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 !