Hello, Halloween, Samhain nothing of that kind here today.I have to say after weeks of re-uploading i had some withdrawel symptons today...not . Let's C choosing this way is much quicker, the only criterium is that it would come up in one of the other formats. Cinematic Orchestra is a good example in it's genre-defying quality. Their Ninja label 'bosses' Coldcut are my next offering, this cd had a bonus multimedia added on with games and software, the album itself isnt as quick and dirty as some of their mixing Not so dead Kennedy Jello Biafra lending his voice to some of the tracks.. Finally, The Chills tried many line-ups but never broke thru maybe their warm sound didnt really connect with their name.
***** ***** ***** ***** *****
The Cinematic Orchestra - Every Day (02 ^ 338mb)
The Cinematic Orchestra is led by composer/programmer/multi-instrumentalist Jason Swinscoe, who formed his first group, Crabladder, in 1990 as an art student at Cardiff College. Crabladder's fusion of jazz and hardcore punk elements with experimental rhythms inspired Swinscoe to further explore the possibilities of sampling, and by the time of the group's demise in the mid-'90s, he was DJing at various clubs and pirate radio stations in the U.K. The music he recorded on his own at the time melded '60s and '70s jazz, orchestral soundtracks, rhythm loops, and live instrumentation into genre-defying compositions. The Cinematic Orchestra built on this musical blueprint, letting a group of live musicians improvise over sampled percussion or basslines. The Orchestra included saxophonist/pianist Tom Chant, bassist Phil France, and drummer Daniel Howard, who also recorded the Channel One Suite and Diabolus EPs for Ninja Tune with Swinscoe. The project's full-length debut, Motion, arrived in 1999 to great acclaim. After the collection Remixes 1998-2000, their second album, Every Day, followed in 2002, with vocal features for Fontella Bass and Roots Manuva. Man with a Movie Camera, a 2003 release on CD and DVD, offered a 1999 film score Cinematic Orchestra had provided for the reairing of a 1929 Soviet documentary, while four years later Ma Fleur was released.
With Every Day, Cinematic Orchestra move beyond the electro-jazz fusion of their debut to make a record more natural, more paced, and, surprisingly, better than the justly hyped Motion. J Swinscoe is more the arranger/conductor here than the producer, but of course, there's little need for samples or effects with such an accomplished band sharing the burden. Every Day is a textured, acoustic work, the sounds and styles heard may not be revolutionary, but instead of simply pushing stylistic boundaries, Cinematic Orchestra display a real gift in making emotional, artistic music.
01 - All That You Give (Voc. Fontella Bass) (6:40)
02 - Burn Out (9:30)
03 - Flite (6:30)
04 - Evolution (Voc. Fontella Bass) (6:30)
05 - Man With The Movie Camera (9:15)
06 - All Things To All Men (Voc. Roots Manuva) (11:10)
07 - Everyday (10:00)
Cinematic Orchestra @ Base
***** ***** ***** ***** *****
Coldcut - Let Us Play (96 * 432mb)
DJs Jonathan More and Matt Black, aka Coldcut, rose to acclaim in the mid-'80s through the remix production Eric B. & Rakim's Paid in Full followed up by remix work for a number of modern rock, hip-hop, and dance outfits, including Yaz, Lisa Stansfield, Junior Reid, Blondie, and Queen Latifah. While that connection has pegged them as a product of the U.K. acid house and rave scenes, the pair's larger commitment has been to urban breakbeat styles such as hip-hop, ambient dub, and jungle; the three of which have constituted the bulk of their recorded output since their first mid-'80s white-label EP, Hey Kids, What Time Is It? More and Black have assembled an empire of U.K. breakbeat and experimental hip-hop through their Ninja Tune/Ntone labels and been a unifying force in underground experimental electronic music through their eclectic radio show, Solid Steel, and club and tour dates.
Although Coldcut was their earliest nom de plume, following a befuddled contract with Arista, the name remained in legal channels for the following few years. The intervening period found the pair no less active, releasing a flood of material under different names( Hedfunk, Hex, DJ Food ) aswell as continuing to work with young groups. The Coldcut name returned to More and Black in 1995, and the pair celebrated with a mix CD as part of the Journeys by DJ series dubbed 70 Minutes of Madness. The release was credited with bringing to wider attention the sort of freestyle mixing the pair were always known for through their radio show on KISS FM, Solid Steel, and their steady club dates, a style that has since taken off through clubs like Blech and the Heavenly Sunday Social. In 1996, Coldcut finally released another full-length, Let Us Play! Two years later, the pair followed up with the remix album Let Us Replay! Numerous mix CDs appeared before they returned in 2006 with the new album Sound Mirrors.
01 - Return To Margin (8:32)
02 - Atomic Moog 2000 (Post Nuclear Afterlife Lounge Mix) (7:06)
03 - More Beats + Pieces (Daddy Rips It Up Mix) (6:08)
04 - Rubaiyat (6:42)
05 - Pan Opticon (6:59)
06 - Music 4 No Musicians (7:02)
07 - Noah's Toilet (4:33)
08 - Space Journey (4:20)
09 - Timber (4:32)
10 - Every Home A Prison (Ft Jello Biafra) (7:03)
11 - Cloned Again (4:40)
12 - I'm Wild About That Thing (The Lost Sex Tapes: Position 1) (7:24)
***** ***** ***** ***** *****
The Chills - Submarine Bells ( 90 219mb)
The Chills were one of New Zealand's best and most popular bands of the '80s, making a small but consistent series of chiming, hook-laden guitar pop, interweaving guitar hooks and vocal harmonies, creating a pretty, almost lush sound without becoming sentimental. Throughout their existence, the band's personnel changed frequently -- there were more than ten different lineups -- with the only constant member being guitarist Martin Phillipps, the band's founder.
In 1982, the Chills signed with Flying Nun, the influential New Zealand independent record label, and released several singles that were never widely distributed in America and Europe. During this time, the group went through an enormous amount of members. Released on the U.K. record label Creation, the group's first album, Kaleidoscope World (1986), was a collection of their early singles.
With the lineup of Phillipps, bassist Justin Harwood, keyboardist Andrew Todd, and drummer Caroline Easther -- the group's tenth lineup -- the Chills recorded their first proper album, Brave Worlds, in 1987. produced by Mayo Thompson, the band wasn't satisfied with the final result, claiming it was too loose and under-produced. The group, particularly Phillipps, was more satisfied with their second full-length album, 1990's Submarine Bells, was recorded with yet another version of the band, with Jimmy Stephenson replacing Easther, who was suffering from tinnitus. The album was well received by critics and college radio, yet it failed to break the band into the mainstream in either America or Britain. Two years later, they released Soft Bomb, which suffered the same fate as Submarine Bells. The following year, Martin Phillipps broke up the Chills again, the group reconvened in 1996 to release Sunburnt.
01 - Heavenly Pop Hit (3:27)
02 - Tied Up In Chain (3:15)
03 - The Oncoming Day (3:06)
04 - Part Past Part Fiction (2:55)
05 - Singing In My Sleep (2:39)
06 - I SOAR (3:04)
07 - Dead Web (2:15)
08 - Familiarity Breeds Contempt (3:20)
09 - Don't Be - Memory (4:45)
10 - Effloresce And Deliquesce (2:45)
11 - Sweet Times (0:40)
12 - Submarine Bells (3:41)
***** ***** ***** ***** *****
All downloads are in * ogg-7 (224k) or ^ ogg-9(320k), artwork is included , if in need get the nifty ogg encoder/decoder here !
***** ***** ***** ***** *****
The Cinematic Orchestra - Every Day (02 ^ 338mb)
The Cinematic Orchestra is led by composer/programmer/multi-instrumentalist Jason Swinscoe, who formed his first group, Crabladder, in 1990 as an art student at Cardiff College. Crabladder's fusion of jazz and hardcore punk elements with experimental rhythms inspired Swinscoe to further explore the possibilities of sampling, and by the time of the group's demise in the mid-'90s, he was DJing at various clubs and pirate radio stations in the U.K. The music he recorded on his own at the time melded '60s and '70s jazz, orchestral soundtracks, rhythm loops, and live instrumentation into genre-defying compositions. The Cinematic Orchestra built on this musical blueprint, letting a group of live musicians improvise over sampled percussion or basslines. The Orchestra included saxophonist/pianist Tom Chant, bassist Phil France, and drummer Daniel Howard, who also recorded the Channel One Suite and Diabolus EPs for Ninja Tune with Swinscoe. The project's full-length debut, Motion, arrived in 1999 to great acclaim. After the collection Remixes 1998-2000, their second album, Every Day, followed in 2002, with vocal features for Fontella Bass and Roots Manuva. Man with a Movie Camera, a 2003 release on CD and DVD, offered a 1999 film score Cinematic Orchestra had provided for the reairing of a 1929 Soviet documentary, while four years later Ma Fleur was released.
With Every Day, Cinematic Orchestra move beyond the electro-jazz fusion of their debut to make a record more natural, more paced, and, surprisingly, better than the justly hyped Motion. J Swinscoe is more the arranger/conductor here than the producer, but of course, there's little need for samples or effects with such an accomplished band sharing the burden. Every Day is a textured, acoustic work, the sounds and styles heard may not be revolutionary, but instead of simply pushing stylistic boundaries, Cinematic Orchestra display a real gift in making emotional, artistic music.
01 - All That You Give (Voc. Fontella Bass) (6:40)
02 - Burn Out (9:30)
03 - Flite (6:30)
04 - Evolution (Voc. Fontella Bass) (6:30)
05 - Man With The Movie Camera (9:15)
06 - All Things To All Men (Voc. Roots Manuva) (11:10)
07 - Everyday (10:00)
Cinematic Orchestra @ Base
***** ***** ***** ***** *****
Coldcut - Let Us Play (96 * 432mb)
DJs Jonathan More and Matt Black, aka Coldcut, rose to acclaim in the mid-'80s through the remix production Eric B. & Rakim's Paid in Full followed up by remix work for a number of modern rock, hip-hop, and dance outfits, including Yaz, Lisa Stansfield, Junior Reid, Blondie, and Queen Latifah. While that connection has pegged them as a product of the U.K. acid house and rave scenes, the pair's larger commitment has been to urban breakbeat styles such as hip-hop, ambient dub, and jungle; the three of which have constituted the bulk of their recorded output since their first mid-'80s white-label EP, Hey Kids, What Time Is It? More and Black have assembled an empire of U.K. breakbeat and experimental hip-hop through their Ninja Tune/Ntone labels and been a unifying force in underground experimental electronic music through their eclectic radio show, Solid Steel, and club and tour dates.
Although Coldcut was their earliest nom de plume, following a befuddled contract with Arista, the name remained in legal channels for the following few years. The intervening period found the pair no less active, releasing a flood of material under different names( Hedfunk, Hex, DJ Food ) aswell as continuing to work with young groups. The Coldcut name returned to More and Black in 1995, and the pair celebrated with a mix CD as part of the Journeys by DJ series dubbed 70 Minutes of Madness. The release was credited with bringing to wider attention the sort of freestyle mixing the pair were always known for through their radio show on KISS FM, Solid Steel, and their steady club dates, a style that has since taken off through clubs like Blech and the Heavenly Sunday Social. In 1996, Coldcut finally released another full-length, Let Us Play! Two years later, the pair followed up with the remix album Let Us Replay! Numerous mix CDs appeared before they returned in 2006 with the new album Sound Mirrors.
01 - Return To Margin (8:32)
02 - Atomic Moog 2000 (Post Nuclear Afterlife Lounge Mix) (7:06)
03 - More Beats + Pieces (Daddy Rips It Up Mix) (6:08)
04 - Rubaiyat (6:42)
05 - Pan Opticon (6:59)
06 - Music 4 No Musicians (7:02)
07 - Noah's Toilet (4:33)
08 - Space Journey (4:20)
09 - Timber (4:32)
10 - Every Home A Prison (Ft Jello Biafra) (7:03)
11 - Cloned Again (4:40)
12 - I'm Wild About That Thing (The Lost Sex Tapes: Position 1) (7:24)
***** ***** ***** ***** *****
The Chills - Submarine Bells ( 90 219mb)
The Chills were one of New Zealand's best and most popular bands of the '80s, making a small but consistent series of chiming, hook-laden guitar pop, interweaving guitar hooks and vocal harmonies, creating a pretty, almost lush sound without becoming sentimental. Throughout their existence, the band's personnel changed frequently -- there were more than ten different lineups -- with the only constant member being guitarist Martin Phillipps, the band's founder.
In 1982, the Chills signed with Flying Nun, the influential New Zealand independent record label, and released several singles that were never widely distributed in America and Europe. During this time, the group went through an enormous amount of members. Released on the U.K. record label Creation, the group's first album, Kaleidoscope World (1986), was a collection of their early singles.
With the lineup of Phillipps, bassist Justin Harwood, keyboardist Andrew Todd, and drummer Caroline Easther -- the group's tenth lineup -- the Chills recorded their first proper album, Brave Worlds, in 1987. produced by Mayo Thompson, the band wasn't satisfied with the final result, claiming it was too loose and under-produced. The group, particularly Phillipps, was more satisfied with their second full-length album, 1990's Submarine Bells, was recorded with yet another version of the band, with Jimmy Stephenson replacing Easther, who was suffering from tinnitus. The album was well received by critics and college radio, yet it failed to break the band into the mainstream in either America or Britain. Two years later, they released Soft Bomb, which suffered the same fate as Submarine Bells. The following year, Martin Phillipps broke up the Chills again, the group reconvened in 1996 to release Sunburnt.
01 - Heavenly Pop Hit (3:27)
02 - Tied Up In Chain (3:15)
03 - The Oncoming Day (3:06)
04 - Part Past Part Fiction (2:55)
05 - Singing In My Sleep (2:39)
06 - I SOAR (3:04)
07 - Dead Web (2:15)
08 - Familiarity Breeds Contempt (3:20)
09 - Don't Be - Memory (4:45)
10 - Effloresce And Deliquesce (2:45)
11 - Sweet Times (0:40)
12 - Submarine Bells (3:41)
***** ***** ***** ***** *****
All downloads are in * ogg-7 (224k) or ^ ogg-9(320k), artwork is included , if in need get the nifty ogg encoder/decoder here !
Hi Could you re-up coldcut please?
ReplyDeleteMany thanks!
ReplyDeleteHi Rho, could you please re-up The Chills? Thanks!
ReplyDelete