Sundaze(44)

Hello, it's Sundaze time again, and as the end of time nears, the youngest of todays releases was released just a decade before it. The Power ambient of Dopplereffekt who really delivered the goods with their Linear Accelerator, that remains to be seen for those CERN scientists who's 10 billion dollar toy (Linear Accelerator) goes live next week..for those fearing they'd create a black hole..no need, those things only exist in the deluded minds of astronomers and their support sciences...fools ! .... Following this with Black Dog, a British euphemism for imminent doom, is merely coincidental here.. no it isn't ! Silenced says it all, no more bullshit from these dogmatic scientists. Silenced is swirling ambient music,ahh ..sundaze....Detroit, London, Berlin latter being the inspirational base for To Rococo Rot , who are weaving intricate and intimate melodies with subtle sounds, a bit like Black Dog but then Berlin ain't London so the outcome is very different....

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Dopplereffekt - Linear Accelerator (03 ^ 336mb)

Dopplereffekt are a Detroit Techno group which is thought to be composed of Gerald Donald, Kim Karli, Rudolf Ellis Klorzeiger and William Scott. However, they have never given an interview and very rarely perform live, with the members hiding behind German pseudonyms. They have released albums on the Dataphysix, International DeeJay Gigolo Records and Rephlex labels. Their sound is very personal to them, the only influence being Kraftwerk, being very eclectic with song titles and lyrics that draw upon science, sex and politics. Together with Drexciya (which shares Gerald Donald) they were highly influential in the electro scene. The members of Dopplereffekt are thought to be the same as Der Zyklus, each different pseudonym allowing a slightly different style of techno to be released. The alias Japanese Telecom emerged in late 1999 to release the Rising Sun mini-LP through the once Ann Arbor-based Intuit-Solar Records.

Surprising then with Linear Accelerator, they throw everything out the window and go for straight-up atmosphere, albeit an icy atmosphere. Six lengthy, mechanical and well arranged ambient pieces, alien in their gaze and sounding like nothing else. . Strange then, that music so utterly outer space, can be as engrossing as this, focussed on the man and machine trade off and emerging as serious as your life. Captivating...



1 - Photo Injector (21:08)
2 - Niobium Resonators (14:25)
3 - Graviton (13:56)
4 - Myon-Neutrino (5:14)
5 - Z-Boson (8:28)
6 - Higgs-Mechanism (7:57)


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The Black Dog - Silenced    05 now in flac 303mb mb)

Taking their name from a British euphemism for imminent doom, the Black Dog Productions was founded by Ken Downie along with Ed Handley and Andy Turner. In 1989, they were unable to find a label to back their releases and had to start their own, Black Dog Productions. Their first full-length album, Bytes, was released on 15 March 1993. Their music was often produced under a number of different names, such as Close Up Over, Xeper, Atypic, I.A.O., Balil and the Discordian Popes.
Forging a challenging, relentless combination of early techno, electro, and hip-hop with a penchant for odd time signatures, high-tech atmospherics, and Egyptian iconography, the group immediately distinguished itself from the scores of disposable techno musicians covering familiar ground. They were immediately placed in the emerging "intelligent techno" category upon the release of their full-length debut..

As Plaid, Ed Handley and Andy Turner had already released a handful of material (including an album) prior to meeting Downie, but their time spent in BDP was their most productive up to that point. In addition to the Dog's inclusion on the perhaps more high-profile Artificial Intelligence compilations on Warp and remixes for the likes of Björk, Blondie, and UNKLE, they also released several full-length works as a group before Handley and Turner defected in 1995 to refocus on Plaid full-time. Downie continued on with the Black Dog name, releasing the full-length Music for Adverts (and short films) in 1996. In 2002 Downie collaborated with Parisian spoken word artist Black Sifichi on the William S. Burroughs tribute Unsavoury Products, and the Downie/Sifichi pairing was given the remix treatment on the following year's Genetically Modified.

Silenced, although only his second proper album since 1997, is another excellent album of listening techno; it bears all the hallmarks of his Black Dog classics without overly relying on them, and it has to force a readjustment in how critics view him in the history of electronica. Most closely resembling Black Dog's 1995 record Parallel (right down to the "Bolt" interludes), the record is driven more by mood than technology; the drum programs aren't complex, but Downie has a way of bewitchingly conjuring the past with his productions that not even Boards of Canada can touch. The band are currently in the studio recording a new album for Soma Records entitled Radio Scarecrow.



01 - Trojan Horus (Part 1) (4:25)
02 - Trojan Horus (Part 2) (2:29)
03 - Lam Vril (4:31)
04 - Truth Benders D.I.E (3:22)
05 - Bolt 23 Blue Screen Ov Death (0:37)
06 - Alt/Return/Dash/Kill (3:54)
07 - Bolt 777 Ordinary Boy (0:41)
08 - Drexian City R.I.D.E (3:38)
09 - Remote Viewing (4:34)
10 - Gummi Void (4:55)
11 - Machine Machina (1:35)
12 - The Stele Of Revealing (2:56)
13 - Songs For Other People (2:07)
14 - Break Down On Lake Shore Drive (1:10)
15 - Bolt 33 Glitch & Chin (1:02)
16 - Sudden Intake (5:11)
17 - 4 3s 555 (Part 1) (2:57)
18 - 4 3s 555 (Part 2) (8:13)

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To Rococo Rot - Taken From Vinyl (^ 259mb)

To Rococo Rot formed in 1995, when the Lippok brothers (Ronald & Robert) were invited by the owner of a gallery in which they were exhibiting their art to record some music instead of providing a catalogue. Rising to the challenge, they invited bassist Stefan Schneider from up and coming Düsseldorf based Kreidler to join them, and the result was their debut album, released by Kitty-Yo in late 1995. In the years since, they have released two more albums for City Slang (Veiculo and The Amateur View), EPs for City Slang, Sub Pop, Fat Cat and Soul Static Sound, and toured Europe and the US.

They have remixed artists as diverse as Leftfield, Appliance and Mira Calix, found time to produce two radio plays and even a soundtrack to a documentary entitled No Ordinary Cowboy. Stefan Schneider has also released two mini albums under the name Mapstation, while Ronald Lippok continues to work on his acclaimed Tarwater project. Robert Lippok has also just released his debut solo material on Raster Noton Records.

The To Rococo Rot sound is quite unlike any other. Those familiar with their previous work will find that "Music is a hungry ghost" sees the band refine their talent for sumptuous and restrained instrumental soundscapes, underpinned by Stefan Schneider's lugubrious basslines. But it also exhibits even greater skill at resolving the conflict between abstract electronica and contemporary dance music. To Rococo Rot are weaving intricate melodies amongst intimate sounds, whilst maintaining the trademark warmth and elegance that has always lain deep at the heart of their sound.

Taken From Vinyl, their latest release, is a compilation of vinyl-only rarities released over the past ten years. Not only is it their most listenable full-length album, it establishes them as a more successful singles-oriented group. The alternate take on the legendary “Mit Dir in Der Gegend” is a new approach to a classic piece of instrumental post-rock. And “Schon Sehr Viel Telefoniert” provides a new appreciation for the band’s subtle, studied electronic dub sound.



01 - Mit Dir In Der Gegend (6:56)
02 - Autoachmittag (5:01)
03 - Schon Sehr Viel Teleoniert (3:18)
04 - Jackie's Dream (3:58)
05 - She Understands The Dynamics (4:52)
06 - Rebound (2:17)
07 - Telema Langs (2:58)
08 - Telema (3:42)
09 - Days (3:41)
10 - Hotel Morgen (3:55)
11 - Days Between Stations (4:16)
12 - Gelb (3:59)

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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 !

Rhotation (44) Into BPM

Hello, today we go back...no, not way back, but almost 20 years (yeezz) to one of the sweatiest overcrowded dancefloor times..First up the Queen of House who with Master C&J created some of the darkest, druggiest house ever committed to vinyl...Was it the case with Liz Torres ho high she could go...With Simon Harris it was the other way around...how low you can go, referring to the bass here, because mr Harris has been a highflyer ever since. He decided to enter the musicscene thru selling professional audio equipment (smart move from the then 21 year old). Since then he's become a well known music technology innovator. He was at the forefront of the 80s dance music revolution in the field of using samplers on dance music productions, featured on many TV shows and documented in books and magazines as an influential innovative producer and remixer.....if that aint enough, i got two samplers full of hits of the day..im sure there's plenty to pick up upon again. ....

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Liz Torres Featuring Master C n J - Can't Get Enough (88 ^ 317mb)

A sassy disco diva with a sharp tongue, Torres was one of the top house artists of the 1980s and early '90s. She never did much on either pop or Black radio, but in clubs, Torres was highly regarded , she was the Queen of House...Liz Torres was born in Puerto Rico in the early '60s and moved with her family to Chicago, just three years later. She sang in her church while growing up but converted to house music in 1985 after hearing it on the street. Master C&J (Carl Bias & Jesse Jones) along with vocalist, Liz Torres, became one of the key crossover house acts on the Chicago scene, and are counted among the most influential artists to rise out of the mid-Eighties Chicago House Music scene. ! They created some of the darkest, druggiest house ever committed to vinyl. Their music was originally released on pioneering Chi-town labels like State Street, Streetside It got picked up by Jive Records, which signed Torres to a contract the same year. Jive Records, released her album “The Queen Is in the House” in 1990. After disputes with Jive, Liz Torres then moved on and recorded "Out of My Life" for the Streetside label. In the mid-'90s, she staged a major comeback with "Set Urself Free," on Radikal Records.

Known for their singularly darkly sensuous and skeletal sound, their tracks captured and defined the late eighties, underground dance-floor experience: rhythm, sweat, sex. Performances at clubs like The Warehouse, The Paradise Garage, Sound Factory, and Ministry of Sound made Liz Torres an underground superstar, known for her feline stage presence and impassioned singing and writing, often raunchy delivery. She continues to tour the World and performs like no other in a high energy deep house music style.



01 - Can't Get Enough (6:58)
02 - Face It (6:59)
03 - Mama's Boy (7:01)
04 - When You Hold Me (6:45)
05 - No More Mind Games (7:25)
06 - In The City (7:11)
07 - What You Make Me Feel (7:08)
08 - Can't Get Enough (Spanish) (4:48)

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Simon Harris - Bass (greatest hits) ( 96 ^513mb)

Originally from Chigwell, Essex, Harris is a British producer of sample-based breakbeat and house music. Well known as both a remixer, music label owner and producer with a hit-making ability and an innovative style, Harris has enjoyed working with many well known and talented people in his 30 year career. Originally a DJ, Harris started selling professional audio equipment in London's Tottenham Court Road, then became a club promoter. In 1983 Harris was invited to become one of the original remixers for Tony Prince's DMC. Harris then joined forces with the late BBC Radio 1 DJ Froggy (1949-2008) and was commissioned for many hit remixes for major labels.

In 1986 Harris and Froggy started their own independent label 'Music of Life' managed by Chris France. The label was initially distributed by Morgan Khan's 'Streetwave' group and the first releases were from Cerrone (Supernature) and Michael Jackson's sister La Toya. Within a short time Froggy left to pursue other projects and Music of Life became one of the UK's first rap/hip-hop labels, initially licensing US products, and then with Harris producing many British rap artists including Derek B (the label's A&R executive), followed by Daddy Freddy, MC Duke, Tenor Fly, Hijack, Demon Boyz (Million Dan), and Einstein .

Harris has produced many breakbeat albums designed for DJs and producers, including 'Beats. Breaks and Scratches' in 12 volumes. This was licensed and used by many Grammy Award winning artists including R.E.M. and Luther Vandross. Other artists who produced similar albums for Music of Life include Paul Oakenfold, George Clinton and Norman Cook (Fatboy Slim). Harris continued to remix and produce many artists. Pete Tong (BBC Radio 1) signed Harris as an artist to his Polygram FFRR label. The first release was a rap version of Michael Jackson's Bad (Bad on the Mike). This was followed by 'Bass (how low can you go?)' which achieved US Billboard Dance Number One status and became a pop hit in many countries including the UK.

Harris has sustained a 30 year production career which has so far resulted in the sales of millions of records and CD's, greatly impacting the global music marketplace, his work is varied and has included music video. Radio and TV commercial production, several TV documentaries and remixing, in addition Harris's productions are currently featured on many motion picture and TV soundtracks. He continues to actively produce and latest projects include Simply Music (UK), with new remixes of 'Bass' and Sonic Zero . In March 2008 Harris attended CRS in Nashville USA and is currently working on projects for US based KIC Media, Internal Bass, Honky Tonk TV, The Red Neck Crew and Nashville's Ty Williams....no rest for the wicked...



Simon Harris - Bass (greatest hits) (^ 513mb)

01 - Bass (How Low Can You Go) (1996 Remix)
02 - I've Got Your Pleasure Control (Remix)
03 - Ragga House
04 - Time (Chep Nunez Edit)
05 - Don't Stop The Music
06 - Theme From Disturbing The Peace
07 - Take Me Away
08 - Rollin' With The Punches
09 - Summertime
10 - Here Comes That Sound (Perfect Beat Mix)
11 - Sexy Lady
12 - The Final Frontier
13 - Another Monsterjam
14 - The Persuader
15 - Lost In Paradise

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VA - Hip House (Deepest Beats In Town) (89 ^ 328mb)

Besides Milli Vanilli and Wee Papa Girl Rappers some great hip house/acid tracks here



VA - Hip House (Deepest Beats In Town) I ( ^ 328mb)

01 - Adeva - Respect (4:05)
02 - Royal House - Yeah Buddy (3:20)
03 - Humanoid - Stakker Humanoid (3:41)
04 - Fast Eddie - Hip House (3:18)
05 - Raze - Break 4 Love (3:21)
06 - Joe Smooth - Promised Land (3:47)
07 - Milli Vanilli - Girl You Know It's True (3:59)
08 - Rob Base & DJ E-Z Rock - Get On The Dance Floor (3:10)
09 - She Rockers - On Stage (3:55)
10 - Turntable Orchestra - You're Gonna Miss Me (3:48)
11 - Wee Papa Girl Rappers - Wee Rule (3:30)
12 - Swan Lake - In The Name Of Love (3:50)
13 - Jolly Roger - Acid Man (3:40)
14 - Longsy D's House Sound - This Is Ska (Skacid Mix) (5:14)

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VA - Turn Up The Bass 5 (90 ^ 480mb)

This series went on to 25 in the space of 5 years, this one no 5 is one of the best if not the best, its the only one i got but judging by discogs, whats on the others. Anyway the idea is to pick and chose the tracks you like..



VA - Turn Up The Bass 5 ( ^ 480mb)

01 - Fast Eddie - Git On Up (4:56)
02 - Beatmasters, The - Ska Train (4:50)
03 - 2 Live Crew, The - We Want Some Pussy (Westbam Remix) (4:00)
04 - Petra & Co - Just Let Go (3:31)
05 - Starlight - Numero Uno (4:10)
06 - Hi Tek 3 - Spin That Wheel (Turtles Get Real) (3:44)
07 - Mixmaster, The - Grand Piano (3:47)
08 - Sueño Latino - The Latin Dream (3:53)
09 - 2 In A Room - Do What You Want (4:09)
10 - Deskee - Let There Be House (4:42)
11 - King Bee - Party People In The House (3:43)
12 - Tyree - Move Your Body (5:31)
13 - Starmix - Let Da Music Take Control (3:27)
14 - Pedro Ramon - Te Quiero (3:44)
15 - 101 - Just As Long As I Got You (3:10)
16 - Twenty 4 Seven - I Can't Stand It (6:01)
17 - Technotronic - Pump Up The Jam (US Remix) (4:40)

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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 !

Into The Groove (43)

Hello, Into The Groove today is all about Sun, a jazz funk band from Ohio . Btw i've been re-upping the downed links from Rhotation (1,2 and 3) so all thats live again....

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Sun was definitely a revolving door in the late '70s and early '80s. By the time the band provided its third album, Sunburn, in 1978, Kym Yancey and head honcho Byron Byrd were the only remaining original members, following a management dispute. Founding members Sandridge, Jones and Hummons left Sun to form a new group called Dayton. And when Sun recorded its sixth album, Force of Nature, in 1981, only Byrd remained from its original lineup. Yancey left after 1980's Sun Over the Universe, and this LP marked the arrival of two newcomers: bassist Don Taylor and rhythm guitarist Anthony Thompson. Despite all those personnel changes, Sun always managed to sound like Sun -- something it can thank Byrd and Beau Ray Fleming for. Together, Byrd and Fleming (who wasn't an actual member) produced all of Sun's Capitol LPs, which is why the Sun of 1981 was recognizable as Sun even though it had only one original member left. But Force of Nature is a departure from Sun's previous albums in one sense: Byrd handles all of the writing himself this time, and the material he gives his band to work with is competent but not mindblowing. Sun disbanded in 1982 after a stint in Japan. In 1985 an amended line-up recorded the album 'Eclipse' for the Air City label. By this time Sun's line-up was down to Byron M. Byrd and Anthony Thompson.

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Sun - Sunburn (78 ^ 99mb)

Sun's third album, Sunburn, found the Ohio funk band going through some major personnel changes. Six guys (Bruce Hastell and original members Dean Hummons, Chris Jones, Hollis Melson, Shawn Sandridge, and John Wagner) left after 1977's Sun Power, and five new members (Robert Arnold, Nigel Boulton, Sonnie Talbert, Keith Cheatham, and Curtis Hooks) came on board. Gary King and Ernie Knisley (both of whom joined Sun with Sun Power) remained, as did original members Byron Byrd and Kym Yancey. So by its third album, the group only had two of its original members. But creatively, that isn't a problem on Sunburn, which is one of the band's more consistent and memorable records.



01 - You Are My Sunshine, Sun Is Here (5:03)
02 - Dance (Do What You Wanna Do) (6:01)
03 - When You Put Your Hand In Mine (5:56)
04 - You're The One (4:14)

05 - Long Drawn Out Thang (6:07)
06 - You Don't Have To Hurry (5:04)
07 - I Had A Choise (4:34)
08 - Sun Of A Gun (4:47)

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Sun - Over The Universe (80 ^ 86mb)

Sun entered the 1980s with Sun Over the Universe, which was the band's fifth album and more personnel changes. Four players left Sun after 1979's Destination: Sun (Curtis Hooks, Sonnie Talbert, Keith Cheatham, and Nigel Bolton), and three new members came on board with this LP: Sheldon Reynolds (who subsequently joined Earth, Wind & Fire), Larry Hatchett, and Dean Francis. But while Sun was a revolving door, it used the same producers on all of its Capitol releases; the same guys who produced Sun Over the Universe in 1980 (Beau Ray Fleming and Sun leader Byron Byrd) had produced all of its four previous LPs. Sun Over the Universe wasn't the big commercial breakthrough the band was hoping for, it was not for lacking some infectious funk. "Fancy Feet," "Hot Spot," and the science fiction-minded "Space Ranger (Majic's in the Air)" , might have been hits with the right exposure.



01 - Space Ranger (Majic's In The Air) (4:59)
02 - Hot Spot (5:01)
03 - Stay by my side (4:49)
04 - Quest (Instrumental) (4:30)

04 - You Threew My Love Away (4:29)
05 - I Want Your Love (4:46)
06 - I Made A Mistake (4:53)
08 - Fancy Feet (4:09)

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Sun - Let There Be Sun 82 ^ 88mb)

In 1982, Sun leader Byron Byrd must have been feeling quite frustrated. The band had been recording for Capitol since 1976, and only two of its songs had been hits: 1976's "Wanna Make Love" and 1978's "Sun Is Here." Nonetheless, Sun gave it one more shot with its seventh album, Let There Be Sun, which Byrd produced with Beau Ray Fleming. Tunes like "Super Duper Super Star" and "I Wanna Be With You" rely heavily on funk/dance clichés , pedestrian funk. It would seem Byrd had lost confidence as to how move forward. Management and Capitol records had him swimming . Let There Be Sun isn't terrible, but Sun was capable of a lot more.



01 - Slamm Dunk The Ffunk! (5:59)
02 - We're Gonna Party Tonite (4:11)
03 - Turn Out The Light (4:34)
04 - A Love Affair (4:46)

05 - Super Duper Super Star (4:40)
06 - Be My Lady (4:42)
07 - You And I (4:19)
08 - I Wanna Be With You (4:05)

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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 !

Alphabet Soup II (R)

Hello, Alphabet Soup II has reached R (after skipping Q..who needs more Queens). Seventies brought us plenty of R but i went here for Lou Reed and Berlin , rather shunned at the time coming on the back of the commercial success of Transformer, when Reed really went walking on the wildside with the sometimes vicious actors in his tragic rock opera, it took time for recognition to come for this album.....Ride had a good thing going almost right from their start, and possibly thats why they fell apart just 7 years later when they came up against the first real headwind. Going Blank Again stems from their heydey (92)....Rammstein didnt bother about language , something they could do as the basis their German lyrics are so strong that even not understanding them connected..i suppose because im fluent in German...i really think Rammsteins lyrics are way out there (poetic even) compared to other Metal bands singing in english...So here we have Mutter after the wild success of Sehnsucht that had them touring and playing their first two albums..it was understandble that those songstructures were engrained and shine thru on Mother, innovation came with higher productionvalues some strings and even better lyrics there's a more room for contemplation aswell..and thus a liittle more livingroom friendly...

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Lou Reed - Berlin ( 73 ^ 287mb)

Berlin is a 1973 album by Lou Reed, his third solo album and the follow-up to the widely accessible and upbeat glam rock classic Transformer. In 2003, the album was ranked number 344 on Rolling Stone magazine's list of the 500 greatest albums of all time, despite being labelled The Most Depressing Album of All Time by some. The album is a tragic rock opera about a doomed couple that addresses themes of drug use and depression. Upon its release, the response of fans and critics was not positive as many were expecting another upbeat glam outing. Despite lukewarm reviews the album reached #7 in the UK album chart (Reed's best achievement there). Poor sales in the US (#98) and harsh criticism made Reed abandon the album and in subsequent years he rarely played any 'Berlin' material in his live shows. Over time many have come to consider 'Berlin' to be among Lou Reed's best studio albums as a solo artist.

Musically, Berlin differs greatly from the bulk of Reed's work, due to the use of heavy orchestral arrangements, horns, and top session musicians (including Jack Bruce, Steve Winwood, Aynsley Dunbar, and Tony Levin). Instrumentally, Reed himself only contributes acoustic guitar. As with Reed's previous two studio albums, Berlin re-drafts several songs that had been written and recorded previously. The title track first appeared on Reed's solo debut album, only here it is lyrically simplified, the key changed, and re-arranged for piano. "Oh, Jim" makes use of the Velvet Underground outtake, "Oh, Gin". "Caroline Says (II)" is a rewrite of "Stephanie Says" from VU. The Velvets had also recorded a rather sedate demo of "Sad Song", which had much milder lyrics in its original form. "Men of Good Fortune" had also been played by the Velvets as early as 1966; an archival CD featuring live performances of the band playing at Andy Warhol's Factory provides the evidence of the song's age.

Reed and Ezrin planned a stage adaptation of the album upon its initial release but shelved the plans due to mixed reviews and poor sales. In 2007 Reed fulfilled his original hopes by touring the album with a 30 piece band and 12 choristers.Director Julian Schnabel filmed the concert and released in 2008 as "Lou Reed's Berlin", which opened to strong reviews.The album was digitally re-mastered and re-released on compact disc to commemorate the event. PS, excellent, extensive write up on Lou Reed @ Wiki.



01 - Berlin (3:25)
02 - Lady Day (3:39)
03 - Men Of Good Fortune (4:37)
04 - Caroline Says I (3:57)
05 - How Do You Think It Feels (3:43)
06 - Oh Jim (5:12)
07 - Caroline Says II (4:12)
08 - The Kids (7:51)
09 - The Bed (5:51)
10 - Sad Song (6:59)

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Ride - Going Blank Again (92 ^ 346mb)

Mark Gardener and Andy Bell had been to Cheney School in Oxford, appearing in the school's musical theatre productions, and in October 1988, they moved to Banbury to do Foundation Studies in Art and Design. There they met Colbert. Queralt, who also went to Cheney School. The band called itself 'Ride' after a piece of graphic design Gardener produced for a typography workshop. In February 1989, 'Ride' were asked to stand in at Oxford Poly that brought them to the attention of Alan McGee. After supporting The Soup Dragons in 1989, McGee from Creation Records signed a record deal with them.

Ride released three EPs between January and September 1990, entitled Ride, Play and Fall, each with distinctive artwork on the covers. The Fall EP was incorporated into the CD version of their debut, Nowhere, released in October 1990. The album was hailed as a critical success and the media dubbed Ride "The brightest hope" for 1991. Many fans regard this as their favourite album, with songs like "Vapour Trail", and "Dreams Burn Down" becoming shoegazing classics. Ride made their first international tour to Japan, Australia and France later on in 1991.

March 1992 saw the band release Going Blank Again. Opening with the anthemic 8 minute 17 second single "Leave Them All Behind", the album showcased the band's creative work and skill in working with the Wall of Sound style that typifies shoegazing bands. To some extent, the album represented the apogee of shoegazing proper, as opposed to the oft-cited Loveless by My Bloody Valentine. The twin rhythm guitars of Bell and Gardener, both distorted, both using Wah-wah pedals and both feeding back on each other was the highlight of the album's critical and chart success. Other tracks on the album showcased the band's innovative blend of melody and discord, not to mention one or two borrowed riffs.

Ride were able to see out 1993 riding on the success (critically, if not commercially) of Going Blank Again and a third LP was keenly anticipated. However, despite having a solid fanbase and some mainstream success, the lack of a breakthrough contributed to inner tension, especially between Gardener and Bell. Their third LP, Carnival of Light, was released in 1994, after shoegazing had given way to Britpop among mainstream listeners. Carnival of Light sales were sluggish and the shift in musical tastes devastated much of their original audience.

1995 saw the dissolution of the band while recording Tarantula. It appears that the band split due to creative and personal tensions between Gardener and Bell. Both had led the band away from their Shoegazing roots to become more contemporary, hoping to change their style with the times. By the time Tarantula appeared, the band was beginning to self destruct. Against all common sense from the record company, the album was released and remained on sale for one week before being withdrawn.



01 - Leave Them All Behind (8:17)
02 - Twisterella (3:42)
03 - Not Fazed (4:20)
04 - Chrome Waves (3:54)
05 - Mouse Trap (5:16)
06 - Time Of Her Time (3:16)
07 - Cool Your Boots (6:02)
08 - Making Judy Smile (2:37)
09 - Time Machine (5:52)
10 - OX4 (7:06)

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Rammstein - Mutter (01 ^ 326mb)

In 1993 by six East German ex-factory workers, Christoph "Doom" Schneider, "Doktor" Christian "Flake" Lorenz, Till Lindemann, Oliver Riedel, Richard Kruspe Bernstein and Paul Landers formed Rammstein. They took their name from the site of a US airbase where tragedy struck when three planes crashed during an aerial display, resulting in 70 fatalities and 350 seriously injured.. Four albums on, by 2005 they are the most successful German-language band (albeit their lyrics are not exclusively in German), famed for their theatrical /pyrotechnics stage shows. Their fan base extends way beyond any industrial metal hardcore. Wordplay is a fundamental component of Rammstein's lyrics, in many instances, the lyrics are phrased such that they can be interpreted in several ways, add to that the poetic qualities of singer /lyricist Till Lindemann who in November 2002 published the "Messer (knife)" a 54 poems book. All those female fans sure picked up on that part of Rammsteins dance - metal as they like to describe themselves. Rammstein could well be seen as the greatest rock act on the planet, considering the way they manage to go cross cultures from latin -america to asia, from USA to Russia and the palet of Europe, they cross gender and generations, almost unbelievable for a band that released their first album a decade ago.. and singing in german.



01 - Mein Herz Brennt (My heart burns)(4:39)
02 - Links 2 3 4 (Left 2 3 4)(3:36)
03 - Sonne (Sun) (4:32)
04 - Ich Will ( I Want)(3:37)
05 - Feuer Frei ! (Fire at will !) (3:11)
06 - Mutter ( Mother)(4:32)
07 - Spieluhr (Music-box)(4:46)
08 - Zwitter (Hermaphrodite) (4:17)
09 - Rein Raus ((In out) 3:10)
10 - Adios (3:49)
11 - Nebel (Fog) (4:54)

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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 !

Eight-X (43)

Hello, Eight-X time again and that means another mixed bunch, 'British pop in the shape of Korgis , they scored one big hit Everybody's Got to Learn Sometime ( true, but they forgot to add it may take many lifetimes)  anyway this hit came on the back of their debut album present here....another debut and one of the spectacular kind comes from Athens (USA) , the B52's they really fed all the spontanous energy into what turned out to become the party album of 1979 and 1980...almost tiresome that relentless enthousiasm...finally another debut be it mini album by Dutch cold wavers .. cold ? i guess thats the thin voice,  great little album ive added the follow up full album We...W.A.T. (World According To) even have some clips at You Tube'you could check out.

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Korgis, The - The Korgis (79 ^ 85mb)


The Korgis is a British pop band, originally composed of singer / bassist James Warren and singer / drummer Andy Davis , both former members of 70's band Stackridge, along with unofficial members guitarist Stuart Gordon and keyboardist Phil Harrison who completed the original Korgis lineup, which issued its debut single "Young 'n' Russian" in early March 1979 on the label Rialto Records, owned by their managers Nick and Tim Heath. Their next single "If I Had You," was released soon after, and moved up Number 13 on the UK Singles Chart, prompting the release of an eponymous debut album, The Korgis, in July 1979.

Their next single, "Everybody's Got to Learn Sometime" (1980), from their second album Dumb Waiters, was a hit on both sides of the Atlantic, hitting Number 5 in the UK , and #18 in the U.S.. The Dumb Waiters album reached Number 40 in the UK in 1980 and was followed by singles "If It's Alright With You Baby" and "Rovers Return" which failed to generate much excitement. The band was alternately marketed as a duo, a trio and a quartet around this time. The commercial breakthrough was however not enough to keep them together, and after a third album, Sticky George - and with lead single "That Was My Big Mistake" being released as 'James Warren & The Korgis' marking the fact that the group had now more or less evolved into a one man band, Davis and Warren went their separate ways.

Warren would go on to issue a solo LP entitled Burning Questions in 1986, while some of the singles during this era were still released as 'The Korgis' and co-produced by Andy Davis. The band got back together in 1990 to re-record "Everybody's Got to Learn Sometime". The re-formed group consisting of James Warren, Andy Davis and new member John Baker released the album This World's For Everyone in 1992, having some success in Continental Europe and Japan, before breaking up again.
In 2005 Warren, Davis and Baker reunited again for a film shoot for DVD/compilation album Kollection and recorded the fourteen-track album Unplugged, which was released on the Angel Air record label the following year.



01 - Young 'N' Russian (3:08)
02 - I Just Can't Help It (3:44)
03 - Chinese Girl (2:16)
04 - Art School Annexe (3:33)
05 - Boots And Shoes (4:20)

06 - Dirty Postcards (4:42)
07 - O Maxine (2:38)
08 - Mount Everest Sings The Blues (2:30)
09 - Cold Tea (4:26)
10 - If I Had You (3:50)

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The B-52's - B-52's (79 ^ 98mb)

The B-52's originated as a New Wave rock band formed in Athens, Georgia, United States, in 1976. The band's name comes from a particular beehive hairdo resembling the nose cone of the airplane of the same name. During their early years, wigs of that style were often worn by the band's female singers Cindy Wilson and Kate Pierson. Wilson, Pierson, drummer Keith Strickland, guitarist Ricky Wilson (Cindy's older brother) and vocalist Fred Schneider formed the group in an spontanous jam session. The band's quirky take on the New Wave sound of their era was a combination of dance and surf music set apart by the unusual guitar tunings used by Ricky Wilson. Their costume thrift-store chic set them apart as well.

Their first single, "Rock Lobster", recorded for DB Records in 1978 (see 1978 in music), was an underground success that led to the B-52's performing at CBGB's and Max's Kansas City in New York City. "52 Girls" was the B-side. Their debut album, B-52's , contained re-recorded versions of "Rock Lobster" and "52 Girls", along with six more originals and a remake of Petula Clark's classic "Downtown". The debut album stood out as an original, unabashed kitsch mavens the bnad celebrated all the silliest aspects of pre-Beatles pop culture -- bad hairdos, sci-fi nightmares, dance crazes, pastels, and anything else that sprung into their minds -- to a skewed fusion of pop, surf, avant-garde, amateurish punk, and white funk.

The following year, they issued Wild Planet, which reached the Top 20 on the U.S. album charts; Party Mix!, an EP's worth of reworked material from the band's first two proper outings, appeared in 1981. Released in 1982, Mesopotamia arose out of a series of aborted sessions with producer David Byrne which saw the B-52's largely abandon their trademark sense of humor, a situation rectified by the next year's Whammy!, a move into electronic territory. After a Schneider solo LP, 1984's Fred Schneider & the Shake Society, the group returned to the studio to record 1986's Bouncing Off the Satellites. On October 12, 1985, however, Ricky Wilson died; though originally his death was attributed to natural causes, it was later revealed that he had succumbed to AIDS. In light of Wilson's death, the group found it impossible to promote the new album, and they spent the next several years in seclusion

In 1989, the B-52's finally returned with Cosmic Thing, their most commercially successful effort to date. Produced by Don Was and Nile Rodgers, the album launched several hit singles, including the party smash "Love Shack," "Roam," and "Deadbeat Club." In 1990, Cindy Wilson retired from active duty, leaving the remaining trio to soldier on for 1992's Good Stuff. A year later, dubbed the BC-52's, they performed the theme song for Steven Spielberg's live-action feature The Flintstones. Wilson returned to the group for a tour supporting the release of 1998's hits collection Time Capsule. Four years later the double-disc Nude on the Moon compilation would dive deeper into their catalog by featuring rare tracks, live recordings, and remixes along with the hits.

Funplex, the band's first original album in sixteen years (since 1992's Good Stuff), was released on March 25, 2008 by Astralwerks. The album is a slick, synthesizer-driven effort produced by Steve Osborne, who was asked to work on the album based on his work with New Order on the album Get Ready. The album debuted at #11 on the Billboard charts in the U.S., immediately making it the second-highest charting B-52's album ever. The band toured in support of the album as well as making television appearances on talk shows.



01 - Planet Claire (4:35)
02 - 52 Girls (3:35)
03 - Dance This Mess Around (4:35)
04 - Rock Lobster (6:50)

05 - Lava (4:55)
06 - There's A Moon In The Sky (Called The Moon) (4:55)
07 - Hero Worship (4:10)
08 - 6060-842 (2:50)
09 - Downtown (2:55)

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W.A.T. - Defreeze + We ( 83, 85 )

W.A.T. (World According To) were a Dutch trio based on sequencers, slide guitar and a thin female voice. Songwriter/guitarist Ad van Meurs started out playing keyboards in a folk-rock band , inspired by the punk revolution, he switched to guitar and formed the punk band Bleistift. By the early '80s, the group had become an experimental noise band, including van Meurs's girlfriend, Ankie Keultjens. In 1983, the duo formed World According To, a less abstract band, featuring Keultjens on lead vocals and wer joined by Frank van den Nieuwenhof ( bass). As W.A.T. they played something between synth pop and cold wave with a drum computer, synths and lovely vocals by Ankie. Van Meurs plays already much slide guitar here, which gives them a rather distinct sound. When Ankie took time off to have a child, Ad van Meurs began his solo career under the name of the Watchman later joined by his wife Ankie, as such they have been rather successful with their americana or contemporary Rhythm & Folk.




W.A.T. - Defreeze ( 83 ^ 66mb)

01 - Famous (4:46)
02 - Ivanhoo (4:28)
03 - Vive La Vie (4:31)

04 - Defreeze (4:03)
05 - Art Lovers (4:53)
06 - Sub (4:25)




W.A.T. - We ( 85 ^ 88mb)

07 - Wax (3:40)
08 - The Captain (4:25)
09 - Hossa (4:24)
10 - Thx (3:38)
11 - Through The Ferns (2:42)

12 - Willow (5:58)
13 - Love Suspect (3:35)
14 - Sangatte (4:59)
15 - Drifting (3:32)

W.A.T. - Defreeze + We ( * 99mb)

defreeze live



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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 !

Around The World (43)

Hello, Around the Worldmusics stays in the latin corner, be it that Yerba Buena came together in The NY melting pot. They took it upon themselves to update Latin music with touches to intrigue listeners who wouldn't normally be listening to it. Considering that President Alien got the Latin Grammy, they were tremendously successful at it as this aint a studio project but a great live band aswell.

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Yerba Buena! - President Alien (03 ^ 99mb)

The Latin American collective Yerba Buena was organized by producer and multi-instrumentalist Andres Levin, a native Venezuelan who'd appeared on records by Marisa Monte, Arto Lindsay, Aterciopelados, and Tina Turner, as well as helming the critically acclaimed Fela Kuti tribute Red Hot + Riot. Yerba Buena arose from Levin's wish to bring together a band capable of melding forms old and new, learning from each other in the form of a school. Gradually, the lineup coalesced, including vocalists Xiomara Laugart, Cucu Diamantes, and El Chino, percussionist Pedro Martinez, reed player Ron Blake, trumpeter Rashawn Ross, bassist Sebastian Steinberg, drummers Terreon "Tank" Gully and Horacio "El Negro" Hernandez.

Yerba Buena's music is a blend of African-rooted Latin music (Cuban Rumba, Colombian cumbia, Pan-Caribbean Soca, and Nuyorican Boogaloo) with hip-hop, Nigerian Afrobeat with a dash of Middle Eastern themes. The band is perfectly fluent and a powerhouse unit, while the roster of guests is startling in its variety -- Carlinhos Brown, Bobby Valentin, Me'Shell NdegéOcello, Money Mark, Marc Ribot, and Roy Hargrove, among many others.



01 - Guajira ( I Love U 2 Much) (4:09)
02 - Tu Casa, Mi Casa (4:19)
03 - La Gringa (5:19)
04 - Solito Me Quede (6:03)
05 - Electric Boogaloo (4:00)
06 - Fire (4:31)
07 - Wassamatter Baby (4:08)
08 - Bote Bote Va (2:51)
09 - Follow Me (4:46)
10 - Definition Of A Warrior (4:06)
11 - Rompe El Cuero (5:24)
12 - Solar (3:52)

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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 !

Canadia 2056 (1,2)

Hello, a new series starts today, Canadia 2056, the first series of 10 episodes centers around the socalled Ipampilashian war effort of the Canadia, in the second series they get lost in time. I think the series got better as it evolved over the 2 seasons and 24 episodes it ran . I start today with a double episode to get you aquinted with the dry wit..

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Canadia 2056 is a Canadian radio series which premiered on CBC Radio One in April 2007. Canadia 2056 is a science fiction comedy written by Matt Watts. The series centres on Max Anderson, the American liaison on board the only Canadian spaceship in an otherwise American space fleet When Watts came up with the concept for Canadia: 2056, one of the influences was an early video game called Space Quest. His vision for the world of Max Anderson and the crew was not the clean aesthetic of 2001: A Space Odyssey but the early episodes of Doctor Who where technology is kitschy, thrown together and a little cheesy. It's a future of big buttons, computers with flashing lights that make "whirring" and "tinny" sounds and regular plungers with consoles attached to their wooden stem.
 
In the year 2056 the US has declared war on the Ipampilashians and has sent the American armada to destroy their planet. Canada has sent its only ship, The Canadia, in support of the American mission but the Canadia is not a warship. It's a maintenance ship (they change light bulbs and plunge toilets). Max Anderson is the first American ever to be stationed on the Canadia. He was put there by the American admiral (his mother) to toughen him up but keep him out of any real danger. The only thing that Max and the crew of the Canadia agree on is that no one wants him there.

Travel with them ...

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Canadia 2056 1,2 41mb

episode 1 (28:01)
Max Anderson is the first American ever to be stationed on the Canadia. He was put there by the American admiral (his mother) to toughen him up but keep him out of any real danger. The only thing that Max and the crew of the Canadia agree on is that no one wants him there.

episode 2 (27:59)
The Captain is convinced that there is a saboteur on board his ship and Anderson plots his escape.

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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 !

Sundaze (43)

Hello, Sundaze today stays closer to home - in time that is, three releases from 2002's clicks n cuts IDM year. First of Daedelus supposedly named himself after the cunning worker Daedalus from greek mythology, he's supposed to have designed the labyrinth(minotaur) and had a son killed (Icarus) after he flew to high with his dads contraption. Well Invention is an apt title for an impeccably paced and brilliantly conceived album....Also from the States are Twine their sound is a structure meets noise vs. melody sound, always morphing into something new....finally Darrell Fitton, best known under his moniker Bola, but here he's used the moniker Jello where he let's whirring machinations and alien spaces, open up widescreen dimensions, mesmerising stuff...

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Daedelus - Invention (02 ^ 353mb)

Daedelus (Alfred Weisberg-Roberts) producer/instrumentalist wanted to be an inventor from an early age, a sentiment that led to him choosing this artistic moniker (Greek mythology Daedalus). Alfred was formally trained on double bass and bass clarinet (and also played the guitar and accordion, among other things) and studied jazz at USC, Daedelus chose to go the electronica route, often incorporating samples from the '30s and '40s into his IDM and left-field hip-hop. Though his first single came out in 2001, it wasn't until the following year that his debut full-length, Invention, was released. It's an utterly innovative electronic construction combining samples drawn from acoustic source recordings from the '30s, '40s, and '70s, Invention is a work of complex genius. Built on sturdy, repetitive, sentimental piano progressions and syrupy, string-laden, Disney-esque backdrops that are spliced into the mix, the addition of fluttering synth lines and sparking electronic beats creates something vaguely new and almost cinematic in scope. The album is impeccably paced and brilliantly conceived, fitting together like a giant puzzle stretching across the genres and generations

Daedelus was a prolific composer, and the next four years brought four new albums (on Plug Research and Mush): 2003's Rethinking the Weather, 2004's Of Snowdonia, 2005's Exquisite Corpse, and 2006's Daedelus Denies the Day's Demise. There have also been countless singles and side projects, including producing The Weather for Mush labelmates Busdriver and Radioinactive in 2003. The musician's engaging live set was finally made available for fans, albeit in limited numbers, with Live at Low End Theory -- recorded during a July 2007 performance at Los Angeles's The Airliner -- released in early 2008. Love to Make Music To followed in July.



01 - Playing Parties (3:06)
02 - Pursed Lips Reply (3:03)
03 - Astroboy (3:41)
04 - Adventress (2:57)
05 - Elegy (At Last) (3:50)
06 - Muggle Born (3:32)
07 - Aplomb (1:10)
08 - Experience (2:06)
09 - Loded (2:08)
10 - Quiet Now (3:31)
11 - Minor Detour (1:12)
12 - Perchance A Bit (3:08)
13 - Soulful Of Child (2:07)
14 - Thus The Whirligig (2:37)
15 - Quiet Now (Voc.Busdriver) (3:31)
16 - Pursed Lips Reply (Voc.Sach) (3:05)

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Twine - Recorder (02 ^ 342mb)

Twine's Greg Malcolm and Chad Mossholder started making music together in high school in Cleveland, OH. Though they dabbled in punk rock, a shared interest in industrial music pulled the friends toward electronics. The group was a trio for a short time after forming at Kent State University in 1997, but Twine ultimately became Malcolm and Mossholder's project. Both have studied computers and technology formally. Mossholder pays rent as a sound designer for a video game company in Boulder, CO, while Malcolm works as an audio engineer in Cleveland. The pair collaborate by exchanging tapes and sound files through the mail and across the Internet. Twine combine samples, digitally generated tones, and processed instruments into an electronic mix that defies easy categorization. They seem to focus more on composition resulting in tracks with a pronounced cinematic bent.

The first Twine release was the full-length Reference in 1999. Following a buzz-building contribution to Hefty's exceptional Immediate Action series, Twine issued their second CD, Recorder, in 2002, a dark and deep album that evidenced building confidence. Among the blips and clicks and electronic manipulations, listeners find other instruments, speech recordings, and that particular post-rock melancholia. Yet, Twine's music eschews clichés to offer something different and greater than the sum of its influences. Along the way, Twine found time to contribute two compilations of loops and textures to be incorporated by end users into Sonic Foundry's influential Acid software, and they remained an active touring unit. A third, self-titled album for Ghostly International arrived in 2003, followed by a digital-only release of their Surfaces EP in 2006. An atmospheric full-length titled Violets appeared in spring of 2008.



01 - None Some Silver (7:39)
02 - Cign (6:32)
03 - Fine Music (7:30)
04- Player Piano (5:49)
05 - Factor (6:45)
06 - Curved (6:56)
07 - Touched (5:45)
08 - There Is No One Else (9:00)

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Jello - Voile (02 ^341mb)

Darrell Fitton is from Manchester, England. Most of his work is recorded under recording monikers Bola and Jello, released primarily on Skam Records. In 1995 he released the Bola 1 12" on Skam Records. Fitton displayed the same style of chrome-dipped melodic techno adhered to by many Warp artists, his subsequent Bola material focused in on a heartier, less accessible aesthetic. His self-titled Skam EP combined vaguely funk-fueled rhythms with harsh, austere synth textures and almost industrial-grade distortion. "Aguilla" was an extremely limited-run three-track seven-inch released by Skam in 1998. Two months later appeared Soup, Fitton's long-awaited LP debut. An impressive synthesis of the machine-beat ambiance of post-techno with warm, wistful analog soul. In addition to his Bola releases, Fitton loaned his production chops to the first 12-inch by Warp artists Autechre under their Gescom guise, and is rumored to serve as Skam's in-house engineer.

A rare set of 3 EPs called Shapes was released in 2000, pressed at only 300 copies; in September 2006, it was remastered and reissued in greater numbers by Skam, adding three bonus tracks. In 2001 he released "Fyuti" , following up the sublime ‘Fyuti’ he released Voile, the debut full-length under the Jello moniker. This is mesmerising stuff from Fitton, retaining the slick production for which Bola is so well known, while throwing in open spaces and influences derived from Jazz, Classical and Hip Hop arrangements. Whirring machinations and alien spaces, allowing widescreen dimensions for (long time Bola collaborator) Dennis Bourne to inject his slowly delivered narrative to perfection. What manages to elevate ‘Viole’ to true greatness, however, is the dense glimpse of unease that accompannies this album from beginning to end. The precision of sound and composition savvy at this level finding contrast with Fitton’s dark understructures, a kind of harmonic beauty that’s built on deconstruction and unease. More aesthetically soothing and organic than Bola material, Voile is a true classic.



01 - Vibe-A-Rolla (Voc.Phil Donahue) (4:52)
02 - Ephemex (5:52)
03 - Vamillaglade (6:10)
04 - Chamchimzee (5:02)
05 - Pequill (3:54)
06 - Neph (6:08)
07 - O'verb (Voc.Tegwen Roberts ) (5:13)
08 - Pi-Knipple (6:05)
09 - Lungbone (4:58)
10 - Shinoque (Voc.Dennis Bourne) (7:24)
11 - Conokut (6:00)


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Rhotation (43) Into BPM

Hello, Rhotation 43 this week and Into BPM is all about Meat Beat Manifesto, beginning in 1987 as an experimental/industrial duo inspired by the cut-and-paste attitudes of hip-hop and dub, MBM increasingly became a vehicle for its frontman, Jack Dangers, to explore the emerging electronics of techno, trip-hop, and jungle. Today here a cross section starting with their late eighties debut Storm The Studio, the mid nineties Subliminal Sandwich, followed by MBM's 02's Ruok? As a bonus i've added a sampler of remixes it titled Mutations..in all 349 min of

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After working together in Perennial Divide Stephens and Jack Dangers (John Stephen Corrigan) left to form Meat Beat Manifesto (MBM), their first album was destroyed in a studiofire. They then recorded the LP Storm The Studio, which got them labeled as an industrial act. In response, they released 99%, which was more techno-influenced, in May 1990. In August of the same year, they released Armed Audio Warfare, which was an effort to re-create the lost tracks of the would-be debut album. They build a reputation with a live show that was conceived as an intense audio-visual experience, with dancers, led by choreographer Marcus Adams, in costumes designed by artist Craig Morrison and video clips accompanying live instruments, sequenced electronic instruments, and dazzling live DJing.

On 1992's Satyricon Meat Beat adopted a more mainstream electronic sound, influenced by such newly popular dance bands as Orbital, The Shamen, and The Orb, all of whom had either remixed or been remixed by MBM. The album produced the hits "Mindstream" and "Circles". However, "Original Control (Version 2)", renamed "I Am Electro" in later compilations, remains the best-known track from the album, featuring samples of recordings from the 1939 World's Fair exhibit Elektro The Robot.

In 1994 Dangers relocated from England to San Francisco, resulting in Stephens' departure from the band. Dangers continued MBM from his new home, releasing the double album Subliminal Sandwich in 1996. While this album represented MBM's major-label debut on Trent Reznor's Nothing Records, it failed to achieve the critical and commercial successes of previous releases. In 1997 Dangers released Actual Sounds + Voices in 1998, on which flirtations with jazz fusion featured prominently. The album yielded the single "Prime Audio Soup" which was featured in the film The Matrix. In 2002 Meat Beat released RUOK?, another big step in the evolution of their sound and prominently featuring Dangers' newly acquired toy, the EMS Synthi 100, as well as guest contributions from turntablist Z-Trip and The Orb's Alex Paterson. In 2003 they released a remix album for Storm The Studio, followed by ...In Dub, a remix album of RUOK.

At the Center, was released in 2005, the album is a collaboration between Jack Dangers and jazz musicians Peter Gordon, Dave King, and Craig Taborn. It has been well-received by many critics.Then MBM went on a year long worldwide tour again, the first in 7 years Being renowned for making a concert not only an aural but a visual spectacle aswell this time they made use of video sampling technology that allowed the band to trigger video clips in realtime, on two large screens positioned stage front, while the band performed either sidestage or behind the screens.

Presently, the veteran composer and sound sculptor , Jack Dangers continues to stretch sonic boundaries and influence new generations of sound activists. As a premiere remixer, producer and sound designer, he has played a seminal role in defining tomorrows' music today. Prior to Meat Beat Manifesto there was Perennial Divide. Archive Things/Purged was released earler this year and features unreleased tracks and instrumental versions from Perennial Divide, together with some of the original MBM demo tracks. Earlier this year a new album was released "Autoimmune", featuring vocals from Jack, Oakland’s own Azeem, Mr. C and Daddy Sandy and a guest appearance from Z-Trip.


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Meat Beat Manifesto - Storm The Studio (89, 72min flac 506 mb)

Dangers and Stephens left Perennial Divide in 1988 to record an album, but the tapes were destroyed in a studio fire before the album could be released. They then recorded the LP Storm The Studio a worked out/remixed compilation of their first 44 12 "s, it got them pigeonholed as an industrial act which was not to their liking and so they followed it with a more techno oriented 99% a year later



01 - God O.D. (Part 1) (5:19)
02 - God O.D. (Part 2) (6:42)
03 - God O.D. (Part 3) (5:21)
04 - God O.D. (Part 4) (2:59)
05 - Re-Animator (Part 1) (6:06)
06 - Re-Animator (Part 2) (4:08)
07 - Re-Animator (Part 3) (5:30)
08 - Re-Animator (Part 4) (4:03)
09 - Strap Down (Part 1) (5:49)
10 - Strap Down (Part 2) (7:00)
11 - I Got The Fear (Part 1) (6:14)
12 - I Got The Fear (Part 2) (3:59)
13 - I Got The Fear (Part 3) (3:06)
14 - I Got The Fear (Part 4) (5:22)

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Meat Beat Manifesto - Subliminal Sandwich (96 138min ^ 782mb)

In 1994 Dangers relocated from England to San Francisco, resulting in Stephens' departure from the band. Dangers continued MBM from his new home, releasing the double album Subliminal Sandwich in 1996. While this album represented MBM's major-label debut on Trent Reznor's Nothing Records, it didnt sell as well as the previous Satyricon album . Despite the hooky single - "Asbestos Lead Asbestos" - which was accompanied by a big budget video. The album did receive good reviews in the UK and the album should be regarded as an artistic success, as it manages to combine dub, trance, drum and bass, and industrial sounds with truly rare and invigorating samples. The song "She's Unreal" was featured on the soundtrack of the 1999 film The Blair Witch Project



Meat Beat Manifesto - Subliminal Sandwich 1 ( flac 403mb)

101 - Sound Innovation (2:18)
102 - Nuclear Bomb (Voc.Papa Levi) (6:12)
103 - Long Periods Of Time (Voc.Mike Powell) (4:33)
104 - 1979 (5:25)
105 - Future Worlds (4:56)
106 - What's Your Name ? (Voc.Hell Louise) (2:47)
107 - She's Unreal (4:10)
108 - Asbestos Lead Asbestos (6:22)
109 - Mass Producing Hate (Voc.Mike Powell) (3:01)
110 - Radio Mellotron (1:07)
111 - Assasinator (Voc.Papa Levi) (5:22)
112 - Phone Calls From The Dead (3:13)
113 - Lucid Dream (2:09)
114 - Addiction (4:07)
115 - No Purpose No Design (2:18)
116 - Cancer (4:34)
117 - Transmission (Voc.Hell Louise) (4:09)
118 - We Done (2:07)


Meat Beat Manifesto - Subliminal Sandwich 2 ( ^379mb)

201 - Set Your Receivers (0:23)
202 - Mad Bomber/The Woods (10:16)
203 - The Utterer (6:51)
204 - United Nations (E.T.C.) (4:05)
205 - Stereophrenic (13:03)
206 - Teargas (0:38)
207 - Plexus (3:29)
208 - Electric People (14:03)
209 - Tweekland (7:55)
210 - Simulacra (8:20)

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Meat Beat Manifesto - RUOK? 02 61 min flac 357mb)

From the first few minutes of RUOK?, it's clear MBM has evolved from the dense sampladelic dance of 98 's Actual Sounds + Voices to a sparse, haunted style that leaves much to the imagination but still displays acres of production prowess. Twelve tracks of primitivist electronics and drum machines over unobtrusive breakbeats, the album was recorded in part with a rare mid-'70s synthesizer, the EMS Synthi 100. With frequent funk samples and snippets of obscure '50s trad vocals all over it, RUOK? still has much in common with his series of populist breaks records, Tino's Breaks. It also includes appearances from two of the rangiest co-contributors to appear on a dance record in some time: psychedelic techno mastermind Dr. Alex Paterson (from the Orb) and turntablist mentalist Z-Trip; the featured tracks are among the best on offer, though the guests' contributions certainly don't stick out. Three years later Ruok was remixed and released as ...In Dub on cd and 5.1 DVD



01 - Yüri (5:39)
02 - Spinning Round (5:27)
03 - Horn Of Jericho (7:10)
04 - What Does It All Mean? (5:20)
05 - No Words Necessary (4:42)
06 - Intermission (1:07)
07 - Supersoul (5:36)
08 - Hankerchief Head (6:35)
09 - No Echo In Space (6:26)
10 - Dynamite Fresh (5:41)
11 - Retrograde (4:57)
12 - Happiness Supreme (2:39)

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Meat Beat Manifesto - Mutations ( 78min flac 436mb)

This is a compilation of remixed MBM i made a few years ago. Btw the cover i chose is not photoshopped but a pic of a natural phenomena.. you don't need to eat shrooms for that.



01 - Prime Audio (Herbaliser) Soup (6:46)
02 - Oola (Orbital mutation) (8:35)
03 - Mindstream (Aphex Twined) (6:53)
04 - Fragments (Eccentric Objects) (5:13)
05 - Asbestos Led Asbestos (Joined at the Hip-edit Charlie Clouser) (5:59)
06 - Razorblade Waves (Skinned) (7:41)
07 - Mars Needs Control (Chemical Brothers) (9:07)
08 - Mambotron (Dangers Mix) (7:02)
09 - Radio Babylon (Orb's Beach Blanket Bimbo Land) (13:18)
10 - Prime Veggie Soup ( Boards of Canada) (7:05)

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Into The Groove (42)

Hello, compilation week ends with a trio of seventies R& B, soul and disco hits ....Tamla Motown Is Hot, Hot, Hot ! is a 35 year old vinyl that has gotten plenty of spins at parties.... The Sound Of Philadelpia was big in the seventies as you can cheque for yourself The O'Jays' For The Love Of Money alone is worth the effort , or that Dirty Old Man ....Hits Replay too has plenty of black music classics on board.

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VA - Tamla Motown Is Hot, Hot, Hot ! Vol 4 (73 * 99mb)
Motown played an important role in the racial integration of popular music, as it was the first record label owned by an African American to primarily feature African-American artists who achieved crossover success. In the 1960s, Motown and its soul-based subsidiaries were the most successful proponents of what came to be known as "The Motown Sound", a style of soul music with a distinct pop influence. Motown has owned or distributed releases from more than 45 subsidiaries in varying genres, although it is most famous for its releases in the music genres of rhythm and blues, soul, hip hop and pop. Motown Records left Detroit for Los Angeles in 1972, and remained an independent company until June 28, 1988, when Gordy sold the company to MCA.



01 - Temptations, The - Papa Was A Rolling Stone (6:41)
02 - Sisters Love - Mr. Fix-It Man (2:54)
03 - Four Tops, The - I Can't Quit Your Love (3:38)
04 - Martha Reeves & The Vandellas - Bless You (2:58)
05 - Michael Jackson - Ain't No Sunshine (4:07)
06 - Supremes, The - Now The Bitter Now The Sweet (5:17)
07 - Gladys Knight & The Pips - Help Me Make It Trough The Night (4:14)

08 - Michael Jackson - Rockin' Robin (2:29)
09 - Stevie Wonder - Keep On Running (6:35)
10 - Undisputed Truth, The - Superstar (Remember How You Got Where You Are) (3:00)
11 - Valerie Simpson - Drink The Wine (3:42)
12 - Michael Jackson - Ben (2:41)
13 - Syreeta Wright - I Love Every Little Thing About You (4:54)
14 - Diana Ross - Doobedood'Ndoobe, Doobedood'Ndoobe, Doobedood'Ndoo (4:43)

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VA - The Sound Of Philadelpia 2 ( * 99mb)

Philadelphia Sound or Sweet Philly, is a style of soul music characterized by funk influences and lush instrumental arrangements, often featuring sweeping strings and piercing horns. Due to the emphasis on sound and arrangement and the relative anonymity of many of the "style's" players, Philadelphia soul is often considered a producers' genre.

Philadelphia songwriters and producers included Thom Bell, Linda Creed, Norman Harris, Dexter Wansel and the production teams of Gene McFadden and John Whitehead, and Kenny Gamble and Leon Huff worked with a stable of studio musicians to develop the unique Philadelphia sound used as backing for many different singing acts. Many of these musicians would record as the instrumental group MFSB, which had a hit with the seminal Philadelphia soul song "TSOP (The Sound of Philadelphia)" in 1974. Philadelphia soul was popular throughout the 1970s and it set the stage for the studio constructions of disco and urban contemporary music that emerged later in the decade.



01 - The Three Degrees - Dirty Ol' Man (3:13)
02 - Billy Paul - Let'm In (5:05)
03 - The O'Jays - For The Love Of Money (7:08)
04 - The Jones Girls - Nights Over Egypt (3:39)
05 - Teddy Pendergrass - Love TKO (5:00)
06 - Harold Melvin & The Blue Notes - Satisfaction Guaranteed (3:28)
07 - Lou Rawls - See You When I Git There (4:25)
08 - The Trammps - Hold Back The Night (3:34)
09 - The O'Jays - Love Train (2:59)
10 - People's Choice - Do It Anyway You Wanna (3:15)
11 - The Intruders - She's A Winner (2:24)
12 - The Three Degrees - The Year Of Decision (2:32)
13 - The Stylistics - Hurry Up This Way Again (5:53)
14 - Billy Paul - Thanks For Saving My Life (2:56)

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Various - Hits Revival 2 - Replay ( * 99mb)



01 - Nina Simone - My Baby Just Cares For Me (3:37)
02 - Ella Fitzgerald - Every Time We Say Goodbye (3:34)
03 - Jackie Wilson - (Your Love Keeps Lifting Me) Higher And Higher (2:54)
04 - Diana Ross & The Supremes - Come See About Me (2:35)
05 - Temptations, The - Ain't Too Proud To Beg (2:29)
06 - Jackson 5, The - Maybe Tomorrow (4:36)
07 - Robert Parker - Barefootin' (2:35)
08 - Isley Brothers, The - Shout (4:25)
09 - Edwin Starr - War (3:21)
10 - Gloria Gaynor - Never Can Say Goodbye (2:59)
11 - Diana Ross - Ain't No Mountain High Enough (3:31)
12 - Thelma Houston - Don't Leave Me This Way (3:36)
13 - Chi-Lites, The - Too Good To Be Forgotten (3:12)
14 - Main Ingredient - Just Don't Want To Be Lonely (3:32)
15 - Temptations, The - Papa Was A Rollin' Stone (6:51)
16 - Lipps, Inc. - Funkytown (3:59)
17 - Isley Jasper Isley - Caravan Of Love (4:14)


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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 !

Alphabet Soup II (P)

Hello, in the Alphabet Soup there's no room for various artists so i continue from where i left off last time (O) to P. Fiirst up the band that made the seventies for many of us Pink Floyd before they treated us on Dark Side of The Moon and Wish You Were Here, the album that set them on that path was 1971's Meddle...20 years later the Pixies released what turned out to be their last album Tromp Le Monde...finally Porcupine Tree a band that continues to grow and release quality prog rock ever since their 92 debut...this here In Absentia was their first opus that broke out of their incrowd reputation, into the mainstream.

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Pink Floyd - Meddle ( 71 ^ 99mb)

Pink Floyd evolved from an earlier rock band, formed in 1964. When the band split up, some members — guitarists Rado "Bob" Klose and Roger Waters, drummer Nick Mason, and keyboardist and wind instrument player Richard Wright — formed a new band called "Tea Set". Blues and folk guitarist and vocalist Syd Barrett joined the band, with Waters moving to bass and Wright to full time keyboards. When The Tea Set found themselves on the same bill as another band with the same name, Barrett came up with the alternative name The Pink Floyd Sound, after two blues musicians, Pink Anderson and Floyd Council. The Sound was dropped fairly quickly, but the definite article was still used regularly until 1970. The group's UK releases during the Syd Barrett era credited them as The Pink Floyd as did their first two U.S. singles. 1969's More and Ummagumma albums credit the band as Pink Floyd, produced by The Pink Floyd, while 1970's Atom Heart Mother credits the band as The Pink Floyd, produced by Pink Floyd. David Gilmour is known to have referred to the group as The Pink Floyd as late as 1984.

As their popularity increased, the band members formed Blackhill Enterprises in October 1966, a six-way business partnership with their managers, Peter Jenner and Andrew King,[13] issuing the singles "Arnold Layne" in March 1967 and "See Emily Play" in June 1967. "Arnold Layne" reached number 20 in the UK Singles Chart, and "See Emily Play" reached number 6, granting the band its first national TV appearance on Top of the Pops in July 1967. Released in August 1967, the band's debut album, The Piper at the Gates of Dawn, is today considered to be a prime example of British psychedelic music, and was generally well-received by critics at the time. The music reflected newer technologies in electronics through its prominent use of stereo panning, tape editing, echo effects and electric keyboards. As the band became more popular, the stresses of life on the road, pressure by the record company to produce hit singles, and a significant intake of psychedelic drugs took their toll on Barrett, whose mental health had been deteriorating for several months. In January 1968, guitarist David Gilmour joined the band to carry out Barrett's playing and singing duties.

With Barrett's behaviour becoming less and less predictable, and his almost constant use of LSD, he became very unstable, occasionally staring into space while the rest of the band performed. The absent expression in his eyes inspired Waters' lyrics in 1975's "Shine On You Crazy Diamond", "Now there's that look in your eyes/ Like black holes in the sky.' The band's live shows became increasingly ramshackle until, eventually, the other band members simply stopped taking him to the concerts. The last concert featuring Barrett was on 20 January 1968 on Hastings Pier. Once Barrett's departure was formalised in April 1968, producers Jenner and King decided to remain with him, and the six-way Blackhill partnership was dissolved. The band adopted Steve O'Rourke as manager, and he remained with Pink Floyd until his death in 2003. After recording two solo albums (The Madcap Laughs and Barrett) in 1970 (co-produced by and sometimes featuring Gilmour, Waters and Wright) to moderate success, Barrett went into seclusion. Again going by his given name, Roger, he eventually moved back to his native Cambridge and lived a quiet life there until his death on 7 July 2006.

As Barrett had been the lead singer during his era, Gilmour, Waters and Wright now split both songwriting and lead vocal duties. Waters mostly wrote low-key, jazzy melodies with dominant bass lines and complex, symbolic lyrics, Gilmour focused on guitar-driven blues jams, and Wright preferred melodic psychedelic keyboard-heavy numbers. Unlike Waters, Gilmour and Wright preferred tracks that had simple lyrics or that were purely instrumental. A Saucerful of Secrets was released in June 1968, reaching #9 in the UK and becoming the only Pink Floyd album not to chart in the U.S. Somewhat uneven due to Barrett's departure, the album still contained much of his psychedelic sound combined with the more experimental music that would be fully showcased on Ummagumma. Its centrepiece, the 12-minute title track, hinted at the epic, lengthy songs to come, but the album was poorly received by critics at the time.

Pink Floyd were then recruited by director Barbet Schroeder to produce a soundtrack for his film, More, which was premièred in May 1969. The music was released as a Floyd album in its own right, Soundtrack from the Film More. The next record, the double album Ummagumma, was a mix of live recordings and unchecked studio experimentation by the band members, with each member recording half a side of a vinyl record as a solo project. Though the album was realised as solo outings and a live set, it was originally intended as a purely avant-garde mixture of sounds from "found" instruments.The title is Cambridge slang for sexual intercourse. Atom Heart Mother (1970), the band's first recording with an orchestra, was a collaboration with avant-garde composer Ron Geesin. The name was a last minute decision by the band when they were inspired by a newspaper article about a woman who had given birth with a pacemaker. The use of noises, incidental sound effects and voice samples would thereafter be an important part of the band's sound. While Atom Heart Mother was considered a huge step back for the band at the time and is still considered one of its most inaccessible albums, it had the best chart performance for the band up to that time, reaching #1 in the UK

The band's sound was considerably more focused on Meddle (1971), with the 23-minute epic "Echoes" a smooth progressive rock song with extended guitar and keyboard solos and a long segue in the middle consisting largely of synthesised music produced on guitars, organs, and synths, along with backward wah pedal guitar sounding like samples of sea gulls or albatross and an entire whale song playing over the top, described by Waters as a "sonic poem". Meddle was considered by Nick Mason to be "the first real Pink Floyd album. Meddle also included the atmospheric "One of These Days", a concert favourite featuring Nick Mason's menacing one-line vocal ("One of these days, I'm going to cut you into little pieces"), distorted and bluesy lap steel guitar, and a melody that at one point fades into a throbbing synthetic pulse quoting the theme tune of the cult classic science fiction television show Doctor Who.

Meddle was greeted both by critics and fans enthusiastically, and Pink Floyd were rewarded with a #3 album chart peak in the UK. Today, Meddle remains one of their most well-regarded albums, it set out the Pink Floyd path. The sound became polished and collaborative, with the philosophic lyrics and distinctive bass lines of Waters combining with the unique blues guitar style of Gilmour and Wright's haunting keyboard melodies...



01 - One Of These Days (5:51)
02 - A Pillow Of Winds (5:05)
03 - Fearless (6:02)
04 - San Tropez (3:38)
05 - Seamus (2:12)

06 - Echoes (23:25)

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Pixies - Trompe Le Monde (91 ^ 99mb)

The Pixies' history began when undergraduates Joey Santiago and Black Francis (born Charles Thompson IV) shared a room at the University of Massachusetts Amherst. The two spent 1984 working in a warehouse, with Francis composing songs on his acoustic guitar and writing lyrics on the subway train. The pair formed a band in January 1985. Bassist Kim Deal joined Santiago and Francis two weeks later after responding to a classified advertisement Francis had placed, seeking a female bassist .

The band produced an 18 track demo at Fort Apache soon afterwards, known to fans as "The Purple Tape" because of the tape cover's purple background. The recording was funded by Francis' father at the cost of $1000 and took three days to record. The tape was released exclusively as a demo to interested parties, including Ivo Watts-Russell at 4AD and local promoter Ken Goes, who became the band's manager. Eight tracks from the Purple Tape were selected for the Come On Pilgrim EP, the band's first release. Come On Pilgrim showcased much of the Pixies' variety and set up the beginnings of many trends in their music. It includes two songs partly sung in Spanish ("Vamos" and "Isla de Encanta") and two songs that explicitly mention incest—"Nimrod's Son" and "The Holiday Song"

Pixies's first full-length album, Surfer Rosa. The album was recorded by Steve Albini , completed in a fortnight, and released in early 1988. Surfer Rosa gained the Pixies acclaim throughout the musical world; both Melody Maker and Sounds gave Surfer Rosa their "Album of the Year" award. After their critically acclaimed album, the band arrived in England to support Throwing Muses on the European "Sex and Death" tour—beginning at the Mean Fiddler in London. The tour also took them to the Netherlands, headlining the tour. Francis later recalled: "The first place I made it with the Pixies was in Holland."

the British producer, Gil Norton. Norton was to produce their second full album, Doolittle (provisionally titled Whore),[10] which was recorded in the last six weeks of 1988 and seen as a departure from the raw sound of Come On Pilgrim and Surfer Rosa. Doolittle had a much cleaner sound. Like Surfer Rosa, Doolittle was acclaimed by fans and music critics alike. In 2003, the album was ranked number 226 on Rolling Stone magazine's list of the 500 greatest albums of all time. After the Doolittle tour's final date in New York, the band was too exhausted and soon announced a hiatus.

During this time, Santiago travelled to the Grand Canyon to "find himself", and Lovering jetted off to Jamaica. Francis bought a yellow Cadillac and crossed America with his girlfriend . Kim Deal formed a new band, The Breeders, named after a band she had formed with her sister as a teenager, with Tanya Donelly of Throwing Muses and bassist Josephine Wiggs of Perfect Disaster. Their debut album, Pod, was released later that year. After Doolittle, Francis began to limit Deal's contributions to the band and assert more control over the Pixies' output; the first three records had been partly written by Deal, but when Bossanova was released in 1990, all the original songs were by him.

The band continued to tour, and, break-up announcements notwithstanding, one more album was to follow. Trompe le Monde, released in 1991, still featured little creative input from Deal and was not as immediately well regarded as their first few albums. In the end, Trompe Le Monde expanded on the UFO and sci-fi themes (including a song on space travel, "Planet of Sound" and "Motorway to Roswell" about an alien vacation gone badThe album saw the band move in a more popular direction with songs as "Palace of the Brine" and "Trompe Le Monde". The songs "U-Mass" (sample (info)) and "Alec Eiffel" included the keyboardist Eric Drew Feldman—a move unthinkable in the band's Come On Pilgrim and Surfer Rosa days. The album also featured a cover of "Head On" by The Jesus and Mary Chain. Trompe Le Monde was to be the Pixies' last studio album before their breakup.

Following the release of Trompe Le Monde, the band went on a sellout winter tour of the USA, culminating on a TV appearance on The Tonight Show Starring Johnny Carson. They then embarked on an uncomfortable tour supporting fans U2 (on their Zoo TV tour) in 1992. However, tensions rose between band members, and, at the end of the year, the Pixies went on sabbatical and focused on separate projects. In early 1993, Francis announced in an interview to BBC Radio 5 that the band was finished. In late 2003 a press release from Black's publicist officially confirmed a reunion would occur in the spring of 2004. The folowing years theyd appear at festivals but a new album was not on the cards.



01 - Trompe Le Monde (1:47)
02 - Planet Of Sound (2:06)
03 - Alec Eiffel (2:50)
04 - The Sad Punk (2:59)
05 - Head On (2:14)
06 - U-Mass (3:00)
07 - Palace Of The Brine (1:34)
08 - Letter To Memphis (2:40)
09 - Bird Dream Of The Olympus Mons (2:48)
10 - Space (I Believe In) (4:18)
11 - Subbacultcha (2:09)
12 - Distance Equals Rate Times Time (1:24)
13 - Lovely Day (2:05)
14 - Motorway To Roswell (4:43)
15 - The Najavo Know (2:19)

16 - Rock Music (Live) (1:52)
17 - Hang Wire (Live) (2:01)
18 - Monkey Gone To Heaven (Live) (2:58)
19 - Isla De Encanta (Live) (1:46)

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Porcupine Tree - In Absentia ( 02 ^ 189mb)

Porcupine Tree was just Wilson at the start; born in London in 1967, having learned guitar and keyboards at a young age turning out to be a talented musical prodigy. 1987 saw the founding of both No-Man and Porcupine Tree, the latter actually starting as a joke between Wilson and a friend about a legendary lost '70s group. Elaborate discographies and other material were created à la Spinal Tap, while Wilson himself created a slew of music meant to be the band's lost recordings. The best tracks ended up at Porcupine Tree's real debut album on Delerium Records, On the Sunday of Life, in 1992. Those songs having been something of a nostalgia exercise, Wilson aimed for a more contemporary approach on his follow-up release -- the extended single "Voyage 34," with a clear debt to ambient techno jokesters the Orb.

Up the Downstair, Porcupine Tree's next full album, found Wilson coming fully into his own, creating a majestic, sweeping album that took the prog inspirations of the past fully into a realm of mysterious hush and beauty as much as full-on rock charge. Two collaborators on other projects, bassist Colin Edwin and keyboardist Richard Barbieri (Japan), guested on the album. Later that year, the two formally joined Porcupine Tree, along with drummer Chris Maitland, establishing a four-piece lineup. The first release by the new version of the group, The Sky Moves Sideways, was actually something of a transitional affair, a number of the songs still being Wilson solo compositions and performances.

The bandmembers themselves considered the quartet's true debut to be 1996's Signify, another stunning step forward of the Porcupine Tree sound with new highlights everywhere, including the epic blast of the title track itself. By this time, Porcupine Tree's reputation had spread throughout Europe and elsewhere, including an increasing cult following in America. A friendly parting from Delerium led Porcupine Tree to Snapper/K-Scope, which released 1999's Stupid Dream, notable for its stronger song focus and slightly more accessible feel all around. The band's reputation and fan base continued to grow, with another album, Lightbulb Sun, taking its bow in 2000. Porcupine Tree continued to tour and plan ahead for both new recordings and reissues of older, rarer material, the first of which surfaced in May 2001, titled Recordings.

Various unreleased cuts from the Stupid Dream and Lightbulb Sun sessions as well as a few B-sides were included. They spent the rest of the year putting together Stars Die: The Delerium Years '91-97, a box set that looks at their catalog from 1991 to 1997. Drummer Chris Maitland left the band in March of 2002, but luckily Gavin Harrison was available to take his place. A year later, In Absentia was released, the most accessible release to ever spew forth from the group. Rolling electronic percussion blends with simple and solid live drumming to provide an understated backbeat as perennial Tree leader Steven Wilson pastes his complicated pop over the proceedings. Wilson's ability to bury his layered vocals in mountains of spacy electric guitar without drowning out his fragile lyrics is still a valued feature of the music, and the rare moments of clarity that his vocals display are breathtaking in their power. In Absentia was followed by Warszawa and Deadwing in 2005. In 2007, the band released their ninth studio LP, a loose concept album with an underlying theme of escapism in the 21st century, aptly named Fear of a Blank Planet (not to be confused with the similarly titled Public Enemy classic).



01 - Blackest Eyes (4:23)
02 - Trains (5:56)
03 - Lips Of Ashes (4:39)
04 - The Sound Of Muzak (4:59)
05 - Gravity Eyelids (7:56)
06 - Wedding Nails (6:33)
07 - Prodigal (5:32)
08 - .3 (5:25)
09 - The Creator Has A Mastertape (5:21)
10 - Heartattack In A Layby (4:15)
11 - Strip The Soul (7:21)
12 - Collapse The Light Into Earth (5:54)

13 - Drown With Me (4:27)
14 - Chloroform (7:14)

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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 !