drift while various fragmentary elements appear and disappear. The effect is languid and beautifully mesmerising.



01 - Barge Calm (1:07)
02 - 3. 4... (16:41)
03 - Barge Calm (1:08)
04 - R (19:47)

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Instead of 3R4 and Cupol, 8 Time which compiles both vinyls and adds another single Ends with The Sea, now in digital format. 

Gilbert and G Lewis - 8 Time (80 Flac 284mb)

01 Like This For Ages 4:31
02 Kluba Cupol 20:28
03 Barge Calm (1:11)
04 3. 4... (17:03)
05 Barge Calm (1:08)
06 R (20:02)
07 Ends with The Sea 4:48
08 Hung Up To Dry Whilst Building An Arch 2:25

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He Said - Take Care (88 now in flac 405mb)

Take Care is very much a late ' 80s album , both the sound and programming of the drum machines, along with much of the instrumentation, is a product of that age and, as such, Take Care sounds dated. However, if you can get over this you will find a number of great songs that would challenge anything Lewis was involved in until embarking on the He Said Omala and Hox outings. Musically, much of the album, is seemingly fairly standard , but with Lewis' usual skew adding layers of texture and odd rhythms in the background. F.i. , Tongue Ties is a classic that contains a whole selection of great rhythms, riffs, and an utterly fantastic chorus. Experimentation also exists with two instrumental pieces, Half Way House and Get Out of that Rain (both commissioned for the Michael Clark performance). Because we Must is a brooding piece and contains a beautifully rendered guitar line. Production-wise, it ends up sounding rather like what New Order would attempt a few years later with Republic's slower tracks.



01 - Watch-Take-Care (8:30)
02 - A.B.C. Dicks Love (5:25)
03 - Could You? (5:45)
04 - Tongue Ties (6:09)
05 - Screen (2:04)
06 - Not A Soul (5:20)
07 - Halfway House (5:25)
08 - Get Out Of That Rain (3:13)
09 - Hole In The Sky (2:28)
10 - He Said: She Said (4:09)
11 - A.B.C. Dicks Love (Soft) (5:25)
12 - Suzanne (6:06)
13 - Could You? (Too-edit) (5:01)

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Colin Newman - A-Z (80  now in Flac 353mb)

After Wire split in two after parting company with EMI in 1980, Colin Newman took with him drummer Robert Gotobed and producer Mike Thorne to follow his pop-oriented leanings. The result was A-Z.

A-Z continually shifts between utterly sublime and vaguely irritating. The album is full of energy, but it sounds somewhat over-dramatic and unsophisticated compared to the late '70s Wire albums and Newman's later work. Thorne's production ensures that keyboards often drown out everything else thereby offering a somewhat one-dimensional sound. Had all of the tracks been as satisfying as Alone or Image then this would fare much better.



01 - I've Waited Ages (5:04)
02 - & Jury (2:46)
03 - Alone (3:56)
04 - Order For Order (2:41)
05 - Image (4:14)
06 - Life On Deck (3:08)
07 - Troisieme (4:08)
08 - S-S-S-Star Eyes (2:09)
09 - Seconds To Last (7:04)
10 - Inventory (2:10)
11 - But No (3:04)
12 - B (2:54)
bonus
13 - The Classic Remains 3:52
14 - Alone On Piano 1:56
15 - This Picture 3:31
16 - Not Me 2:39
17 - Don't Bring Reminders 2:22

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Wire - A Bell Is A Cup Until It Is Struck (88 now in Flac 452mb)

A Bell is a Cup Until it is Struck continues the 'beat combo' concept which began with The Ideal Copy , but this release is less aggressive. Most tracks build on Gotobed's metronome drumbeats with meshes of glittery guitars, droning basslines and keyboard textures. Newman's delivery throughout is softly spoken, in stark contrast to that on The Ideal Copy, but this only serves to create an album sometimes devoid of emotion and energy.Although the material on this album struggles against lethargic playing and overly-slick production, there are some gems waiting to be discovered. The swimmingly melodic Kidney Bingos is a case in point, juxtaposing a jaunty 'pop' number with a number of tabloid headlines. It highlight the absurdity of mass media via Newman's softly sung vocals over a combination of hypnotic, melodic patterns and impenetrable yet catchy lyrics . It makes for surreal, brainy pop.



01 - Silk Skin Paws (4:53)
02 - The Finest Drops (5:01)
03 - The Queen Of Ur And The King Of Um (4:03)
04 - Free Falling Divisions (3:39)
05 - It's A Boy (4:26)
06 - Boiling Boy (6:22)
07 - Kidney Bingos (4:12)
08 - Come Back In Two Halves (2:43)
09 - Follow The Locust (4:22)
10 - A Public Place (4:30)
11 - The Queen Of Ur And The King Of Um (Alternative Version) (4:02)
12 - Pieta (7:29)
13 - Over Theirs (Live) (6:36)

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Wire on You Tube (dedicated)
Wire @ Base
Wire @ MySpace
Wire video's and mp3's via Brainwashed.com

Colin Newman @ Base

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

Wavetrain, 7-7-7 avanti

Hello, it's 7-7-7 and, you guessed it's 7 up. Today is proclaimed Earthday, duh, apparently not the rest of the time, well it gives the big names in music the opportunity to re-establish dominance in the industry, but i dont want to get too cynical about it here. To move away from the material. "The number 7 in numerology relates to trust and openness, this marks a time where it is imperative to open your heart chakras to the flow of the new energy flowing into our light bodies from the 7th Dimension. This is the awaited ignition point for transitional shift .... recalibration ... or as we term it ... harmonic shift ... it is the precursor to the quickening and global mass awakening ...." more on that here

The guys in the wagon have one thing in common, they made their path of the beaten track, none made even close the amount of cash todays Earth hugging artists made. ACR tried to have a hitsingle but with such a name one is deemed 'intellectual' or too difficult for the ' pretty please' public. Hector Zazou has made a name for himself directing all kinds of musical projects, La Perversita was defacto his first, a strange album with an arty kinky packaging and booklet/magazine, als you'll have to do with the decent cover, Rip Rig & Panic jumped about the scene for 2 years and if anything it launched Neneh to temporary stardom but being a mother proved much more important to her. 400 Blows got off to a wonderfully strange start but then later lost it trying to go into dance. What to say about This Heat (deceit), noise that ain't. Thomas Leer is the king of his castle, the man who used a string as budget and managed to pull himself out of the masses with it aswell. But when he got recognized and got to play with the big boys he decided not my game and left. Thats not what can be said of Bill Nelson he soldiered on and has kept producing a great body of work, which it must be said isn't that available,alas. Well a tiny effort from me here...

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A Certain Ratio - To Each And Everyone (81)
Hector Zazou - La Perversità (79 )
Rip Rig & Panic - Attitude (83)
400 Blows - '.....If I Kissed Her I'd Have To Kill Her First.....' (84)
This Heat - Deceit (81)
Thomas Leer - Contradictions (81)
Bill Nelson - Quit Dreaming And Get On The Beam + bonus (81)

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A Certain Ratio - To Each And Everyone ( 81 * 365mb)

Intense and diverse, and originally drummerless, ACR released their debut single in 1979 - "All Night Party/The Thin Boys" through Factory Records. Donald Johnson joined as drummer after its release, completing the original line up with Simon Topping, Jez Kerr, Pete Terrell and Martin Moscrop. The band returned to the studio and completed a series of gigs around the country with labelmates Joy Division during late '79 and early 1980. Factory released the debut album "The Graveyard and the Ballroom", a limited edition cassette-only release that contained both studio demos and live tracks. In late 1980, the story switches from post-punk Manchester to the hustle-bustle of the Big Apple, New York City. The band checked into EARS studio, New Jersey, with legendary producer Martin Hannett at the controls. The fruits of these sessions formed ACR's debut studio album, "To Each...", an album on which the impact was single-handedly destroyed by "that idiot hippie" - an in-house engineer at the studio who decided to zero all of Hannett's mix settings before he'd had chance to get the album to tape. The album was eventually remixed and released in January 1981, proceeded by the single, Flight.

Immediately after the release of "To Each...", the band headed back into the studio to record its follow-up, "Sextet". This time the choice of studio was less geographically glamorous - Revolution Studios, in Cheadle Hulme. The album was self-produced, and featured vocals from Martha Tilson, as Simon Topping retreated to the background in the band. By the time of its release in January 1982, "Sextet" was receiving ecstatic reviews from the press. ACR's subsequent album release "I'd Like To See You Again" was based upon stripped down funk and influenced by a more electronic brand of dance music. The emerging club influence is apparent throughout the album It got mixed reviews, this adds to the argument that the band often were ahead of themselves - maybe they were just 'too early'. Pete Terrell, apparently disillusioned by the music industry, left shortly after the albums release. A second US tour beckoned during December 1982, and on the band's return they received another bombshell - Simon 'Dream' Topping departed, and this was the beginning a dark period for the band.

June 85 , they set off to tour the States again, with New Order, and the tapes of these gigs provided the mesmerising "ACR Live In America" album . Then ACR disappeared into the studio to record their fourth and final Factory studio LP - "Force". The album was undeniably their finest recording yet, all the elements had combined perfectly - the ferociously funky rhythm section was tighter and bolder than ever, the effected guitars soared ever higher, Tony's sax cut like a knife through butter.

In 1987, the band signed to a major label - A&M Records, and headed into the studio to record , "Good Together", it ended up a bit too polished. In the year that followed ACR built their own studio, The Soundstation, using the money from the advance paid to them by A&M. The single "I Won't Stop Loving You" was given the remix treatment by both Bernard Sumner and Norman Cook, it was played heavily by Radio 1. Unfortunately, it only skimmed the top forty. It was followed by the distinctly un-commercial, but ultimately fantastic, "ACR:MCR" album. The album was mainly instrumental, crossing from electro to dub to latin. Relations with A&M were beginning to wear thin, the label was disappointed with the bands lack of commercial success, and the band were disappointed with the way the label were trying to shape their sound. The band had one last card up their sleeve. They re-recorded their cover of the Banbarras hit, "Shack-Up", and backed it up with a plethora of remixes, again from Norman Cook. The promo of the single was rushed out to radio stations across the country, then - nothing. ACR and A&M were no longer an item.

During 1994, the band signed a deal with Creation Records who subsequently re-issued the entire ACR Factory back catalogue along with a remix album, "Looking For A Certain Ratio". The remix album featured brand new mixes from the likes of SubSub and New Order's Other Two, plus another re-recording of "Shack-Up". 1996 saw the release "Change The Station"
The turning of a new millennium saw a rush of interest in A Certain Ratio - their influence on a plethora of DJs and musicians across the globe found them constantly referenced through the media. As Punk-Funk once again became the sound of the other city that never sleeps. Since 2003, bands such as The Rapture, LCD Soundsystem, Radio 4 have all drawn heavily on the legacy of A Certain Ratio.



01 - Felch (3:17)
02 - My Spirit (2:33)
03 - Forced Laugh (5:39)
04 - Choir (2:57)
05 - Back To The Start (7:50)
06 - The Fox (3:48)
07 - Loss (3:23)
08 - Oceans (3:30)
09 - Winter Hill (12:48)
Xs
10 Abracadubra 3:35
11 Sommadub 7:20

ACR @ Base

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Hector Zazou - La Perversità (79 ^ 89mb)

Hector Zazou, one of the most innovative and unpredictable French composers, as the versatility of his career demonstrates: rock music (the band Barricades), French impressionist music (the duet ZNR) or traditional African music (three albums with Bony Bikaye)... Hector Zazou has a surprise waiting with each new composition. Whether it be for string quartet, wind instruments, classical voices or synthesizers, all illustrate his passion for the most unexpected inventions.Born of a French father and Spanish mother in pre-independence Algeria, Hector Zazou first recorded in the mid-'70s under the name ZNR.

This rare album is a production of the Bazooka group, one the first releases of Hector Zazou, with Jeanne Folly, J.L. Henning, VXZ 375, Bazooka of experimental music with some explicit lyrics, (btw the label, these days would likely rank as childporn), it has the great art (explicit two poster/mag inserts) by Kiki Picasso. On this album Zazou begins to demonstrate his interest in unusual instrumental timbres and colors, as well as displaying his eclectic musical imagination courtesy of 2 covers. Throughout the rest of the 1970s and into the early '80s, Zazou's musical efforts went unrepresented by any readily available recordings, besides this conducted under the name La Perversita.

Hector Zazou has proven himself as a creative force behind several unsual projects, as a unique musical arranger and producer called upon for his constant capacity of innovation.Whether it be for string quartet, wind instruments, classical voices or synthesizers, all illustrate Zazou's passion for the most unexpected inventions. The album "Les Nouvelles Polyphonies Corses" (1991- a successful experiment blending century-old a-cappella songs with shades of contemporary music) The following year Hector's "Sahara Blue" was released: the album, based on the work of the French poet Arthur Rimbaud and performed by the Sahara Blue Orchestra stars David Sylvian, Bill Laswell, Khaled, Dead Can Dance, Gérard Depardieu among other guests. You can find more Zazou here and here aswell



01 - Strawberry Fields Forever (3:42)
02 - 5'... Et Quelque De Bonheur... (5:37)
03 - I Love You S...(uicide) (11:25)
04 - Satisfaction (2:26)
05 - Para Bokassa (4:10)
06 - On Dine (1:53)
07 - La Soupeuse (10:53)

Bazooka movement Base

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Rip Rig and Panic - Attitude (83 ^ 496mb)

Evolving out of Bristol's the Pop Group, Rip Rig And Panic was formed in 1981 as a conceptual musicians' collective, taking its name from an album by Rahsaan Roland Kirk. The group's prime movers were multi-instrumentalist and songwriter Gareth Sager, jazz trumpeter Don Cherry's step-daughter Neneh Cherry , her partner and drummer Bruce Smith, Sean Oliver ( bass) and Mark Springer (piano). Powerful and disturbing live, their playful, anarchic jazz-funk was well captured on the irreverent 1981 debut album God, which appeared as two 45 rpm discs, but was too radical for daytime airplay or significant sales. They performed at the first WOMAD festival in 1982 shortly before Cherry returned to Sweden to have her first baby. Sean Oliver's sister Andrea temporarily took over vocals, and Louis Moholo joined on drums. The equally experimental second album, I Am Cold, appeared in 1982, followed by the more accessible Attitude in 1983. Unwilling to compromise further, but feeling the strain of constant innovation, they split in 1985. Cherry went on to a successful solo career, with Andrea Oliver contributing to some of her songs. Sean Oliver, who went on to co-write Terence Trent D'Arby's Wishing Well, died of sickle-cell anaemia in 1990. Sager formed Head, while Springer released a solo album before going on to work on film and television soundtracks. He returned to solo recording with 1998's Eye.



01 - Keep The Sharks From Your Heart (3:51)
02 - Sunken Love (2:54)
03 - Rip Open, But Oh So Long Thy Wounds Take To Heal (3:08)
04 - Do The Tightrope (3:18)
05 - Intimacy, Just Gently Shimmer (3:15)
06 - How That Spark Sets Me Aglow (3:25)
07 - Alchemy In This Cemetry ( 3:19)
08 - Beat The Beast ( 2:07)
09 - The Birth Pangs Of Spring ( 3:24)
10 - Eros; What Brings Colour Up The Stem? ( 5:32)
11 - Push Your Tiny Body As High As Your Desire Can Take You ( 3:47)
12 - Viva X Dreams ( 3:18)
Bonus Tracks
13 Do The Tightrope (12" Version) 5:53
14 1619 A Dutch Vessel Docks In The U.S.A. With 20 Humans For Sale 7:21
15 Blip This Jig It's Shamanic 0:47
16 Beat The Beast (Sob Sob I'm Gonna Jail This Hell Hole Itch) 3:40
17 Leave Your Spittle In The Pot 4:42
18 It's Always Tit For Tac You Foolish Brats 1:44
19 Do The Tightrope (Instrumental) 5:56
20 You're My Kind Of Climate (Dance Mix) 6:06

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400 Blows - ...If I Kissed Her I'd Have To Kill Her First... (84 ^ 84mb)

Formed in Croydon, London, in 1981, 400 Blows combined funk, reggae, African music and disco, as well as experimenting with with samples and loops, and could be considered as forerunners of the industrial rock and dance genres. Alongside Throbbing Gristle and Cabaret Voltaire, with a sound that has been described as 'avant-funk', they spent little time worrying about rock song structure or melody. Their name was taken from a 1959 French film directed by François Truffaut. One of the defining films of the French New Wave.the French title refers to the expression "faire les quatre cents coups", which means 'to raise hell'.

Their first single 'Beat the Devil' was similar in style to Cabaret Voltaire, and caught the attention of Illuminated Records. The debut album caused controversy with the title being a quote from serial killer Ed Kemper 'If I Kissed Her, I'd Have To Kill Her First', leading to claims of misogyny. On the album they use a Manson U.S. radio interview as the basis of their track "For Jackie M". A minor hit followed with 'Movin', an updated version of the Brass Construction song, which also featured new recruit, Lee, who added female vocals to the track. By the late 80's and early 90's, the emergence of Acid House saw 400 Blows heading in a more dance orientated direction, and releasing singles like 'Champion' on Warrior Records. Band member Anthony Thorpe would later find solo success under the guise of the Moody Boyz, as well as performing remixing duties for the K.L.F.



01 - Groove Jumping (4:50)
02 - Declaration Of Intent (Re-Mixed) (4:42)
03 - Them Thar Hills (4:24)
04 - Love (2:54)
05 - Introduction (0:50)
06 - Conscience (4:52)
07 - For Jackie M (6:16)
08 - Lapwing Chant (3:23)
09 - Men Of Divine Wind (The Kamikaze) (4:10)
10 - Perspective 3 (0:40)

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This Heat - Deceit (81 ^ 271mb)

In 1976, Charles Hayward joined with Charles Bullen and Gareth Williams to form This Heat. Though arising from art-rock and the British school of fusion jazz, This Heat quickly developed into an experimental band largely dependent on tape loops and production tricks. They use guitar, clarinet, drums and keyboards, permuted with loops, phasing and overdubs, breaking down patterns into only faintly connected musical moments that include artificial skips and looped end-grooves. Though insolent and withdrawn, the music is adventurous and, in its own peculiar way, engrossing. The punnily titled Deceit is more coherent and raucous, yet avoids the dismal drones and cacophony of other "experimental" groups. Free of clichés, the music blends politics and intelligence, steering clear of artifice and trendiness. Austere, brilliant and indescribable..

Deceit (note phonetically This Heat) was a radical departure from the first album. It contained 8 distinct songs-radically structured, but songs, nonetheless. I can think of nothing that sound quite like this album. Vocal harmonies are employed, but instead of working from the melody up, the harmonies often work from a high note down. They are not morbid, but ironic, and quite serious. Every song is a sonic masterpiece and the lyrics are still astonishing. After this monumental work was released, the group issued an EP called Health and Efficiency, which encompassed the band's two extreme directions; extroverted layered experimental rock ("Solar") and a trance inducing trip to inner space on the flip side. This Heat dissolved in 1982-1983. Charles Bullen went on to solo work and put together his own studio in the late 1980s; he has recently issued a CD under his own name. Charles Hayward decided to keep up public performances and formed The Camberwell Now. (btw the cover brings to mind....?)



01 - Sleep (2:13)
02 - Paper Hats (5:53)
03 - Triumph (2:53)
04 - S.P.Q.R. (3:23)
05 - Cenotaph (4:33)
06 - Shrinkwrap (1:40)
07 - Radio Prague (2:19)
08 - Makeshift Swahili (4:00)
09 - Independence (3:37)
10 - A New Kind Of Water (4:55)
11 - Hi Baku Shyo (Suffer Bomb Disease) (4:03)

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Thomas Leer - Contradictions ( 81 ^ 429mb)

One of the most collectible and influential UK indie singles remains 1979’s Private Plane by Thomas Leer (Thomas Wishart). From pure pop and soul, via psychedelia and New Wave, Thomas Leer arrived at the end of the Seventies with his seminal DIY release, Private Plane. It appeared on his own Oblique label and was a groundbreaking mixture DIY electronics, tape loops and hushed vocals. Cut-and-paste music in a cut-and-paste sleeve, he blended conventional instruments with tape loops, electronic experimentation and treatments to forge a compelling pop with a dark heart, swooping between the pretty and the (pretty) disturbing. Leer followed Private Plane with another influential release – the industrial/ambient headcharge of The Bridge, recorded in collaboration with Robert Rental. Originally released in 1979, it was re-released by Mute Records in 1992, and was half full-on electronic clink-clank industry and half serene, looped atmospheres. The album was originally released on Throbbing Gristle’s own label.

Leer started a solo career, signing to Cherry Red and releasing the EPs Four Movements and this "Contradictions" in the early 80s. He mapped out a gloriously low-tech, soulful alternative to the sterile synth-pop scene of the time. He borrowed a lot of equipment (guitar, bass, r-box, synth) from some musicians and recorded 7 tracks on 4-track. And this is a mixture of soul, funk, electronics, industrial and new wave. A few years of indie cult status led inevitably to his recruitment to the major labels, where as reluctant synth boffin, he sought to challenge the listener, undermine or reinvent form, and playfully subvert expectation. The resulting album, 1985’s Scale of Ten, was Leer’s attempt to ‘subvert the mainstream from the inside’ and contained the singles International, Heartbeat and No. 1. Critically acclaimed, although always working just on the edge of mass appeal.
It would never last. Thomas formed and disbanded the finely honed but blissfully ignored ACT in little more than a year. Tired and a little bit jaded, he resigned from the music industry. No one knew quite where he was or, for that matter, why he resigned. But he had, and he stayed ‘out for the next 14 years. Recording again in recent years, the result "Parts of a Greater Hole" (Karvavena Records, 2005) marks Thomas Leer’s return, proving he has lost none of his experimental vigour, while at the same absorbing many new influences and styles - from drum & bass to glitch-music – that have emerged in the years since his ‘resignation’..



01 Private Plane 4:00
02 International 4:01
03 Kings Of Sham 3:57
04 Dry Land 3:26
05 Don't 5:29
06 Letter From America 4:03
07 Tight As A Drum 4:38
08 West End 4:28

Original album
09 Hear What I Say (5:17)
10 Mr. Nobody (5:18)
11 Contradictions (13:58) edited here
12 Looks That Kill (4:57)
13 Soul Gypsy (5:14)
14 Choices (6:10)
15 Gulf Stream (5:40)

16 All About You 5:12

Thomas Leer @ Base
Thomas Leer @ MySpace

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Bill Nelson - Quit Dreaming And Get On The Beam ( 81 * 473mb)

After the breakup of Be Bop Deluxe, Nelson eventually settled into a career as a solo musician, recording iconoclastic albums in the early electropop vein such as The Love That Whirls and Quit Dreaming and Get On the Beam (both recently remastered and reissued). Many of these albums also shipped with bonus records featuring experimental ambient instrumentals, and this was a genre of music Nelson would embrace more fully in the future.

Nelson had his share of troubles with major labels in the 1980s. A deal with CBS Records went sour, leaving one admired album, unreleased, Getting the Holy Ghost Across . Nelson and his manager Mark Rye formed the Cocteau Records label in 1981, and for many years this label handled the majority of Nelson's output, which often included multiple albums per year. Among the more ambitious Cocteau releases were the four-record boxed set of experimental electronic music, Trial by Intimacy (The Book of Splendours), and the later ambient collection, Chance Encounters in the Garden of Lights, which contained music informed by Nelson's Gnostic beliefs. As the 1980s ended, Nelson suffered a tremendous series of personal setbacks, including a divorce, tax problems, and a nasty falling-out with his manager over his back catalogue rights.
Nelson channelled his troubles into his music, with the result that the 1990s proved an even more prolific period for him he released multiple cd-box sets. Check the link at the bottom for an extensive expose of his work.



01 - Banal (4:14)
02 - Living In My Limousine (4:10)
03 - Vertical Games (3:13)
04 - Disposable (5:52)
05 - False Alarms (2:49)
06 - Decline And Fall (4:40)
07 - Life Runs Out Like Sand (5:21)
08 - A Kind Of Loving (4:13)
09 - Do You Dream In Colour (3:41)
10 - U.H.F. (4:28)
11 - Youth Of Nation On Fire (3:56)
12 - Quit Dreaming And Get On The Beam (3:33)
Bonus Tracks
14 Mr. Magnetism Himself 3:13
15 Living In My Limousine (Remix) 4:23
16 Birds Of Tin 2:22
17 Love In The Abstract 3:35
18 Be My Dynamo 2:13
19 Rooms With Brittle Views 3:54
20 All My Wives Were Iron 1:31



Bill Nelson - Sounding The Ritual Echo (Atmospheres For Dreaming) (81 * 70mb)

01 - Annunciation (2:07)
02 - The Ritual Echo (1:31)
03 - Sleep (3:19)
04 - Near East (2:17)
05 - Emak Bakia (3:28)
06 - My Intricate Image (3:19)
07 - Endless Orchids (3:18)
08 - The Heat In The Room (0:55)
09 - Another Willingly Opened Window (3:48)
10 - Vanishing Parades (3:26)
11 - Glass Fish (For The Final Aquarium) (2:56)
12 - Cubical Domes (2:25)
13 - Ashes Of Roses (2:59)
14 - The Shadow Garden (4:07)
15 - Opium (1:43)

Bill Nelson @ Base
Holyground label

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

Wavetrain, Jumbo day USA

Hello, it's Jumbo day USA (7-4-7), i thought lets throw a bunch of americans together on their independence day, turns out that they have lots to talk about in their reserved wagon. Suicide made a big impression on the music scene with their , intense music, one of their fans produced their second album..and more later Ric Ocasek- Cars one of them was an original Modern Lover btw, anyway Ric produced Romeo Voids smasher never say never, Romeo Void that basicly suffered the same starvation as their label mates The Units from San Fransisco that decided to drop out towards New York where Suicide's ZE label mates James White had contorted himself out of a great band, part of which reappeared as the best punk funk band ever, Defunkt-(convince yourself !). New York Comateens were picked up by a frenchie who released their first album on his label Call Me, as a consequence they did rather well in France, they did tour the US supporting..there he is again Ric Ocasek (The Cars). Jonathan Richman squatted in New York but returned to Boston to start of his recording career with the Modern Lovers, this didnt go to easy and he needed Californian Smog to further inspire him. Meanwhile he'd become a source of inspiration to punks no less, but folk punkers Violent Femmes clearly find inspiration from Jonathan too, rests fellow Bostonians Human Sexual Response's postmodern pop that seems to mirror him in their off beat approach.

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Suicide - II ( Alan Vega - Martin Rev) (80)
Romeo Void - Warm, In Your Coat
Comateens - Comateens (81)
Violent Femmes - Violent Femmes (82)
Defunkt - Avoid The Funk (82)
The Units - Digital Stimulation (80)
Human Sexual Response - Fig. 14 (80)
James White and the Contortions - Second Chance (80)
Jonathan Richman & The Modern Lovers - Buzz

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Suicide - II (Alan Vega - Martin Rev)  (80 *455mb)

Rock 'n Roll without guitars never sounded this good

Never widely popular amongst the general public, Suicide are nonetheless hugely influential, part of the New York rock underground since the early 1970s, Alan Vega (a.k.a. Alan Bermowitz) was born in Brooklyn, New York, and Martin Rev (a.k.a. Martin Reverby) grown up in the Bronx, they mixed Alan Vega's blues-styled vocals and Marty Rev's synthesizer (originally a broken-down Farfisa organ they couldn't afford to repair). Suicide emerged alongside the early punk scene in New York City with a reputation for ferocious and controversial live shows; Vega stated "We started getting booed as soon as we came onstage. Just from the way we looked they started giving us hell already." . Vega and Rev both dressed like arty, pre-cyberpunk street thugs, and Vega was notorious for brandishing a length of motorcycle drive chain onstage.

Their first album, Suicide , is often regarded as a classic: One critic writes: these eerie, sturdy, steam-punk anthems rank among the most visionary, melodic experiments the rock realm has yet produced, however, the ten-minute "Frankie Teardrop" might be the album's highlight, telling the harrowing story of a poverty-stricken Vietnam vet pushed to the edge: Suicide always provoked extreme reactions by producing a unique, obsessively American electronic music of enormous and enduring influence.

Confusingly released in 1980 as Alan Vega/Martin Rev and omitting their "Dream Baby Dream" single, this the Ric Ocasek-produced Second Album is less confrontational and more contemporary than the duo's terrifying debut. Vega's rockabilly snarl and Rev's burbling electronics remain, but Ocasek's involvement purges a pop sensibility only hinted at on Suicide. Hell, some of the tracks are downright pretty ("Shadazz," "Diamonds, Fur Coat, Champagne"). Perhaps it's not as renegade as Suicide, but it's an arguably better, more realized work, and just as essential. Most of the tracks lurch by at a mid-tempo pace; Vega's distorted vocalisms are rather restrained but highly sinister, and Rev's sonic wizardry is delightfully horrific. Ric Ocasek btw has remained a supporter and friend, he produced solo work for Vega and Rev. Both released sveral albums before getting together again in 88 when Ocasek produced their 4th album "Way of Life". Their music and gigs proved an intense affair so both needed space and it wasnt till 2002 that they released a new album American Supreme look here



01 - Diamonds, Fur Coat, Champagne (3:17)
02 - Mr. Ray (To Howard T.) (5:08)
03 - Sweetheart (3:30)
04 - Fast Money Music (3:02)
05 - Touch Me (4:18)
06 - Harlem (6:29)
07 - Be Bop Kid (2:07)
08 - Las Vegas Man (4:02)
09 - Shadazz (4:18)
10 - Dance (3:16)

Suicide @ FanBase

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Romeo Void - Warm, In Your Coat ( 82 * 430mb)

The combination of Iyall's powerful vocals and searing imagery with the band's muscular blend of dark atmospherics and a rattling momentum, with Benjamin Bossi's splattering free jazz saxophone coloring everything, made Romeo Void one of the strongest of the American post-punk bands. Debora Iyall, a Native American (from the Cowlitz tribe) born in rural Washington and raised in Fresno, CA, moved to San Francisco in the mid-'70s to attend the San Francisco Art Institute. Intrigued by the burgeoning local punk and post-punk scenes, Iyall, Zincavage, Woods, and Derrah formed Romeo Void in 1979. Iyall has said that the name, meaning "a lack of romance," was inspired by a headline on the cover of a local magazine that read "Why single women can't get laid in San Francisco."

Shortly after the group's formation, saxophonist , Benjamin Bossi, teamed up with Romeo Void. The revised lineup recorded their debut single, "White Sweater," and a cover of Jorgen Ingmann's atmospheric 1961 twang-guitar instrumental hit "Apache," for the new local indie 415 Records in 1980. Before sessions commenced for their first album, 1981's It's a Condition, Derrah left the group, replaced by ex-Explosions drummer John "Stench" Haines. One of the masterpieces of American post-punk, It's a Condition received rave reviews upon its release. Perhaps even more importantly, Cars leader Ric Ocasek heard the album and invited the group to his Synchro Sound studio in Boston. The resulting Ocasek-produced EP, Never Say Never, on the back of the enormous dance club and college radio airplay of the single, led directly to 415 Records' ongoing association with Columbia Records.
1982's "Benefactors" kicks off with a less-impressive shortened mix of "Never Say Never," almost completely eliminating Bossi's squalling, Albert Ayler-like solo, fading out before the hypnotic ending and bleeping out a rude word in the second verse. A denser album than the sparse It's a Condition, Benefactors is nearly the equal of the earlier record, with the hyperactive dance-pop of "Undercover Kept" signaling a new interest in musical directness that would reap commercial benefits on their next album.

Like It's a Condition, that third album, 1984's Instincts, was produced by 415's former house producer David Kahne, but it's far slicker than the debut, this newly commercialized approach scored the band their only Top 40 hit, "A Girl in Trouble (Is a Temporary Thing)," which Iyall claimed is an answer song to Michael Jackson's "Billie Jean," the album is a disappointment in comparison to the stellar work that had preceded it. By the time of these sessions, relations had become strained in the groupsubsequently Romeo Void broke up in early 1985. Romeo Void reunited for a few benefit shows in 1992 and later that year released a career-summary compilation, Warm in Your Coat.



01 - White Sweater (4:48)
02 - I Mean It (5:40)
03 - Charred Remains (3:04)
04 - Talk Dirty To Me (4:47)
05 - Myself To Myself (3:44)
06 - In The Dark (4:27)
07 - A Girl In Trouble (Is A Temporary Thing) (4:18)
08 - Out On My Own (Dance Mix) (3:51)
09 - Just Too Easy (3:12)
10 - Wrap It Up (3:25)
11 - Flashflood (4:57)
12 - Undercover Kept (6:08)
13 - Chinatown (3:16)
14 - Never Say Never (5:54)

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Comateens - Comateens (81 ^ 236mb)

The Comateens were formed in New York in 1980 by Ramona Jan (guitar), Nik North (bass, vocals), and a drum machine. After Lyn Byrd (synthesizer, vocals) and Oliver North (guitar, vocals) joined the group, they recorded their self-titled debut LP in 1981. The album became a cult favorite among college hipsters. However, the Comateens actually gained a larger following in Europe, wherein the group's quirks – such as the necrophilia tale “Cool Chick" – were more easily digested. The band released two more LPs – 1983's Pictures on a String and 1984's Deal With It – and then split up in 1985. Byrd and Oliver North eventually reunited in North and Byrd, but North passed away soon thereafter.



01 Ghosts 03:56
02 Late Night City 03:00
03 One by One 04:16
04 TVC 15 02:39
05 All Ways 02:35
06 Summer in the City 02:44
07 Nightmare 02:59
08 Strangler 03:03
09 Overseas 02:16
10 The Munsters Theme 01:52
11 Raceway 03:01
12 Keep the Pace 02:07

ComaTeens @ Base
ComaTeens @ MySpace

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Violent Femmes - Violent Femmes (82 ^ 470 mb)

Violent Femmes were founded in 1980 by bassist/multi-instrumentalist Brian Ritchie and drummer Victor De Lorenzo. The name is a contradiction in terms, “Violent” being self-explanatory and “Femmes” being Milwaukee slang for wimp.
The rhythm section added high school singer/songwriter Gordon Gano in 1981. Gano and Ritchie had previously performed together at Gano’s National Honor Society induction ceremony, where they caused a near riot. Gano was expelled from the Society and suspended from high school for this outrage.

One of the only stable aspects of the band is their aversion to rehearsal. Due to this they would take the music to the streets in an attempt to hone it and earn some spare change. It was on one of these occasions that they were spotted by the Pretenders. Chrissie Hynde and the gang were so amused by the Violent Femmes antics that they invited the band to open the show for them. The Femmes borrowed $10,000 from Victor De Lorenzo’s dad to record their legendary first album in 1982. Slash Records in Los Angeles was the only label to offer them a deal with the amazing advance of $0.The music was an innovative combination of American folk music and Punk rock, and commonly referred to as "folk-punk". The lyrics were the common adolescent themes of yearning for love, sex and affection. The group quickly gained a small cult following that never burgeoned into widespread popularity. The debut album went platinum 10 years after its release, the only album ever to do so without ever charting in the Billboard Top 200.

The band accepted the deal and started on the predictable round of world tours, recording, more world tours, nervous breakdowns, band members quitting, solo albums, regrouping, more touring, divorces, more crackups, dropped from record deals, new deals, more touring, record company going bankrupt, lawsuits, etc. etc. etc. ad infinitum. Fast forward to the present. Many things have changed. One thing that hasn’t is the sound of the band. Their loose, improvisational, acoustic sound is timeless.



01 - Blister In The Sun (2:24)
02 - Kiss Off (2:56)
03 - Please Do Not Go (4:15)
04 - Add It Up (4:43)
05 - Confessions (5:32)
06 - Prove My Love (2:38)
07 - Promise (2:49)
08 - To The Kill (4:00)
09 - Gone Daddy Gone (3:06)
10 - Good Feeling (3:52)
Demos & More
11 Girl Trouble 3:06
12 Breakin' Up 5:17
13 Waiting For The Bus 2:07
14 Blister In The Sun 2:35
15 Kiss Off 2:48
16 Please Do Not Go 4:17
17 Add It Up 4:34
18 Confessions 5:20
19 Prove My Love 2:49
20 Ugly 2:22
21 Gimme The Car 5:06

Violent Femmes @ Base

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Defunkt - Avoid The Funk (82 ^ 319mb)

This punk-funk-jazz unit born in 1978 in New York City merged avant-garde with rocking, funky grooves. Over this period the band made 15 recordings on various independent labels and traveled throughout the world sharing the stage with countless numbers of popular artists. Defunkt is the first band to make a real fusion of popular and extreme music styles, also pioneers in early stages of rap music in the early 80’s. The band uncharacteristically has from the beginning performed at Jazz Festivals as well as Rock & Soul venues throughout the world, gaining cult like respect from musicians and underground music aficionados worldwide. Defunkt has never gained huge commercial success due to unwillingness to compromise creativity and musical uniqueness and integrity for popular acclaim.

This collection of early Defunkt mostly features their arguably classic line up. Kim Clarke's wonderful, unique, wide-freqeuncy sound on bass slipping seamlessly from finger to slap can only be described as 'riotous' - it sounds like improvisation to me with endless ideas woven around a rock solid funk riff. Kelvyn Bell's guitar likewise has this impro feel about it and yet is funk solid - his hard sound and jazz-modal solos add to the overall 'angular' sound of Defunkt and is no surprise he went on to play in Steve Coleman's Five Elements. Kenny Martin on drums - well, it takes something very special to simultaneously add to this riot of a thousand-riff's-a-minute rock funk and still keep a bed rock groove All this is the perfect underpinning for Joe Bowies' proclamation vocals and strident, explosive, modal brass.The message of Defunkt has always been intended to be a “light” for the people in darkness, not a sedative for world sickness. Their first 2 albums have been remastered and packaged together, for those that enjoy this taster, a must have .



01 - Make Them Dance (6:47)
02 - Strangling Me With Your Love (Revisited) (10:46)
03 - Defunkt (Live) (4:34)
04 - Big Bird (Au Private) (2:08)
05 - For The Love Of Money (5:57)
06 - The Razor's Edge (9:20)
07 - Avoid The Funk (4:27)
08 - In The Good Times (5:32)

Defunkt @ Base

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The Units - Digital Stimulation   (80 ^ 154mb)

The Units were an early Electronic music/punk rock/New Wave/Synthpunk band founded in San Francisco in 1978 and existing until 1984, primary members were Scott Ryser and Rachel Webber. One of America's first electronic new wave bands, they are widely cited as the pioneers of a genre now known as "synthpunk." The Units were one of the most popular bands of the San Francisco punk and performance art scene during the late 1970s and early 1980s. After self releasing two 7" singles, the Units critically acclaimed first album, Digital Stimulation, was released in 1980, it was the first album released by Howie Klein’s, make me money, 415 Records.

In 1982 the Units released a single on UpRoar Records entitled The Right Man it stayed on the dance charts for 13 weeks. The Uproar label was the creation of Rachel Webber’s brother, Joel Webber. Joel Webber, radio promo man extrodinaire and the Units manager at the time, was also one of the founders of the New Music Seminar. After the success of The Right Man, the Units signed with Epic/CBS Records that decide to screw their career for refusing to bend over.Yes either way you're going to get screwed. After the released of an EP titiled New Way to Move, the Units' allready recorded second album "Animals They Dream About" and the third album — both produced by Bill Nelson, were never released. On top of that they were blacklisted by the apparent moblike monopoly structure of the US club-gigs system, well that was the end of the Units.. Land of the free to screw eachother over..



01 - High Pressure Days (3:19)
02 - Digital Stimulation (3:10)
03 - Warm Moving Bodies (3:31)
04 - Go (2:11)
05 - Mission (1:45)
06 - Cannibals (2:42)
07 - Bugboy (2:14)
08 - Tight Fit (4:03)
09 - Passion Or Patterns (2:34)
10 - Town By The River (1:55)
11 - Cowboy (5:17)
bonus (years later)
12 - I-Night 29:23
12.1 I-Night (0:00-4:17)
12.2 unknown (4:46-9:32)
12.3 I-Night (live) (9:32-15:15)
12.4 Go (live) (15:15-17:16)
12.5 High Pressure Days (live) (17:16-20:36)
12.6 Cannibals (live) ( 20:36-25:52)
12.7 Warm Moving Bodies (live) (25:52-29:23).            

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Human Sexual Response - Fig. 14 (80 ^ 84mb)

Human Sexual Response were a Boston band that emerged in the late 1970s and continued through the early 1980s. They named the band after the groundbreaking, and now classic, Masters and Johnson best-seller. In their short existence, they created a substantial buzz in their hometown and on the East Coast for their arty and energetic live shows and their sophisticated postmodern pop. Fronted by four singers and backed by a power trio that featured the excellent guitar work of Rich Gilbert, HSR combined a punk rock ethos with a camp sensibility reminiscent of early Blondie. Prominent vocalist Larry Bangor offered songs like "What Does Sex Mean to Me" and the irreverent "Jackie Onassis" in a jittery tenor voice that conjured up sex, outrage, and comedy in one neat package.

After a promising debut record, HSR's second record was a comparatively dour affair, loaded down with art rock pretensions and lifeless arrangements. After an almost unanimous critical drubbing, HSR played the New England circuit for another year and split in 1982



01 - Guardian Angel (3:49)
02 - Dick And Jane (4:14)
03 - Jackie Onassis (3:46)
04 - Cool Jerk (2:34)
05 - Dolls (4:54)
06 - What Does Sex Mean To Me ? (4:50)
07 - Marone Moan (3:41)
08 - Unba Unba (2:53)
09 - Anne Frank Story (6:23)

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James White and the Contortions - Second Chance (80 ^ 87mb)

The Contortions were one of the most important -- and accessible -- bands in New York's short-lived No Wave movement, playing a noisy, clattering avant-funk that drew from punk and free jazz. The group was formed in 1977 by the flamboyantly dressed vocalist/saxophonist James Chance (born James Siegfried), also featuring guitarists Pat Place and Jody Harris, organist Adele Bertei, bassist George Scott, and drummer Don Christensen. The Contortions' live shows embodied the nihilistic ethos of No Wave, as Chance actively picked fights with the audience. The group contributed four tracks to the seminal Brian Eno-produced No Wave compilation No New York in 1978; the following year, Buy the Contortions marked their official album debut, by which time Chance was being billed ahead of the group name. Aside from a few live recordings, the original Contortions lineup didn't release much more material. Chance used most of the group for his funk/disco project James White & The Blacks (with the album Off White also appearing in 1979), and although he continued to lead versions of the Contortions through the early '80s.Frictions between Chance and band members led to a breakup of the Contortions in the fall of 1979. Aiming for a truer funk sound, Chance continued with a mix of black and white musicians and his bands went through numerous incarnations, touring and recording under the name James White and the Blacks until the mid 1980s. Subsequently Chance withdrew from public visibility for over a decade, before reappearing in the mid-1990s. (01-04 are side A from Off White and 05-09 are from Buy by the Contortions)



01 - Contort Yourself (Original British Mix) (3:05)
02 - Stained Sheets (5:46)
03 - Tropical Heatwave (3:50)
04 - Almost Black (7:30)
05 - Design To Kill (2:44)
06 - I Don't Want To Be Happy (3:19)
07 - Contort Yourself (4:19)
08 - Throw Me Away (2:41)
09 - Bedroom Athlete (4:09)

White @ Base

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Jonathan Richman and The Modern Lovers - Buzz (76/79 * 291mb)

Richman became infatuated with the Velvet Underground, and in 1969 he moved from Boston to New York City, living on the couch of their manager, Steve Sesnick, while working odd jobs and trying to break in as a professional musician. Failing at this, he returned to Boston.Having moved back, he formed The Modern Lovers, a proto-punk garage rock band. Other notable members of the group were keyboard player Jerry Harrison and drummer David Robinson, who later joined Talking Heads and The Cars, respectively. In 1972 they recorded a series of demos with producer John Cale Among these songs was the seminal "Roadrunner" and "Pablo Picasso" which were eventually released on the group's postbreak-up album Modern Lovers in 1976. The album was unique for its time, featuring Velvets-influenced basic three-chord rock at a time when glam and progressive rock were the norm. Despite their continued success as a live act, the Modern Lovers had a difficult time securing a record deal, ultimately it led to the breakup of the original Modern Lovers . As the UK punk scene and LA hardcore scenes were taking off, Jonathan was nowhere to be found, as he transformed himself into a 50s-ish folk rocker, a cult antihero of sorts. He sang against drugs, violence, and loveless sex, preferring an almost innocent wide-eyed boy personality in his lyrics. His song emotions range from hurt and despair, to happy and romantic, to fuzzy and cute (typical of his late 70s work). He uses simplicity and direct emotion to connect to his audience. Well this compilation offers you an hour of stress relief by this off the wall artist.



01 - Egyptian Reggae (2:38)
02 - Pablo Picasso (4:20)
03 - Roadrunner (4:04)
04 - My Little Kookenhaken (3:30)
05 - Dodge Veg-O-Matic (3:49)
06 - The Sweeping Wind (2:02)
07 - South American Folksong (2:39)
08 - Roller Coaster By The Sea (2:07)
09 - Ice Cream Man (3:04)
10 - Buzz Buzz Buzz (1:58)
11 - Abdul & Cleopatra (3:17)
12 - Coomyah (2:10)
13 - Back Into Your Life (2:15)
14 - Hey There Little Insect (3:11)
15 - Party In The Woods Tonight (3:01)
16 - Roadrunner (twice) (4:43)

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